Music and Writing: a Harmonious Match, or an Off-Pitch Proposition?

by A.M. Khalifa, thriller writer, Google+

Christof Unterberger, Austrian Cellist and Film Music Composer

You may not immediately associate music with fiction, but in my world, music plays an integral role. Often when I write particularly visual or emotional scenes I hear music in my mind. I also write better when I have music playing in the background. For instance, the soundtrack of the film Rush, as scored by Eric Clapton, is the perfect mood-setter when I am writing about fallen heroes, conflicted protagonists, or psychologically charged scenes. Music touches me on many levels and unclogs my creative pores. Other writers may find this process distracting, but listening to music while I write invites an additional dimension to what I create and amplifies the state of hypnosis that is creativity.

But it doesn't stop there. I have gone a step further to involve music in my writing.

I work in the film industry. My friend Christof Unterberger is a talented and successful film composer and cellist. He is also my musical partner in crime. Almost every project I have produced in the last six years has been touched and elevated by his music. As with any creative partnership, Christof is also interested in my writing.

When I started working on my debut novel Terminal Rage, Christof was only the second person after my wife to know about it and to read the synopsis. He started composing small vignettes, spontaneously and inspired only by the little he knew of the story. And he nailed it. The musical pieces he composed back then were so reflective of the essence of my thriller, and so sublime and cinematic, that I started listening to them as I was writing. As a result, my writing and writing regimen improved. My story inspired his music, and his music inspired my writing - cyclical and symbiotic creativity at its very best.

Now that Terminal Rage has been published and Christof has read it, we are doing something even more daring. We are composing a soundtrack for the book. One piece for every chapter. You can listen to the entire sequence here.

I believe we are breaking new ground with this derivative work, which we plan to sell as a companion product once all thirty-two chapters have been scored.

Here is the opening sequence of the Soundtrack, which sets the tone for the entire work:



And this piece is from an action-packed chapter in the book at the halfway mark. Notice how the music is layered and develops subtly:



Finally, here is a sample of a more emotional,  melancholic chapter towards the end:



What intrigues me about this process, is that people who've read the book connect emotionally with the music almost immediately. They appreciate it as a bonus and unexpected layer of the story that expands and enhances their experience with my work.

Mind you, Christof is a highly sought-after film composer, and time is his most precious commodity. Working on the "book" soundtrack of Terminal Rage is a labor of love for him that comes with no material benefit in the short run. He just fell in love with the story and decided to score some amazing music to it while we wait for the film version. Talking of which, can you guess who will score the music to the film adaptation of Terminal Rage, one day? I joke with Christof and say: Alexander Despalt of course!

As a new and independent writer, thinking out of the box and innovating ideas is an essential component of setting myself apart and building my brand. It's not enough to follow the script dictated by the archaic traditional publishing universe we have all inherited.

Readers: Do you hear music in your minds when you connect with a good story? And are you able to read with music in the background? Writers, what do you think of my literary musical experience: does it add value to a book?

As a special promotion for thriller and music aficionados, if you buy the paperback edition of Terminal Rage before January 1, 2014 and let me know about it on my site www.amkhalifa.com, you will find a copy of the Terminal Rage CD in your mailbox sometime early next year!



A.M. Khalifa, author of international thrillers, writes exhilarating, contemporary stories pulsating with life and unforgettable characters. His debut novel, Terminal Rage, is a layered thrill ride that moves seamlessly from inside a nerve-wracking hostage situation to far-flung locations across the world, challenging readers to stay ahead of its unpredictable plot.

The ebook version of Terminal Rage is now on sale for $2.99 on Amazon, Barnes and Noble, and Kobo. 

An Interview with Author Lala Corriere

Lala Corriere’s writing consumes her. Her suspense includes subplots with socially redeeming revelations. Both good and bad. This is her moniker.

CFC: You find some unique elements for your novels. In Widow's Row, you introduced readers to the idea of transgenders and in CoverBoy you explore the sexual sadism of cults. Where do you come up with these unusual twists?

LALA: Crazy, huh? Let’s say I’ve always had an active imagination. And I have an inquiring mind. I think people need to know their world, their country, and their own backyard. I’ve always believed prejudice is born of ignorance. In my first novel, Widow’s Row, I explore our transgender community. With luck, awareness brings understanding, and just maybe—acceptance. On the other end of the spectrum, there is real crap going on in our world. Believe me, when I wrote CoverBoy I had never heard of revirgination, and in my non-scientific poll most persons are shocked. And the cutting off of toes to fit into designer shoes. It’s a crazy world out there!

CFC: You have elected to publish independently. Would you ever consider a traditional publisher? Why or why not?

LALA: Widow’s Row was tied up on exclusive submissions, to two separate big publishers in a row, for over 2 ½ years!  This is what I’ve learned. I don’t believe anyone will treat my career with as much care as ME.  I don’t think traditional publishers are able to provide the marketing and white glove treatment that I can. Will that change? The market is in turmoil. Who knows? I never say never.

