Writer soundtracks
I listen to a lot of music as writing soundtracks. The right music can boost the images and torque the emotions. (Of course, being me, it takes a couple dozen drafts to even hope to get within scarcely adequate ability to actually get them all onto the page in readable prose.)
The problem, if it is a problem, is when I encounter said music out in the world (in the wild I was about to type, and with the news yammering in the background, it actually seems apropos). Most of the time it's just amusing. For example, the luminous imagery sparked by Rimsky-Korsikov's The Invisible City of Kitezh has a pretty cool fantasy story, as opera stories go, but the internal movie I saw when I first heard it went completely differently.
And subsequently, after using it for writing soundtrack it has now accreted various story scenes. Ditto the opening to season 6 of Game of Thrones I bombed out of the first book fairly early, and I did try to watch snips of the show, but every single time I walked into it downstairs and said, "Okay, time to give it a shot," within a few minutes we either had a torture scene, a rape scene, or some other scene with a naked woman. Or a woman or child being killed. I noped out, and finally decided that I'm too much of a wimp.
Then there's the problematical, such as my first hearing of the children singing in Amistad I ended up parking the car and leaving the motor running so that I wouldn't miss who and what it was, because the music was absolutely a match for my internal music of the boys singing in the academy in one of my books. (INDA, for the two people who read my stuff.) I mean such a match it was scary.
But when I found out that this was music from a film about slaves, I thought, oh, joy, cultural appropriation, anyone?
This can become very weird when I stumble on a piece of music that was written either for a movie or for some other purpose or inspiration, it becomes firmly embedded with my imagery . . . and then I encounter the film or whatever, and get severe visual and mental whiplash.
This entry was originally posted at https://sartorias.dreamwidth.org/978020.html. Please comment there using OpenID.
The problem, if it is a problem, is when I encounter said music out in the world (in the wild I was about to type, and with the news yammering in the background, it actually seems apropos). Most of the time it's just amusing. For example, the luminous imagery sparked by Rimsky-Korsikov's The Invisible City of Kitezh has a pretty cool fantasy story, as opera stories go, but the internal movie I saw when I first heard it went completely differently.
And subsequently, after using it for writing soundtrack it has now accreted various story scenes. Ditto the opening to season 6 of Game of Thrones I bombed out of the first book fairly early, and I did try to watch snips of the show, but every single time I walked into it downstairs and said, "Okay, time to give it a shot," within a few minutes we either had a torture scene, a rape scene, or some other scene with a naked woman. Or a woman or child being killed. I noped out, and finally decided that I'm too much of a wimp.
Then there's the problematical, such as my first hearing of the children singing in Amistad I ended up parking the car and leaving the motor running so that I wouldn't miss who and what it was, because the music was absolutely a match for my internal music of the boys singing in the academy in one of my books. (INDA, for the two people who read my stuff.) I mean such a match it was scary.
But when I found out that this was music from a film about slaves, I thought, oh, joy, cultural appropriation, anyone?
This can become very weird when I stumble on a piece of music that was written either for a movie or for some other purpose or inspiration, it becomes firmly embedded with my imagery . . . and then I encounter the film or whatever, and get severe visual and mental whiplash.
This entry was originally posted at https://sartorias.dreamwidth.org/978020.html. Please comment there using OpenID.