leo-fixie/pi-test-3 · Datasets at Hugging Face

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special effect piece that isn't working. You have to rely on the other senses and one of them is sound. And that music that John Williams made for that movie	SPEAKER_11	10.492	2.978908	en
is the most imposing and it scares you to this day. You know something bad is going to happen when you hear those notes.	SPEAKER_11	8.833	2.747115	en
So this panel is going to elaborate further on those things. And we have some awesome people here.	SPEAKER_11	8.59	2.48299	en
Say hi to everybody. Hello, I'm Tommy B. Smith. Yeah, those are a couple of the things that have gotten me through some really difficult times over the years is that I love the horror fiction and also love music. So it's easy to see.	SPEAKER_02	11.779	2.505827	en
how the two of them can easily intertwine and, you know, can inspire us. You know, I've included either musical references or sometimes, you know, heavily	SPEAKER_02	11.004	2.645023	en
musical content, I suppose. It's just inspired me and my fiction in a lot of ways. So that's pretty much it. David, right? Yep.	SPEAKER_02	10.856	2.823681	en
Music or guitar players are always in my stories, but my master's thesis was about using music to reduce anxiety in teachers because teachers are screwed. And also I do music therapy workshops.	SPEAKER_03	19.035999	2.563954	en
You can buy me a beer. I'll buy you one. Music is huge. Again, I love studying how writers use music but Stephen King used HBC.	SPEAKER_03	13.468	2.602882	en
Peter Straub used jazz and all these cool things and how we all integrate and how it injects the rhythms and phrases into our things subconsciously. And we're also a mess of a bunch that kind of kills us out too.	SPEAKER_03	15.922	2.661587	en
fan of writing to music and I'm the third book in this series.	SPEAKER_00	4.252	2.09329	en
The Gardening Guidebooks trilogy is a pick place in 82 and it is the land rock horror, so it's about a band on tour.	SPEAKER_00	7.036	1.690464	en
called Natalie and the Black Owls. And I am using blackout poetry of this book to write the songs for the band's five years of discography. So I would say that I'm pretty heavily influenced by music, especially.	SPEAKER_00	14.908	2.254388	en
Next we have a math teacher.	SPEAKER_11	4	1.693744	en
Um, and Matt his music. So what did Paul Tremblay?	SPEAKER_11	3.696	1.935479	en
Thanks. Yeah, no, I'm a huge music nerd, frustrated musician at heart, like I started by teaching myself guitar right around the same time I was writing. And I unfortunately figured I was better at writing than musicians. But so many titles and lyrics inspire a lot of my stories in the book.	SPEAKER_06	18.556	2.274873	en
Each of my books, I always have an epigraph from a band. That's one of my favorites. So I say I playfully stomp my favorite musicians with my books. And that's been fun because I've been able to meet some really cool bands. I'll name drop just one because they're so awesome. It's Clutch.	SPEAKER_06	13.116	2.478804	en
Neil Fallon is a super nice guy. Marilyn, I know Marilyn, I've met a ton of people from Marilyn. He's a big science fiction reader, so he really knows. Here's something funny, one day I was talking to Kyle Shutt.	SPEAKER_06	10.62	2.076023	en
I see you're on this podcast. I go to my mom. I'm on your podcast	SPEAKER_06	4.995	1.96833	en
I'm like, that's great. Yeah, I met him through another framework. Yeah, so like I try to live vicariously for my writing with other people.	SPEAKER_06	7.307	1.962552	en
Alright, I know Jeremy, and one of you is Justin, right? That's me. Who's next to you, Justin?	SPEAKER_10	8.556	2.349261	en
That's Justin. Who's next to you Justin? Edwin. Edwin. He's not on the list. He's filling in for John Wayne Cominale. He's filling in for John	SPEAKER_05	5.687	2.084536	en
He's not on the list. He's filling in for John Wayne, okay.	SPEAKER_10	4.05	1.671124	en
Hi, I'm Justin Lutz. I spent most of my life playing in punk bands you've never heard of and touring almost every state in the Union of Canada. And I try to put as much of like punk spirit of like urgency and DIY ethos and stuff into my writing.	SPEAKER_05	17.482	2.431319	en
Evan? Yeah, I'm Evan Callahan. So I got started writing from failed music projects. I had a hardcore band that broke up. I did a hip hop project that just kind of fell through. And I was like, well, I like fiction and I'm gonna start writing.	SPEAKER_07	20.417999	2.644222	en
Alright, hi mispronounce your name. What's up guys, I'm Jeremy McGarvey. Yes.	SPEAKER_09	7.26	1.722998	en
So based on the Appalachians, I write a lot of really dark werewolf fiction, to be honest. And if I can find a song or a band that allows me to tap into kind of that animalistic headspace and just the harder, obviously that may be in the metal direction stuff, I'm totally vibing with that. So music is a huge part of my writing process.	SPEAKER_09	18.743	1.94745	en
David Simmons. Yes, my name is David Simmons. I'm from Baltimore. I write Baltimore horror. Before I got into writing, I was involved in Baltimore and DC hip hop scene, production, rapping.	SPEAKER_01	17.851999	2.639503	en
With writing, I don't really feel you can talk about a city or its people without talking about music too. So all of my writing, you know, I open up my chapters with a different quote from a different Baltimore rapper in each chapter.	SPEAKER_01	16.796	2.489047	en
