SCRITCH, SCRATCH, FEEDBACK

I’ve always wanted to write a country song. I love country music and how artists tell stories with such few words set to beautiful music. Over the years, I’ve put pen to paper and attempted to write a poem that could possibly morph into a song.

There’s just one little problem … I don’t hear music. Can’t play music. And full disclosure, I can’t sing either!

Not to be deterred, I’ve spent hours researching how to write a song and listened to country music artists describe their process. For instance, Morgan Wallen’s song, “Dying Man,” was originally written for his young son. Morgan said having a child changed him and made him want to be a better person. The song eventually became a love song about a woman saving a man from his destructive behavior.

During my research, I came across a nugget that stuck with me … the definition of the word “scritch” in relation to guitarists plucking the strings of their instruments. I love hearing the string noise while enjoying a song, imagining the musician feeling the notes through his fingers. It surprised me to learn that this sound is also called “feedback.”

Intrigued by the definition, I Googled “scratch.” When I’m writing longhand, the scratching noise my pen makes as it moves across the paper, telling whatever story I’m writing, seems to ignite my creative juices. The simple sound opens the floodgates, and the ideas flow as I work on a novel or blog, smiling as the story unfolds in blue ink.

You guessed it, “scratch” also means feedback. One of the definitions of feedback states: as a reaction to a person’s performance of a task. Of course, there are other types of feedback. The clicking of a laptop’s keys as your fingers bang out a story. The agonizing moan of a writer struggling to craft the perfect sentence. The well-earned sigh of accomplishment when the book is finished, and you’ve typed “The End!”

During my endless hours of listening to country music, I also discovered that the stories the songs tell inspire me. An artist’s ability to describe human emotions and reactions to life in short phrases has given me ideas on how to show the same in my characters.

In “Redneck Ranch,” my hero, Wyatt Stone, is the sheriff. I decided to have Wyatt idolize Eric Church, so Wyatt, his brother, and his high school friends formed a band and sang Eric Church songs in local bars. Eric is known to his fans as Chief, a tribute to his grandfather, who was Chief of Police back in the day. Eric is also a standout singer, songwriter, and performer, but he is also a humble, kind person. I loved the idea that my character Wyatt could mirror these same characteristics. And the nickname has provided an element of humor because Wyatt isn’t crazy about the moniker. He even named his horse Chief, hoping his deputies and the townsfolk would stop using the nickname.

Another Morgan Wallen song, “Cover Me Up,” has this line: A heart on the run keeps a hand on a gun, can’t trust anyone. I used these words as a springboard for my heroine, Harley Harper, to question Wyatt’s love for her in “Willow’s Woods.” She’s had her heart broken more than once, and this line summed up how I wanted her to feel. I loved creating a scenario where Harley doesn’t feel her heart has a home. The song is about learning to trust and love again, and well, you can imagine how her and Wyatt’s journey might end in “Willow’s Woods.” I plan to carry this song into the next Stoneybrook Mystery, “Fatal Falls,” and can’t wait to see what insight it provides for Wyatt and Harley.

Another favorite song, “Oklahoma Smokeshow,” by Zach Bryan, is about a man with a woman out of his league. The word “smokeshow” is a slang term used to describe someone extremely attractive. I used the word as a way for Wyatt’s friend Britt to poke fun at Wyatt about being with someone as lovely as Harley.

All genres of music inspire me except for Rap. Knowing I wanted to weave a Christian theme through my Stoneybrook books, I studied gospel songs, too. I know several worship songs, but was thrilled when I found a lovely song called “Cowboy Church,” which was perfect for the outdoor Cowboy Church scene in “Redneck Ranch.”

In “Vanished in Vallarta,” the third book in my Mexico Mayhem series, I weaved in the lyrics (yes, I Googled and had Paty’s help in knowing exactly how one uses lyrics without going to copyright jail) from Ed Sheeran’s “Perfect,” to create a sexy dance scene between my characters, Jade Mendoza and Amado Pena.

If I controlled the hours of my day, I would spend every spare minute writing. Unfortunately, I still work and have a husband who requires a little attention now and then. Not to mention yard work that never seems to end, I console myself with the knowledge that as I clean the house, file the mounds of paper in my office, or pull endless weeds … I can listen to music and be inspired.

I still yearn to write that country song. But until the lyrics scratch across the pages of a legal pad, or I learn to hear the music in the scritch of my imaginary guitar strings, I’ll keep enjoying the feedback I get from telling my stories and writing my books.

Happy Feedback, Ladies of Mystery!!!

Music to my ears

­By Sally Carpenter

I got the idea of using chapter headers in my books from Steve Hockensmith. His “Holmes on the Range” books have cute headers that hint at the chapter content. I use headers in my books so I can keep track of the action in each chapter. Just using chapter numbers doesn’t jog my memory. And it’s fun looking for titles to match the story.

I began using chapter headers with my Sandy Fairfax Teen Idols series. Since Sandy was a musician, it made sense to use song titles for the heds. “The Baffled Beatlemaniac Caper,” of course, used only Beatles songs (group and solo) for the headers. “The Cunning Cruise Ship Caper” had all Elvis songs for no particular reason. The other two books used a mix of artists and decades.