CFC: If you weren't a writer, what?

LALA: I always thought I wanted to be a princess until I saw the pressures on Duchess of Cambridge, Kate Middleton. I don’t have the voice to be a singer. I don’t have the patience to be a teacher. And I pass out at the sight of blood. What does that leave me because I can forget science and math! I love art. I dabble in it. I love interior design and at one time I made a decent living at it. When my children all left for university I realized I needed a passion. I’m married to an Italian who is passionate about his work. I found my ardor in writing. Let’s face it. You have to be passionate if you’re going to be disciplined enough to sit at a computer monitor for hours, days, and years.

CFC: What are you working on now?

LALA: I wish you could hear me squeal with excitement. I was gifted a story from a retired big-city detective. It’s one of those stories where truth is truly stranger than fiction and no one will believe it! My biggest challenge will be massaging the story so that this TRUTH will be credible. And writing blurbs that don’t give the ending away!


CFC: What question haven't I asked that I should have?

LALA: I was recently asked this one: What was one of the first challenges you incurred in your career?

I’m going to answer with two. First of all, I hope most of you know that less than one percent of the population that says they are going to write a book actually finish it. Less than one percent! Big challenge number one.

Once that baby is done we authors need to procure blurbs from other published authors. It’s intimidating. Necessary. I get that. I sent an email to Paris Afton Bonds. She’s a prolific romance novelist with a huge readership. Guess what? She read for me and she gave me a blurb! How easy was that? I aimed higher. I emailed Danielle Steele. I received back what I assumed was a form letter explaining that she was unable to read unpublished works due to contractual obligations. I understood. But I kept aiming. Maybe higher. I emailed Sidney Sheldon. Not only did he read for me and offer me three blurbs, but he was my mentor until he passed away about five years ago.

Years ago my father befriended the great Ashley Montagu, who readily expressed that sometimes being at the top is a lonely thing when one needs real people around them.

Aim high. Why not? Someone is waiting to hear from you!

******

Lala Corriere's newest release, CoverBoy (in addition to Widow's Row) can be sampled and purchased  here.

He prays for prey. His prayers have just been answered.

Lauren Visconti loses everyone she loves. They don’t walk out the door. They die. The Lauren Visconti Curse.

Her in-your-face magazine, CoverBoy, might have crossed a few lines. Now it appeared the curse had morphed. Now anyone Lauren had any emotion toward, good or bad, was doomed to be slaughtered.
Success came with the magazine’s dichotomy—photos of almost naked men juxtaposed between serious investigative reporting. Her articles ran true stories. Most readers had heard of sex-slave trafficking. Most didn’t know it occurred in their own backyards. Some readers knew about podiatry mutilations—the hacking off of elongated second toes and even the total amputation of little toes, all in order to fit into the expensive designer shoes. Very few had heard about revirgination.
CoverBoy’s articles named names.

The Obeah Voodoo scared Lauren. But could it help save her? More likely any help would come from the handsome psychologist.

This is what Lauren had to believe.

Indie Authors' Co-op for Print books?

By Judith Yates Borger

A couple weeks ago I met with a few other mystery authors who were fed up with the gauntlet they had to run to get a book published in paper traditionally. About a year ago two of them had waived their middle fingers at the big guys and set up their own company. They contracted with the very same distributors who had peddled their traditionally published previous  books to the likes of Barnes & Noble, and, sadly, now defunct Borders. They got a deal with the same folks who had printed their previous books. They got reviews in places such as Booklist. They contracted with a cover designer and an editor. Basically, they did everything their paper publisher had done on their previous books and left them with a paltry royalty.

Now, they get monthly sales reports instead of the semi-annual-who-knows-if-they're-true numbers they had previously received from their publishers. They sell their mysteries for $15 and earn $5.50 per book in royalties. There is upfront financial investment, instead of an advance to earn back, but they start making some reasonable money after they've sold 1,000 books.

"I'm working with the editor, the cover designer, setting up my own promotion," said one of the authors. "But I was doing all that before when I had a 'publisher.' "

His motivation was not to make a lot of money -- although that would be just fine. No, what he likes most about the arrangement is that he has control over his work. Not to worry about a publisher who has final say on the cover or the title of book, or who doesn't have the courage to go into a second printing.

Of course, there is risk involved. What if the distributor goes belly-up? Or the printer gets struck by lightning?  Although the reports just funnel through the lead member authors are responsible for their own bills. Still, the other authors have to write well enough to not bring ill will on the others. No one wants guilt by association.

I've been looking around to see if any other authors are doing the same. I found a news item about one group near Seattle that has something similar going, but I haven't seen anything else.

These authors want me to join their authors' coop. What do you think? I've had two books published in paper by a traditional author, an okay-but-not-great experience. I'm working on my third book now. Should I go the coop route? Join up with these guys, whose work I like?