To one, give you the feel of what the city's like, but also to shout them out because they're a big part of the city, you know what I mean? And then also,	SPEAKER_01	9.836	2.208411	en
Rappers, you know, they like seeing their lines in your books, you know what I mean? So you give them a copy of that, they post it on their social media. The difference is they got like 1.5 million followers.	SPEAKER_01	9.501	1.523393	en
That's my connection.	SPEAKER_01	3.071	1.330332	en
It's always good when you get permission from the artist and don't have to worry about ASCAP and BMI.	SPEAKER_11	6.092	2.281381	en
I'm blessed, I'm friends with the guys from Brand New Sin. If you're our WWE fan, you've heard The Big Show's entrance music.	SPEAKER_11	6.885	2.898472	en
and uh friend who sent us his music and joe they're a good singer and chris they're guitar players are buddies of mine so they let me use their lyrics in my stuff thank god but you gotta go with that used by the artist's permission	SPEAKER_11	13.297	3.178576	en
Because it is, you know, as Captain V.M.I.A., they fight for the artists, and they want to protect the artists' I.P.s, and those lyrics are a person's I.P. when they're a songwriter.	SPEAKER_11	9.534	2.765901	en
So you gotta keep that in mind. I hope that any of us up here that use musicians' lyrics in our works credit them and give permission, please. Because you don't want to get that lawsuit. It's a lot of money. Music is timing. Horror is timing.	SPEAKER_11	15.627	2.851755	en
And I think that's one of the reasons they work so well together.	SPEAKER_11	3.291	2.440188	en
Starting with Tommy, can you give examples in your fiction where the music that you have used with it or that you've been listening to has impacted the way that the prose has worked out?	SPEAKER_11	11.256	2.253636	en
a relation between, you know, compositionally, you know, there's a lot of different forms of music that say are more similar to one another than some people realize, like, for example, classical to heavy metal to blues, which influenced a lot of metal, rock and metal and the like. And so I think on that compositional level, also, we can apply that to our fiction.	SPEAKER_02	17.724001	2.522061	en
Or say you take, like we were talking about earlier, progressive rock or metal, you can get really complex with your plot lines or with your characters, and you can relate that to your fiction as well. So I think there's always that underlying courage about basically piecing something together artistically that I can always apply. David? Yeah.	SPEAKER_02	18.129999	2.327229	en
There's a real historical art, there's a sprawl art thing called The Three Reapers about the American eugenics movement back in the 30s in Virginia. And again, music kind of flows in. I was looking through that and see there's a lot of blues there. I'm a huge blues band. And some of the mountain music in there. And I was listening to a whole lot of stuff. I actually do anyway. And I thought that was calling a lot of my prose, calling a lot of the rhythms. And then I used something more modern. I wrote a...	SPEAKER_03	27.837	2.545579	en
each chapter is an adventure of like smoke on the water, purple haze, or paint it black, everything else like that, and I noticed that was forming rhythms of each chapter with that, and I noticed that like whatever I listen to, whatever I'm in the mood for,	SPEAKER_03	12.066	2.741487	en
And I think, but at least that was a conscious effort. And so I try to really kind of sync myself up to whether a playlist or something else like that kind of get me into the mood, kind of that whole feel, kind of like a method acting thing, but through music.	SPEAKER_03	15.17	2.7235	en
and and i and i learned a lot of get the songs on guitar and things like that to kind of fit in and jessica with you with this question	SPEAKER_03	6.092	2.280954	en
Poetry being lyrics lyrics being poetry that I'm interested really curious to hear what you have to say here	SPEAKER_11	6.446	2.379942	en
Yeah, absolutely. I am kind of just already a lyrical kind of writer as much as I definitely started out more so in my 20s than have learned as I get older. I'm like, okay, we can pull this back a lot.	SPEAKER_00	12.201	1.937734	en
But poetry, it works so well, it translates so well, especially when I've been writing the songs for the third book, you know, just finding these little poems and latching on to that just little snippets of just because	SPEAKER_00	16.764	2.344969	en
A horror book is great to work with to make blackout poetry because everything is so evocative and you're really coming	SPEAKER_00	7.036	2.026376	en
like up with something amazing in a short amount of time. So I was heavily influenced by blackout poetry. And I definitely, when I was writing this, since it takes place in 1975 California,	SPEAKER_00	12.284	1.596319	en
I was eating up Joni Mitchell and Joan Baez and Janice Ian and Chris Christopherson and Johnny Pash and just living it, loving it.	SPEAKER_00	10.748	2.222144	en
I mean, it's kind of hard to say. I'll talk about maybe a couple of specific books. I have one novel called Survivor Song and I chose that title.	SPEAKER_06	9.276	2.3406	en
Partly it's like I wanted this book to feel like one of my favorite punk songs. Like, you know, two or three minutes fast, so the book takes place in like basically six hours real time. And I just wanted to be like the short, intense thing.	SPEAKER_06	11.324	2.547924	en