 My new series, The Psychedelic Spy Mysteries, is set in 1967, so all of the songs are from the 1960s. One title, “Searchin’,” was released by The Coasters in 1957, but a soon-to-be very famous group re-recorded it for its audition tape for Decca Records in 1962, so it worked.

Nearly all of these songs are in my personal record/CD/tape collection, which gives you a hint as to my personal tastes. The recording of “Runaway” that I have is from a Micky Dolenz live concert CD. His sister Coco sings the song (she has a great voice too).

See if you can match the original artists with the songs! Hint: some musicians are used more than once. And how many of these songs do you still remember?

Chapter 1: Baby the Rain Must Fall

2: This Boy

3: What Goes On

4: Dr. Robert

5: Your Mother Should Know

6: Little Children

7: Secret Agent Man

8: Pictures of Matchstick Men

9: Strawberry Girl

10: Incense and Peppermints

11: Ask Me Why

12: Magical Mystery Tour

13: Everybody’s Talkin’

14: What’s New, Pussycat

15: Runaway

16: Surprise, Surprise

17: Writer in the Sun

18: Tell Me That Isn’t True

19: Tombstone Blues

20: I’ve Gotta Get a Message to You

21: On a Carousel

22: You Know My Name (Look Up The Number)

23: It’s a Gas

24: Fun, Fun, Fun

25: Where Were You When I Needed You

26: Searchin’

27: All Together Now

28: Black Magic Woman

29: Trip, Stumble and Fall

Answers:

Chapter 1: Glenn Yarbrough

2: The Beatles

3: Beatles again

4: Fab Four

5: That group from Liverpool

6: Billy J. Kramer

7: Johnny Rivers

8: Status Quo

9: Tommy Boyce and Bobby Hart

10: Strawberry Alarm Clock

11: John, Paul, George and Ringo

12: Ditto

13: Harry Nilsson

14: Tom Jones

15: Del Shannon

16: Rolling Stones

17: Donovan

18: Bob Dylan

19: Bob Dylan

20: The Bee Gees

21: Moody Blues

22: The Beatles (a rarity not found on the “official” albums)

23: Alfred E. Newman (released onto the world by Mad Magazine)

24: Beach Boys

25: Grass Roots

26: You can hear this one on the first Beatles “Anthology” album

27: One last time for the Fabs

28: Fleetwood Mac

29: The Mamas and The Papas

 

Of Concerts and Self-Publishing; Are They So Far Apart?

by Janis Patterson

I went to a concert a couple of nights ago. That’s not unusual – I’ve been in and out of concerts on both sides of the conductor for most of my life. What makes this one different is that it was an amateur orchestra – an organization of people who got together to play magnificent music just because they love it. No remuneration other than applause for a lot of time spent practicing and rehearsing. And the program was ambitious – all challenging works by Beethoven, Bizet, Tchaikovsky, Bach, Mozart and Dvorak. As the concert was free, the members of the orchestra even paid for the audience’s intermission refreshments out of their own pockets. This is the truest and most shining example of the word amateur – one who does something for the love of it.

Was the concert flawless? No. There were unintended sharps and flats here and there, and one of the second violins definitely needed more practice on his/her fingering, but in spite of the flaws – or perhaps because of them – the evening was most definitely enjoyable. It was not the icily-perfect rendition of a professional world-class orchestra (which I also love), and perhaps was the more charming because of it. The mistakes were not egregious, and the love the performers had for the work shone through every note, even the ‘off’ ones.

Over the years the word amateur has been tarnished to a near-slur, degraded to mean a fumbler, an incompetent, any number of other derogatory terms, but that’s not right. A true amateur is one who does the best he can, one who learns and simply for the love of something

There are exceptions, though, and we can find far too many of them among the plethora of self-published books flooding the world. An amateur musician realizes that at the very least he must learn the basics of music, that he should be able to reach a certain level of knowledge and technical ability before even attempting a concert. It seems that the amateur writer does not.

No one would think of saying “I’ve always wanted to play in an orchestra” then sit down in front of an audience, grab an instrument and start banging away on it without any knowledge, instruction or practice.  That, however, is just what so many wanna-be writers do. Just because they speak English with a modicum of proficiency they think they can write a novel. They string together a fair number of words and, convinced that they are only minutes away from being rich and famous or at the very least being regarded as that magical creature ‘a published author,’ throw the book up on any sales platform they can reach. The words developmental editor, copy editor or even spell-check do not seem to exist in their vocabulary. The resulting messes degrade the entire idea of self-publishing.

Like a lot of currently/formerly traditionally published authors I self-publish. There is a growing number of authors who have never done anything but self-publish who produce wonderful books, books that are often better than the current examples of traditional releases. Despite this, ‘self-published’ is used among the ignorant and the spiteful as a code word for amateurish (in its worst connotation) rubbish, and this hurts us all. If we cannot raise the level of knowledge among the unprofessional writers, we can at least do our best to correct a wide-spread notion among the public that all self-published books are a thing inferior. Even if some of them are.