One of the oddest things about my blog is that I rarely utilize it for what it was originally intended- namely, sharing my writing. Since I’m nearly finished with REAPERS TWO, I decided I would share some of the writing techniques I used in the conception of that novella, and hopefully get new ideas from other writers about their character-building habits and techniques.
Today I thought I’d share a specific technique I use for conceiving characters: I assign them a song.
On the surface this may seem counter-intuitive since music is capable of conveying emotion without words, but I find that the perfect song will reveal emotions or behaviors in the characters I create long before I construct a single sentence. The right song can encapsulate a single moment or an entire lifetime of a person’s emotional experience (recent birthday boy ElGuapo knows what I’m talking about). With that in mind, I’ll describe two different ways I use music to build characters.
The first way I do this is to create a generic version of a character in my head, and then find a song that suits him/her after the rough draft is written. I find this works best for when I really want to “flesh out” a character by layering dimension over the bare bones of the initial conception. One of the characters that benefited most from this technique was the character of Raphael in THE GODS OF ASPHALT. Because his character was the most like me, I found that he was the hardest to flesh out. You’d think he’d be the easiest since I ought to know him so well, right? He wasn’t. I suppose that is because it is always easiest to hide our truest selves from ourselves. Well that, and the fact that I had never planned for him to resemble me in the first place. By the time I did my first run-though edit it was painfully obvious that I had captured myself in print.
I struggled for what seemed like forever to find something, anything, about myself in Raphael that I could use to turn him from an angry, closed-off parent into a character with true dimension. Finally I discovered that what made his character and myself alike was our inner struggle with our ethnicity. Being raised as an American in a household filled with Old-World ideals made it hard for me to know who I really was and where my loyalties lay. I was constantly conflicted and to this day struggle for a sense of equilibrium. Without realizing it I had passed that same internal struggle onto Raphael.
Once his (our) internal conflict had been revealed, I searched for music that would tell the story of a compelling character- one who grew from a disgruntled Midwestern teen into a man struggling to find peace as a proud Spanish father. Rodrigo y Gabriela’s cover of the Metallica classic ORION instantly became that song for me.
From that moment on, every time I wrote Raphael I would listen to that song. The music brought him to life for me; from the timbre of his voice to picturing the way he walked. ORION became the soundtrack to every scene Raphael was in and helped me navigate his character through the story.
Rodrigo y Gabriela – ORION
This next example illustrates the same technique, although switched-up a bit. That example is the character of Lucifer in THE REAPERS WITH ISSUES Series.
Unlike the example above where I conceived of a character before assigning him/her a song, with REAPERS I was faced with the challenge of re-characterizing established characters. The one that gave me the most trouble was Lucifer. The difficulty lie in the fact that Lucifer is more than established; he is downright iconic. There isn’t a culture on the planet that doesn’t have a vision of evil-incarnate, so how was I to reinvent him?
I knew that within the context of the story I would have to humanize him to some degree, so I decided to portray my version of Lucifer not as purely evil, but simply as…a dick. I also knew that to “flesh” him out would not be to layer dimension onto him, but to reveal him; to strip away his skin and discover what makes him tick.
I failed epically.
Every version of Lucifer that sprung to mind was a stereotypical construct from the deepest, most generic part of my brain. I had nearly lost all hope when I came up with a solution: I’d do it all backwards and let Lucifer pick his own music. Sounds crazy, right? Well it worked. I turned on my music, closed my eyes and listened to every song I could think of that wasn’t evil, dark or brooding until Lucifer revealed his song. That song, believe it or not, was CLINT EASTWOOD by the Gorillaz.
Why that song? I have no idea (I let Lucifer pick, remember?). But I will tell you that things became instantly clearer for me whenever I listened to it. I easily pictured the way he walked [slightly slouching] to the way he spoke [slightly spoiled] and imagined a dozen tiny little habits [folding origami] the instant that song became a part of his character. But as great as that song was, it wasn’t exactly right. I needed a version of that near-perfect song to do more than just bring Lucifer to life. I needed Lucifer to be reborn.
Words + Music = Art
I enlisted the help of a musician to remix CLINT EASTWOOD into something that sounded slightly more sinister, slightly more spoiled, and slightly more modern. Below is that song: Lucifer’s Remix conceived of by production musician extraordinaire, DJ Casper. Believe me when I tell you that to my mind, this song IS Lucifer.