that, you know, some of the commonalities you're talking about between horror and music is... I mean, to me, the magic of music is how it lingers with you. I find yourself thinking about the song, you know, or even consciously singing it in your head, but...	SPEAKER_06	10.044	2.313914	en
sometimes just thinking about the song. My favorite horror, I want that sort of type of linger or sort of the dread lingers with you or you find yourself thinking about those moments. So, you know, if there's any sort of correlation.	SPEAKER_06	10.684	2.769005	en
sort of what I try to do, and certainly with Survivor's Song. And then I have one novel called The Paul Bearer's Club that really leaned into	SPEAKER_06	7.164	1.870126	en
It was basically an autobiography if I had dropped out of school to join terrible punk bands. I say that with love. I wish I was in a punk band. So I definitely leaned into it there.	SPEAKER_06	13.587	1.917935	en
I like being close to the things that I like.	SPEAKER_06	3.036	2.11487	en
Like we're all, everyone here is at the age where you figure out, thankfully, like you wouldn't be a writer or you wouldn't be here if you didn't figure this out. It's okay to like things. As much as obviously when we were younger in high school it was uncool, you're hard out, you like things. And the internet culture is like everyone wants to shit on everything. But that's, I think that's why everyone here creates, because we get excited by these cool things and	SPEAKER_06	19.452	1.934726	en
I don't know, I just want a little spark if I can for the stuff that I do too.	SPEAKER_06	5.645	2.056797	en
Yeah, so I don't think I'm unique in this and it's kind of, David, you kind of touched on this, where I'll, for a project, try to create either a playlist or pick an album or a soundtrack or something so that like, if that first note hits, I'm like, oh, I'm back in this space again, right? And I mean, my spot by rap is completely blocked.	SPEAKER_05	18.771	2.55433	en
It's only like the ritual soundtrack.	SPEAKER_05	3.037	1.089098	en
I don't know if you're interested to know what everyone's thing is, but if you write the music, the lyrics really stir me up.	SPEAKER_05	8.86	1.337984	en
Yeah, different language is so unintelligible that it's already rhythmized. And I think what you said about the pacing, it's like, too, like, if I'm trying to write a short story that's just like, blast off, I'm gonna put something in the blast beats or drive or whatever.	SPEAKER_05	14.023	1.545726	en
Yeah so I kind of think like every story that I write is kind of like a music video like visually in my head so there's always kind of like a song that goes with it	SPEAKER_07	11.678	2.664868	en
A lot of the titles to my stories are kind of like riffs on song titles, too. I have a story called The Last Man, which is a riff on loss.	SPEAKER_07	9.684	1.472274	en
but like pacing wise i have to keep it like a you know a serving of melodic flow because you know say i have like i'm listening to a tangerine dreams work it's you know really ethereal and ambient and cosmic and then the discharge song comes on and it's just totally f***ing rippin'	SPEAKER_07	18.882999	2.510384	en
guns start going off and you get killed so yeah yeah so uh the music difference that's the atmosphere for me no matter what	SPEAKER_07	11.221	2.181863	en
Jeremy, how many songs do you have to find with the full moon or moon in the title?	SPEAKER_11	4.067	1.548723	en
A couple of years back, I started writing this world novel called Old Hub.	SPEAKER_09	3.172	1.354669	en
And I'm the sort of guy where I like to really match up the song to the writing project in particular, because you have that perfect synergy. And I was really struggling for a while. I wanted something that's very raw, very haunting, because Old Hollow was just full of gore, bloodshed, carnage, all of that. It gets very violent very fast.	SPEAKER_09	16.791	2.708543	en
And I found this song by Hozier called In the Woods Somewhere.	SPEAKER_09	4.034	2.288191	en
and it just it matched for me like it just started to repeat itself in my head i literally had it on repeat throughout the entire process of writing a novel and it helped me usually it let me tap in it really allowed me to like sink the fangs into that particular project so i loved it and i like doing that	SPEAKER_09	19.811001	2.57573	en
I try to write very short stories, like a rap song. And what I mean by that is, you got to come with an opening hard. Your first line got to be hard. You got to open up like that.	SPEAKER_01	15.188	2.356191	en
Just like in rap songs, you gotta have a hook. You gotta bring it back to something you did in the beginning. So, you know, maybe	SPEAKER_01	5.788	2.053705	en
end of the story I'm gonna bring something up from the beginning and draw you right back in but it's like if we were to go to some like really classic hip-hop songs like let's take uh Chew Top Hail Mary right everybody know that song I ain't a killer but don't push me revenge is like the sweep I'm not gonna finish the rest	SPEAKER_01	16.903	2.308559	en
that everybody knew that line when I did that that song old as hell and everybody knew that joint right? St. Big Biggie chicken in the door waving the 4-4 like	SPEAKER_01	9.552	1.715796	en
Like, you come with it and I feel stories and books gotta have the same thing. If you don't hit me with that opening line, if I can't hit you with that opening line, it ain't gonna happen. And I feel the same way with rap. I feel the same way with rap, so I try to write it like rap.	SPEAKER_01	15.626	2.352766	en
