Monday, 13 November 2017

Writing to Music: Guy Donovan

For the latest in the series, Writing to Music, I am delighted to welcome author Guy Donovan to the blog:

An Ex-animator’s Take on Music and Writing

Before becoming a struggling, unknown indie writer of epic historical fantasy, I was a struggling animator and designer in Los Angeles. Working on such films as “Quest for Camelot,” “Osmosis Jones,” and, my personal favorite, “The Iron Giant,” I used music to keep the outside world at bay so I could focus on churning out all the drawings required by traditional animation. While I sometimes listened to music with lyrics, I tended toward instrumentals. 

Now I rely on music even more. Rather than working on someone else’s property, with most of the real creativity already done long before my job even started, the written world I create is all on me. Even though my “Dragon’s Treasure” series of e-novels is set in the very real world of 5th century Wales and Scotland, the fact that so little is known about that time period opens up a tremendous opportunity for me to “fill in the gaps.” 

The music I listen to while doing that provides as much inspiration as it does distraction from whatever is going on right around me in the “real” world. 

Classical, especially the bombastic stuff, is a great means of transport, but I’ve been a lover of film scores since the mid ‘70s, so I most often go that route. While other kids my age were rocking out to Led Zeppelin, Black Sabbath, et al, I was more interested in John Williams (Star Wars, Jaws, etc.), and Jerry Goldsmith (Patton, The Omen, Logan’s Run, yadda yadda…), along with many, many more. It’s only natural that those composers provide the fuel for my own creation. 

So when I’m writing a thoughtful conversation between Domelch, my Pictish caregiver of eleven-year old Princess Cerys of Môna, and Owena, a lady-in-waiting to the queen, about the conflicts between Christianity and their own pagan faith, I’ll rely on a track like Randy Edelman’s “Cora,” from “The Last of the Mohicans” to help set the mood. 
'Cora' - Last of the Mohicans (Youtube)

Alternately, a hyper-energetic scene like the one in which my series’ dragon, Talorc, defends his adoptive family of Humpback whales against a pod of hungry Orcas requires a more rousing piece like Thomas Bergerson’s “Star Child” to pump me up. 
Star Child' (Youtube)
The years I’ve spent writing “The Dragon’s Treasure” has led me to patch together a “score” for the series. Like a film’s temp track (prior to the composer writing music specifically for the film), I use that collection of pre-existing music to back up the scenes I see so clearly in my head. Rather than underscore specific action beats though, as that sort of editing and direction need to come from my reader as much as from me, my “score” sets the mood, or maybe a rhythm, that reflects what’s going on in the story. In one very specific instance, however, I needed something more precise.

Throughout the series’ first novel, “The Forgotten Princess of Môna,” the titular princess, Cerys, habitually hums a tune that her father taught her. By the second instalment, “A Cold, White Home,” Cerys is pressed into coming up with lyrics for it. Now Dirty Harry taught me as a young child that “A man’s gotta know his limitations,” and one of mine is poetry. There I was though, faced with writing a poem. My wife also writes, so I asked if she would be willing to help out. When she finally stopped laughing long enough to say “No, good luck with that,” I resigned myself to the task. 

To be politely honest, my best efforts were…trash. Then my previous career came to mind. Typically, new animators start in something called “cleanup” (essentially taking someone else’s rough, off-model drawings and redrawing them to not only move right, but also look right). Armed with that thought, I looked up a piece of music that I thought sounded right, and then researched songs of the period (or at least as old as I could find), mining them for ideas. I selected Jerry Goldsmith’s title theme for the film “Rudy,” as I liked the simplistic, honest “feel” of it. Then, as a lyrical springboard, I picked an old Welsh song (possibly 17th century) called “The Ash Grove.” Between them, and a head full of my fictional character’s hopes, fears, and dreams, I formulated a song that fit her needs. 

While the music as written doesn’t accommodate my lyrics perfectly, it’s easy enough to mentally rework it some to fit. I’ve included a link and my lyrics below for you to listen yourself and see if you agree. Even if it’s not quite perfect, my more musically inclined readers can no doubt imagine something they like better. 
'Rudy' Main Title (Youtube first track)

My Cold, White Home

“When I think of my home, I see only a place 
That is lonely and cold and white. 
And I dream of the day when I’ll finally join those 
Who have left my sight. 

“I’m alone and I’m traveling through 
Many places with nobody who 
Knows my pain. 

“Every step that I take wakes many mem’ries 
As aimlessly free I roam. 
And I know in my heart that my journey will end 
In a cold, white home. 

“Each night as I lie in my bed, 
I see faces of those who are dead 
In my mind. 

“There’s no dream of the future my spirit can cheer. 
I can only brood on my plight. 
For the dead that I mourn are all waiting for me 
In that cold and white. 

“My tears, they will no longer flow 
For I know where I’m going to go 
When I die. 

“So I lift up my eyes that are red and so dry 
As I look up to clouds like foam 
For some sign that my family is waiting for me 
In that cold, white home.” 

So there you have it. I hope you enjoyed my musings on music, lyrics, and resurrecting facets of old careers to benefit the new. Please feel free to leave a comment. 


More information abut Guy Donovan's Dragon Treasure series can be found HERE

And you can find him on his Amazon Author Page HERE

Guy was also a contributor to the Horde of Dragons anthology which can be found HERE

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