Emotive space

I think it’s almost a law of nature that there are only certain things that hit an emotive space, and that’s what was always special for me about music: it made me feel something — Kate Bush

If you were to ask me who is my favourite female singer, I would automatically respond with Debbie Harry of Blondie.

But if you were to ask me which female singer has been a strong creative influence on me, I would have to say Kate Bush.

For those who like to keep track of shit like this, most of my creative influences are men. Ramin Djawadi. Ludovico Einaudi. Luca Guadagnino. Guillermo del Toro. Francis Lee.

They have influenced and still influence how I want to tell stories. For those who are not familiar with Djawadi and Einaudi, they are music composers. Yes, they influence how I see and tell stories. On a number of occasions, their music has evoked imagery and feelings that have informed the way past and present fictional characters behave and why they behave a in a particular manner.

There are a few ways for me to access the emotive space Bush talks about. But none have been as profound as music.

Music conjures imagery and feelings that pop into my head and give me something that is an equivalent to an epiphany. Canadian jazz musician Michael Kaeshammer’s version of St. James Infirmary was a catalyst in the creation of the my first novel.

My current playlist is always in a state of fluidity but Djawadi’s and Einaudi’s works are mainstays as I work to finish the first draft of the second novel. Other artists have a presence in my writing process, like UK singer/songwriter Jono McCleery.

I suppose I should mention the names of the pieces of music that make up part of my playlist. But I won’t do that simply because the music might give away the relationships between my characters. They are not so much spoilers as they could reveal the tone of the story I’m telling. I may share the playlist when the book is ready for public consumption.

But there is one piece that has landed on my current playlist I am willing to talk about beyond two sentences. That piece is Bush’s Running Up That Hill. Arguably that song may be the most used piece of music in television shows. C.S.I.: Crime Scene Investigation and Warehouse 13 are two shows that I know of, who have used the song. However, it’s not the original version by Bush that was used. Placebo’s cover was used by C.S.I. and a band called Track and Field did their own version of it for Warehouse 13.

As a side note, there is a band called Track and Field, based out of the UK. But they don’t seem to be the ones who covered the song. There is speculation the band was created just to record the song for Warehouse 13. I think the word used to describe this band was that they were a “project.”

I only discovered the Track and Field cover last week while I was wandering through YouTube trying to satiate my latest obsession. I’m not going to say what or who that would be. But I will say there is a theme linking my latest obsession to the characters in my second novel. I’m just going to leave it at that. I may talk about the theme but I will not name my obsession here.

Anyway, I heard the cover, figured out who performed it and wanted to buy the song. But, of course, the damn song is only available on the U.S. iTunes. What the fuck, folks? But I did find it on Soundcloud and I have no idea how many times I’ve listened to it.

Listening to Track and Field’s cover of Running Up That Hill took me to another part of the emotive space I regularly inhabit. I only access that area when the song/piece, characters and where I’m at with the writing, collide to give me a eureka moment. I don’t access it all the time and I have no way of knowing when it will happen. It just does. It has produced a collage of imagery and moments for the novel that I will be adding as I get closer to finishing the first draft.

I have always loved Kate Bush and her music. And I appreciate any well-executed cover of Running Up That Hill. Placebo’s cover of the tune was the first to blow me away. It just spoke volumes to me. But it’s funny that that cover wasn’t the one to give me my epiphanous moment last week. Hearing the simple combination of vocals, piano and drums in the Track and Field cover did it for me. It quietly opened another door in that emotive space and I was stunned.

Listening to it had me falling in love with the song all over again. Its lyrics and lietmotif evoke a myriad of intense emotions. It speaks to, or better yet, encapsulates the dynamic that exists between my three main characters. It asked me a question and I answered it. That answer is the key to finishing the novel.

It thrills me to no end that my writing process works no matter how far along I am in the story. No need for warming up. No faltering. Just rolling along with the scattered moments of genius. My genius is low level genius, but it’ll do. Happy to have any kind of genius. Period.

Now, back to that emotive space, my happy place. Back to feeling something.

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