My books, myself, two of them in particular, Bella's Boys and the Death List, are music themed.	SPEAKER_11	6.075	2.789853	en
And one of the things that I did to carry that theme through the whole book, as I put time and date stamps with each chapter, just like there would be a time stamp with a song on an album.	SPEAKER_11	9.264	2.398475	en
And it gives you a, it adds a little bit of the sense of urgency actually to the story because you got the timing.	SPEAKER_11	5.383	1.982211	en
And I did other things to try to match it with music and to incorporate music into both stories. It's pretty fun to do that. It gives you a different framing device to use with your prose when you're writing.	SPEAKER_11	17.955	2.945436	en
Can you give me some examples of some bands that inspire you?	SPEAKER_11	3.443	1.959975	en
Yeah, it seemed to lean more toward instrumental music. I mean, some of the horror films that inspire us, some of their soundtracks can inspire us the same way. You can go all the way back to say Stravinsky who inspired the Psycho soundtrack and all kinds of others. There was a band	SPEAKER_02	15.132	2.562658	en
Uh, back in the nineties that, uh, I was talking, you know, I was in one of the old, uh, music chat rooms and such, and we were talking about music and I met a fellow writer at that time. I don't know whatever happened to guy, but we were talking music and, uh, he introduced me to Lycea, which was the dark wave band, which kind of got me in the dark wave. So there's a lot of instrumental cause a lot of things that are really, uh,	SPEAKER_02	18.299999	2.446633	en
you know, heavily lyrical. I kind of find that the lyrics fall into the background. It's more the actual music that, you know, the essence of the music that inspires me a lot of the time.	SPEAKER_02	11.303	2.80009	en
styles of music when you're running out. And again, going back to the music therapy I teach in my workshops, it kind of be unobtrusive as possible. So I don't do lyrics.	SPEAKER_03	8.478	2.572549	en
I do a lot of uh instrumentals I grew up during the guitar shredding things like that that's that's not part of my idea but just more like uh blues instrumentals or other things or acoustic guitars things something that kind of like	SPEAKER_03	11.74	2.599879	en
give me a flavor, but it stays in the background. And I teach people to use things kind of like as a white noise or pink noise or brown noise type thing. It'll affect you, but it's not a conscious thing. So it helps you to kind of, at least for me and some of the people I work with, kind of pull the stuff out of me, pull the inspiration out of me.	SPEAKER_03	20.422001	2.59365	en
It's not a conscious thing because it's gonna happen to you, but you don't really know what's happening	SPEAKER_03	3.848	2.236513	en
I have a lot of author music fans, friends who I see a lot of people do the same thing where they just keep something out in the background and just kind of matches or sometimes it actually if you're stuck just	SPEAKER_03	13.349	2.657919	en
put in something a little different and that might have elicited something new to you. Jessica.	SPEAKER_03	4.539	2.129944	en
I think it could be a little different because you're technically writing lyrics as we've already discussed here. So you might have a concern of like you might be stealing somebody's own work while you're listening to anything lyrical.	SPEAKER_11	11.002	2.281602	en
Yeah, I mean, it definitely feels that way. Well, I mean, it was kind of that thing where it's like, yeah, I don't want to go through the trouble of asking a band for their lyrics. I guess I'll just write my own. It's just easier that way. You know, I say that now two years in and it's not easier at all because I have to write five albums.	SPEAKER_00	18.141001	1.739001	en
For that music, for that, the music you want to hear, do you search for instrumentals that fit?	SPEAKER_11	7.105	1.864224	en
I mean, I'm not really, I mean, I've kind of got the songs in my head. I don't really have any way to put them out except that I can sing them.	SPEAKER_00	9.062	1.530204	en
um except i'm totally not the right voice for my my cool front lady you know like i'm more of a like a broadway girl but	SPEAKER_00	8.843	1.567537	en
I'm not shredding it. But yeah, the lyrics, I don't typically write to anything with lyrics. I love horror movie soundtracks, like a Killing of a Sacred Deer soundtrack, I listen to that on repeat, Ex Machina, Nightmare on Elm Street, I love those so much. And also, one of my favorite things to listen to, it sounds awful,	SPEAKER_00	23.573999	2.329931	en
it's called Threnody to the Victims of Hiroshima and it's a pendereki and I feel that song is like 10 minutes long and you can just jump to any point in that song and it's like a different journey you can take it's just and also it's a great soundtrack to that episode of Twin Peaks The Return.	SPEAKER_00	18.698	1.949075	en
I can't tell you how happy I was when John Carpenter put out the Lost Themes albums. Because they're not Lost Themes anymore. They're themes that every horror writers, stories that have those albums. Because they're just great writing music, I think.	SPEAKER_11	12.572	2.417551	en
So when I'm writing, and for a lot of people who have kids, especially when my kids were younger, they're a little bit older now, I would have to listen to music just to...	SPEAKER_06	10.78	2.294541	en

