Evan Angler’s Infinite Playlist
Music, I think, is an important pillar of the creative mind. And as an author, it’s an equally important part of any book. It doesn’t matter what the writing is about, and it doesn’t matter what the story is; writing is music. Our words have rhythms and cadence, our sentences make melodic lines. There are fast sections, slow sections, loud paragraphs, quiet paragraphs. Good writing, for me, lights up my brain much like good music does.
This relationship, of course, goes both ways. If writing informs music, then it stands to reason that music must also inform writing. Certainly, I’ve found this in my own experience. With my first book, SWIPE, I wrote almost everything either in the dark, or on the run, in the motion of electrobuses and boxcars, with my hood up and my oversized headphones on. For some of that time, indeed, my focus demanded quiet. But for much of my writing and drafting and thinking, I was immersed in a blanket of music. Loud music. And I found that its genre dictated the writing’s tone. With SWIPE, my musical selections often gravitated toward electroclash, a genre I didn’t even know existed until I found myself craving it for the underscore of SWIPE’s scenes. Often, I’d play the music so loud that I needed to stuff my ears with tissue paper, because I liked the feel of the heavy beats hitting my brain, pushing me forward, relentless, unforgiving…. The gritty, electronic timbre of the music just seemed to belong with the tech-filled but flawed world of the American Union, and the energy conveyed by that music–both in the faster and in the more somber selections–captured for me the sense of foreboding, anxiety, excitement and, ultimately, determination that Logan feels over the course of his journey.
SNEAK, on the other hand, called for a very different sort of sound. In trying to capture the setting and mood of the Unmarked River, I often found myself gravitating toward pre-Unity bluegrass and folk music, another genre that had never captured my attention–until I the writing called for it. The acoustic guitars, the banjos, the fiddles, the harmonies…in many ways, SNEAK is about the loneliness and uncertainty of venturing out on one’s own, of a search for simplicity and truth. In a world of high-tech stakes, the Dust’s journey through much of SNEAK is practically of a different era. Horse rides, hiking, camp fires, radios…after the events of SWIPE, Logan is truly an outcast, and there’s just no place for him in the more modern world of the American Union. What better way to capture that then with the oldest traditions of music that American history has to offer? Bluegrass and folk, there’s nothing else like it.
The third book in the Swipe Series has yet another soundtrack altogether. I can’t wait for you to hear it, and to discover all that its soundscape implies. But that is a story for another day, and that is a playlist for another time….
So if you’ll excuse me, I have some headphones I need to find…