Sex, Drugs, and Rock and Roll

By Andrew E. Kaufman

As an author, I find it difficult to write about murder without taking a trip to the Dark Side. After all, I think on some level we sort of expect that. Logically speaking, if you're going to have a killer, then you're going to have deviant behavior. The two seem to go hand in hand. But just how dark and how deviant?

For me, I draw the line where gratuitous begins, and most often, that's where I find trouble lurking between the pages of novels. Using sex, drugs, or violence just for the sake having it or for shock value does a book little good. In fact, I think, it'll do more harm. Readers know the difference, and they know when they're being played. If you don't believe me, check out some of the emails I get. These folks know their stuff, and many understand plot structure as well as any author.

In my novel, While the Savage Sleeps, there is violence. No question. It's graphic and it's frequent. But here's the thing: it's also absolutely necessary. Not only are the plot and the characters driven by it, but the final resolution also depends on it. Without that element, the story would fall flat and the reader would likely feel short changed. Context is the key, and I think a good question for any author to ask him or herself when considering whether or not an element belongs is: Would this story suffer without it? If the answer is no, then chances are you don't need it, and chances are the reader will feel the same way.

As for sex, typically, I don’t put it in my books—not because I’m a prude or that I have anything against the act itself. It’s just that logistically it doesn't seem to make sense.

Here’s an example: There’s a killer on the loose, and Sam and Linda are running for their lives because he’s hot on their trail. If all that weren’t enough, Detective Holiday thinks Sam could in fact be the killer. The clock is ticking and the two must not only prove Sam’s innocence, they must also find the real suspect.

I don’t know about you, but I’m thinking sex is going to be the last thing on Sam and Linda's minds. Not only that, but it would seem in addition to slowing down the pace, adding this element would also detract from the story. Now I'll agree that there are authors who can expertly weave sex into a suspense thriller rather seamlessly, and I applaud them for that. It just so happens that I’m not one of them. But from what I’ve read, neither are a few others, and when I see it needlessly thrown in, it comes across as contrived and gratuitous. It’s also the exact point where they lose me.

There’s been a lot of discussion about the F-bomb, namely, whether or not it belongs in novels. I'd guess the answer depends on the reader’s tolerance level. Personally, I don’t have a problem with it, and I use it whenever I feel it’s necessary in terms of character development. My job is to make fiction seem real, and the reality is, people do use the word. I also believe that when implemented correctly it can add authenticity to a character. Think of it this way: if a cop said,“darn it” in a novel, would it make you want to continue reading? Not me.

Of course, throw in a drug-addicted, sexually compulsive, cussing sociopath, and really, anything goes. Again, it’s all about context.

Overall, I know opinions on this subject vary, and as an author I’m always interested in knowing what readers think. So I’d like to ask: Do these elements bother you in a book, and just how far is too far?

Choices

by Peg Brantley




(OT: Before I begin, I just need to say I'm totally impressed with both Marlyn's and Drew's posts. In fact, I'm a little sick to my stomach right now. What have I gotten myself into? These people are good.)

Now that I've shared my anxiety with you, it's on to the topic of the day, and why there's a picture of a rabbit up there.

You’d have to be pretty deep down the rabbit hole not to have heard all of the hubbub in the publishing industry. With the advent of the e-book in a Very Big Way; more and more writers responsible for the brunt of their own marketing—regardless of who publishes them; the e-book; an economy that has every business concerned about the bottom line; e-books; publishers cutting the numbers of titles they’re willing to produce—and, did I mention e-books?—changes have been screaming at lightning speed compared to the last several decades. This is an exciting time to be a writer.

So here I sit. A woman (of a certain age) who has gone through the unimaginable learning curve to write a novel. Believe me, had I known how unprepared I was, and what would be required of me, I’m not sure I would’ve taken that first step. But after walking a gazillion miles, my feet are tired and I see a couple of doors not too far down the road. I figure I might as well at least knock.

But which door?

There's the door I’ve become acquainted with over the years, at least in my dreams. It’s huge, at least ten feet high. It’s heavy, made of rare and ornately carved wood. Behind it are agents and acquisition editors, the industry professionals. They are the men and women who have always worked hard to find the next great author. Agents who really want to love what I’ve written, because if they do we’re all in the game together. Publishers who can fall in love with my manuscript and work to make everyone’s dream come true. It’s subjective and not a little secretive. But it’s a place where a writer can be filled with affirmation once they’re accepted.

Glory, hallelujah.

The other door is simpler. Transparent. Not nearly as artistic or exciting.

But it's open!

Not at all what I associate with real publishing. It's really kind of a shock. And I've been watching what goes on behind these doors. This is a place where readers are looking for their next great author. It’s readers who have the power here. Not the agents and not the publishers. Kind of exciting. Kind of scary.




I’ve always dreamed of walking through that ornately carved, heavy door. But now I have a choice.

Which door?

Come follow along with me as I try to figure this out.

If you'd like to see your name in my first book, leave a comment and you might be a winner. We'll walk through one of those doors together. Sorta.


It's all better with friends.