special effect piece that isn't working. You have to rely on the other senses and one of them is sound. And that music that John Williams made for that movie

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is the most imposing and it scares you to this day. You know something bad is going to happen when you hear those notes.

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So this panel is going to elaborate further on those things. And we have some awesome people here.

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Say hi to everybody. Hello, I'm Tommy B. Smith. Yeah, those are a couple of the things that have gotten me through some really difficult times over the years is that I love the horror fiction and also love music. So it's easy to see.

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how the two of them can easily intertwine and, you know, can inspire us. You know, I've included either musical references or sometimes, you know, heavily

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musical content, I suppose. It's just inspired me and my fiction in a lot of ways. So that's pretty much it. David, right? Yep.

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Music or guitar players are always in my stories, but my master's thesis was about using music to reduce anxiety in teachers because teachers are screwed. And also I do music therapy workshops.

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You can buy me a beer. I'll buy you one. Music is huge. Again, I love studying how writers use music but Stephen King used HBC.

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Peter Straub used jazz and all these cool things and how we all integrate and how it injects the rhythms and phrases into our things subconsciously. And we're also a mess of a bunch that kind of kills us out too.

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fan of writing to music and I'm the third book in this series.

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The Gardening Guidebooks trilogy is a pick place in 82 and it is the land rock horror, so it's about a band on tour.

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called Natalie and the Black Owls. And I am using blackout poetry of this book to write the songs for the band's five years of discography. So I would say that I'm pretty heavily influenced by music, especially.

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Next we have a math teacher.

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Um, and Matt his music. So what did Paul Tremblay?

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Thanks. Yeah, no, I'm a huge music nerd, frustrated musician at heart, like I started by teaching myself guitar right around the same time I was writing. And I unfortunately figured I was better at writing than musicians. But so many titles and lyrics inspire a lot of my stories in the book.

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Each of my books, I always have an epigraph from a band. That's one of my favorites. So I say I playfully stomp my favorite musicians with my books. And that's been fun because I've been able to meet some really cool bands. I'll name drop just one because they're so awesome. It's Clutch.