DJ Casper – LUCIFER’S REMIX
I imagine the idea of using music to inspire or create words on a page may seem unconventional or downright bizarre, but to me it is the most natural thing in the world. I chalk it up to spending too much time on the road as a kid with nothing by my father’s music and my imagination to keep me company. I firmly blame my inability to finish GOA2 on the fact that I can’t figure out what kind of music River listens to. Like Lucifer, I’ve decided to let River choose. I am praying he’s not into Rap.
The advent of Mtv was both a blessing and a curse for me as a kid. Once musicians had the ability to act in their videos, they somehow felt the need to put on a show as opposed to simply performing their songs. Sometimes, as was the case with Billy Idol, it turned out to be a good thing. I remember as a kid sitting transfixed in front of the television whenever REBEL YELL came on, staring at the screen and thinking some very, very grown-up thoughts about this bleach-blonde wonder. And who can forget THRILLER? I remember exactly where I was the first time I watched that video. I can do the dance to this day.
Sadly, not all my experiences were as positive as the ones I’ve mentioned. Not every singer is a star, as music video history has shown us. I’ve dredged up some memories (and hit the YouTube) for a sample of some of the worst offenders. It’s time to buckle in folks, because this is going to be painful. We start our list of bad videos that happened to good musicians with:
KISS – LICK IT UP
I brought a KISS lunch box to the first day of kindergarten, that’s how big a fan I was as a kid. You can appreciate my shock and horror the first time I was subjected to…well, whatever the hell this is. I still haven’t forgiven them.
Damn Yankees – HIGH ENOUGH
The next video is every bit as tragic as the previous one because it features the cataclysmic crash and burn of one of rock’s best guitar legends: Ted Nugent. That’s right, Mr. Cat Scratch Fever himself joined a band who called themselves Damn Yankees- a band that can only be described as having all the raw sex appeal of the Traveling Wilburys, minus the badassery. Click play and see for yourself. The only thing in a Stranglehold in this video are Ted’s balls, clenched tightly in the fist of whomever he sold them out to.
David Bowie – CHINA GIRL
I imagine Bowie fans will come down on me for the next offering, but I will stand my ground. Yes, David Bowie is known for being unconventional and avante guarde, so the oddness of this video should come as no surprise. I contend that it is the utter lack of Bowiesque influence that bothers me most. It’s as if he’s trying to reinvent himself as a lounge singer. Not what I expected from Major Tom. And don’t get me started on the creepy pedophilic vibe running throughout this epic disaster.
David Bowie & Mick Jagger – DANCING IN THE STREET
It seems that whatever Bowie touched in the 80’s turned to musical “Meh,” as demonstrated in this technicolor nightmare featuring the once great Mick Jagger. This video is what I imagine homely girls do for fun at sleepovers. And…now I have no more followers.
Van Halen – TATTOO
This next one may be a bit controversial, since I am not entirely sure this song was good to begin with. It’s the rocking out on the down beat that does it in for me. On the flip side, it’s good to see Carol Channing getting steady work again.
Journey – SEPARATE WAYS
Even the most die-hard metalhead will admit to the powerhouse talent that is Steve Perry and to the awesomeness of this song, no matter how lame and sad this video portrays them all. Journey should have issued a fatwā on the dude who put this crap together.
We have finally reached the top of the crap heap, to the musical spooge floating to the top of the bad video barrel. Ladies and gentlemen, I give you the shiniest turd of them all:
Billy Squier – ROCK ME TONIGHT
Poor, poor Billy Squier. No musical career has been harmed by a video performance more than Richard Simm- uh, I mean, Billy Squier’s. ROCK ME TONIGHT was Billy’s biggest hit before this video came out, which makes me wonder who fell asleep at the wheel and hit “go” on this piece of musical holocaust. DISCLAIMER: Pregnant women and people with heart conditions should refrain from watching the following video:
There you have it, folks. My personal list of bad videos that ruined good musicians. If you can think of any I missed, feel free to leave them in the comments. On that note I will leave you with a palate cleanser from my youth. Please to enjoy, WINGER. Feel free to listen with the sound off.