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Neil Fallon is a super nice guy. Marilyn, I know Marilyn, I've met a ton of people from Marilyn. He's a big science fiction reader, so he really knows. Here's something funny, one day I was talking to Kyle Shutt.

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I see you're on this podcast. I go to my mom. I'm on your podcast

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I'm like, that's great. Yeah, I met him through another framework. Yeah, so like I try to live vicariously for my writing with other people.

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Alright, I know Jeremy, and one of you is Justin, right? That's me. Who's next to you, Justin?

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That's Justin. Who's next to you Justin? Edwin. Edwin. He's not on the list. He's filling in for John Wayne Cominale. He's filling in for John

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He's not on the list. He's filling in for John Wayne, okay.

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Hi, I'm Justin Lutz. I spent most of my life playing in punk bands you've never heard of and touring almost every state in the Union of Canada. And I try to put as much of like punk spirit of like urgency and DIY ethos and stuff into my writing.

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Evan? Yeah, I'm Evan Callahan. So I got started writing from failed music projects. I had a hardcore band that broke up. I did a hip hop project that just kind of fell through. And I was like, well, I like fiction and I'm gonna start writing.

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Alright, hi mispronounce your name. What's up guys, I'm Jeremy McGarvey. Yes.

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So based on the Appalachians, I write a lot of really dark werewolf fiction, to be honest. And if I can find a song or a band that allows me to tap into kind of that animalistic headspace and just the harder, obviously that may be in the metal direction stuff, I'm totally vibing with that. So music is a huge part of my writing process.

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David Simmons. Yes, my name is David Simmons. I'm from Baltimore. I write Baltimore horror. Before I got into writing, I was involved in Baltimore and DC hip hop scene, production, rapping.

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With writing, I don't really feel you can talk about a city or its people without talking about music too. So all of my writing, you know, I open up my chapters with a different quote from a different Baltimore rapper in each chapter.

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To one, give you the feel of what the city's like, but also to shout them out because they're a big part of the city, you know what I mean? And then also,

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Rappers, you know, they like seeing their lines in your books, you know what I mean? So you give them a copy of that, they post it on their social media. The difference is they got like 1.5 million followers.

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That's my connection.

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It's always good when you get permission from the artist and don't have to worry about ASCAP and BMI.

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I'm blessed, I'm friends with the guys from Brand New Sin. If you're our WWE fan, you've heard The Big Show's entrance music.

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and uh friend who sent us his music and joe they're a good singer and chris they're guitar players are buddies of mine so they let me use their lyrics in my stuff thank god but you gotta go with that used by the artist's permission

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Because it is, you know, as Captain V.M.I.A., they fight for the artists, and they want to protect the artists' I.P.s, and those lyrics are a person's I.P. when they're a songwriter.

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So you gotta keep that in mind. I hope that any of us up here that use musicians' lyrics in our works credit them and give permission, please. Because you don't want to get that lawsuit. It's a lot of money. Music is timing. Horror is timing.

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And I think that's one of the reasons they work so well together.

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Starting with Tommy, can you give examples in your fiction where the music that you have used with it or that you've been listening to has impacted the way that the prose has worked out?

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a relation between, you know, compositionally, you know, there's a lot of different forms of music that say are more similar to one another than some people realize, like, for example, classical to heavy metal to blues, which influenced a lot of metal, rock and metal and the like. And so I think on that compositional level, also, we can apply that to our fiction.

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Or say you take, like we were talking about earlier, progressive rock or metal, you can get really complex with your plot lines or with your characters, and you can relate that to your fiction as well. So I think there's always that underlying courage about basically piecing something together artistically that I can always apply. David? Yeah.

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There's a real historical art, there's a sprawl art thing called The Three Reapers about the American eugenics movement back in the 30s in Virginia. And again, music kind of flows in. I was looking through that and see there's a lot of blues there. I'm a huge blues band. And some of the mountain music in there. And I was listening to a whole lot of stuff. I actually do anyway. And I thought that was calling a lot of my prose, calling a lot of the rhythms. And then I used something more modern. I wrote a...

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each chapter is an adventure of like smoke on the water, purple haze, or paint it black, everything else like that, and I noticed that was forming rhythms of each chapter with that, and I noticed that like whatever I listen to, whatever I'm in the mood for,

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And I think, but at least that was a conscious effort. And so I try to really kind of sync myself up to whether a playlist or something else like that kind of get me into the mood, kind of that whole feel, kind of like a method acting thing, but through music.

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and and i and i learned a lot of get the songs on guitar and things like that to kind of fit in and jessica with you with this question

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Poetry being lyrics lyrics being poetry that I'm interested really curious to hear what you have to say here

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Yeah, absolutely. I am kind of just already a lyrical kind of writer as much as I definitely started out more so in my 20s than have learned as I get older. I'm like, okay, we can pull this back a lot.

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But poetry, it works so well, it translates so well, especially when I've been writing the songs for the third book, you know, just finding these little poems and latching on to that just little snippets of just because

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A horror book is great to work with to make blackout poetry because everything is so evocative and you're really coming

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like up with something amazing in a short amount of time. So I was heavily influenced by blackout poetry. And I definitely, when I was writing this, since it takes place in 1975 California,

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I was eating up Joni Mitchell and Joan Baez and Janice Ian and Chris Christopherson and Johnny Pash and just living it, loving it.

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I mean, it's kind of hard to say. I'll talk about maybe a couple of specific books. I have one novel called Survivor Song and I chose that title.

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Partly it's like I wanted this book to feel like one of my favorite punk songs. Like, you know, two or three minutes fast, so the book takes place in like basically six hours real time. And I just wanted to be like the short, intense thing.

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that, you know, some of the commonalities you're talking about between horror and music is... I mean, to me, the magic of music is how it lingers with you. I find yourself thinking about the song, you know, or even consciously singing it in your head, but...

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sometimes just thinking about the song. My favorite horror, I want that sort of type of linger or sort of the dread lingers with you or you find yourself thinking about those moments. So, you know, if there's any sort of correlation.

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sort of what I try to do, and certainly with Survivor's Song. And then I have one novel called The Paul Bearer's Club that really leaned into

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It was basically an autobiography if I had dropped out of school to join terrible punk bands. I say that with love. I wish I was in a punk band. So I definitely leaned into it there.

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I like being close to the things that I like.

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Like we're all, everyone here is at the age where you figure out, thankfully, like you wouldn't be a writer or you wouldn't be here if you didn't figure this out. It's okay to like things. As much as obviously when we were younger in high school it was uncool, you're hard out, you like things. And the internet culture is like everyone wants to shit on everything. But that's, I think that's why everyone here creates, because we get excited by these cool things and

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I don't know, I just want a little spark if I can for the stuff that I do too.

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Yeah, so I don't think I'm unique in this and it's kind of, David, you kind of touched on this, where I'll, for a project, try to create either a playlist or pick an album or a soundtrack or something so that like, if that first note hits, I'm like, oh, I'm back in this space again, right? And I mean, my spot by rap is completely blocked.

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It's only like the ritual soundtrack.

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I don't know if you're interested to know what everyone's thing is, but if you write the music, the lyrics really stir me up.

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Yeah, different language is so unintelligible that it's already rhythmized. And I think what you said about the pacing, it's like, too, like, if I'm trying to write a short story that's just like, blast off, I'm gonna put something in the blast beats or drive or whatever.

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Yeah so I kind of think like every story that I write is kind of like a music video like visually in my head so there's always kind of like a song that goes with it

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A lot of the titles to my stories are kind of like riffs on song titles, too. I have a story called The Last Man, which is a riff on loss.

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but like pacing wise i have to keep it like a you know a serving of melodic flow because you know say i have like i'm listening to a tangerine dreams work it's you know really ethereal and ambient and cosmic and then the discharge song comes on and it's just totally f***ing rippin'

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guns start going off and you get killed so yeah yeah so uh the music difference that's the atmosphere for me no matter what

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Jeremy, how many songs do you have to find with the full moon or moon in the title?

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A couple of years back, I started writing this world novel called Old Hub.

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And I'm the sort of guy where I like to really match up the song to the writing project in particular, because you have that perfect synergy. And I was really struggling for a while. I wanted something that's very raw, very haunting, because Old Hollow was just full of gore, bloodshed, carnage, all of that. It gets very violent very fast.

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And I found this song by Hozier called In the Woods Somewhere.

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and it just it matched for me like it just started to repeat itself in my head i literally had it on repeat throughout the entire process of writing a novel and it helped me usually it let me tap in it really allowed me to like sink the fangs into that particular project so i loved it and i like doing that

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I try to write very short stories, like a rap song. And what I mean by that is, you got to come with an opening hard. Your first line got to be hard. You got to open up like that.

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Just like in rap songs, you gotta have a hook. You gotta bring it back to something you did in the beginning. So, you know, maybe

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end of the story I'm gonna bring something up from the beginning and draw you right back in but it's like if we were to go to some like really classic hip-hop songs like let's take uh Chew Top Hail Mary right everybody know that song I ain't a killer but don't push me revenge is like the sweep I'm not gonna finish the rest

SPEAKER_01

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that everybody knew that line when I did that that song old as hell and everybody knew that joint right? St. Big Biggie chicken in the door waving the 4-4 like

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Like, you come with it and I feel stories and books gotta have the same thing. If you don't hit me with that opening line, if I can't hit you with that opening line, it ain't gonna happen. And I feel the same way with rap. I feel the same way with rap, so I try to write it like rap.

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My books, myself, two of them in particular, Bella's Boys and the Death List, are music themed.

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And one of the things that I did to carry that theme through the whole book, as I put time and date stamps with each chapter, just like there would be a time stamp with a song on an album.

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And it gives you a, it adds a little bit of the sense of urgency actually to the story because you got the timing.

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And I did other things to try to match it with music and to incorporate music into both stories. It's pretty fun to do that. It gives you a different framing device to use with your prose when you're writing.

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Can you give me some examples of some bands that inspire you?

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Yeah, it seemed to lean more toward instrumental music. I mean, some of the horror films that inspire us, some of their soundtracks can inspire us the same way. You can go all the way back to say Stravinsky who inspired the Psycho soundtrack and all kinds of others. There was a band

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Uh, back in the nineties that, uh, I was talking, you know, I was in one of the old, uh, music chat rooms and such, and we were talking about music and I met a fellow writer at that time. I don't know whatever happened to guy, but we were talking music and, uh, he introduced me to Lycea, which was the dark wave band, which kind of got me in the dark wave. So there's a lot of instrumental cause a lot of things that are really, uh,

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you know, heavily lyrical. I kind of find that the lyrics fall into the background. It's more the actual music that, you know, the essence of the music that inspires me a lot of the time.

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styles of music when you're running out. And again, going back to the music therapy I teach in my workshops, it kind of be unobtrusive as possible. So I don't do lyrics.

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I do a lot of uh instrumentals I grew up during the guitar shredding things like that that's that's not part of my idea but just more like uh blues instrumentals or other things or acoustic guitars things something that kind of like

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give me a flavor, but it stays in the background. And I teach people to use things kind of like as a white noise or pink noise or brown noise type thing. It'll affect you, but it's not a conscious thing. So it helps you to kind of, at least for me and some of the people I work with, kind of pull the stuff out of me, pull the inspiration out of me.

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It's not a conscious thing because it's gonna happen to you, but you don't really know what's happening

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I have a lot of author music fans, friends who I see a lot of people do the same thing where they just keep something out in the background and just kind of matches or sometimes it actually if you're stuck just

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put in something a little different and that might have elicited something new to you. Jessica.

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I think it could be a little different because you're technically writing lyrics as we've already discussed here. So you might have a concern of like you might be stealing somebody's own work while you're listening to anything lyrical.

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Yeah, I mean, it definitely feels that way. Well, I mean, it was kind of that thing where it's like, yeah, I don't want to go through the trouble of asking a band for their lyrics. I guess I'll just write my own. It's just easier that way. You know, I say that now two years in and it's not easier at all because I have to write five albums.

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For that music, for that, the music you want to hear, do you search for instrumentals that fit?

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I mean, I'm not really, I mean, I've kind of got the songs in my head. I don't really have any way to put them out except that I can sing them.

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um except i'm totally not the right voice for my my cool front lady you know like i'm more of a like a broadway girl but

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I'm not shredding it. But yeah, the lyrics, I don't typically write to anything with lyrics. I love horror movie soundtracks, like a Killing of a Sacred Deer soundtrack, I listen to that on repeat, Ex Machina, Nightmare on Elm Street, I love those so much. And also, one of my favorite things to listen to, it sounds awful,

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it's called Threnody to the Victims of Hiroshima and it's a pendereki and I feel that song is like 10 minutes long and you can just jump to any point in that song and it's like a different journey you can take it's just and also it's a great soundtrack to that episode of Twin Peaks The Return.

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I can't tell you how happy I was when John Carpenter put out the Lost Themes albums. Because they're not Lost Themes anymore. They're themes that every horror writers, stories that have those albums. Because they're just great writing music, I think.

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So when I'm writing, and for a lot of people who have kids, especially when my kids were younger, they're a little bit older now, I would have to listen to music just to...

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