What a month! The shortest month is always full of so many events I can hardly keep up. First was the Day of the Groundhog (not the horror film), in which I simultaneously began the process of moving to a new 'writing studio' (at which I shall also eat, wash, sleep, and collect mail). Next came my child's birthday, which is no longer a big deal now that she's well into adulthood. Then, be still my quickly anticipating heart, the Kansas City Chiefs, my hometown team since I was a little boy (I watched Super Bowl I live on TV), played in and won the Super Bowl, which was their second in a row and third victory in four visits in five years, an incredible feat! That after a 50-year absence from the final contest.
Then their celebratory parade which followed was forever marred by tragedy when two youths who should never have had handguns decided to settle their personal dispute in a crowded place. The month continued with more moving (great exercise, all this lifting of heavy boxes of heavy books) and more writing/revising/ editing on the latest works-in-progress (more below). Lastly, comes my annual visit to doctors and receptionists to prove I am still, for now, alive.
Nothing I write next can possibly beat the month I've had so far.
In my previous blog post I spoke of how music had inspired me. In fact, I have used music to inspire my writing far more than any writing has inspired my music. As a music student I looked for texts I could set to music but did not apply them to many songs. My own music tended to be purely instrumental, although I did manage a fair setting of *Coleridge's long poem "Kubla Khan", using four singers, a woodwind quintet, piano, and a gong. Another text setting of a poem eventually lost its text when I couldn't find a singer but did find a violinist willing to play it (with piano accompaniment) for my senior composition recital.
It may be no secret that I listen to music constantly while writing and revising - anytime I'm working on a novel. I choose music which fits the story, often that which fits a particular scene, and play it over and over as I see the story in my mind and try my best to describe what happens. I've never really paused to think about how that works. It's both a blessing and a curse. It's a blessing to be able to see a story unfold like a movie playing in my head. It's a curse when I can't shut it off to sleep or do other things I need to do.
In my more recent novels I've included lists of the music I listened to while writing the novel, believing that readers may also enjoy it. I suppose my music listening began with my first published book, AFTER ILIUM (2012). Began, I mean, in the sense of selecting particular music to aid my writing. For After Ilium, which is the sordid tale of a young college graduate who meets an older woman on a tour of the ruins of Troy (also known as Ilium), I listened to the CD of Secret Garden's Songs from a Secret Garden (1996), which to me provided the ideal soundtrack if the story were to be made into a movie. The sweeping, often soaring melodies, and intimate, vaguely exotic harmonies fit the setting of the story perfectly.
For a science fiction novel (actually a trilogy) like THE DREAM LAND, which is partly set on another world via an interdimensional portal, I struggled to find the right music. In fact, I struggled finding the best way to start the story which had boiled in me for years. It wasn't until I happened to purchase a cassette of Enya's album The Celts (1987) that I could proceed. The music was for a documentary about the Celts, but for me, well, I saw the mighty Zetin warriors on the wild moors of Tebbicousimankale in what would be the opening scene. Other music I came across which might not have seemed to fit, actually did. I found that film music works especially well: no lyrics to get into my head and all the drama I need for the scene. Video game music also works the same way. The soundtrack for Silent Running (a 1972 film about a lone gardener on a spacecraft) composed by Peter Schickele was a major influence on the writing of the first novel. I did see the movie but it was many years prior to me rediscovering the music and using it to inspire my writing. Also, the music of The Moody Blues, especially the albums Seventh Sojourn (1972) and Octave (1978), provided several cultural references (e.g., interdimensional travel, etc.) which I used to support two teen nerds becoming rulers on another planet.
You get the idea. The music is not simply a lovely background for my hobby but a key that unlocks and opens the mind. For me, it is necessary and I can rarely write new material without the right music. Yes, when I'm far enough along in a new manuscript I may write without listening to music if I have to; probably the music, having heard it previously, remains in my head. To this end, I maintain a large library of CDs and digital (MP3) tracks in every style, genre, mood, and instrumentation. I recently, in my moving, carried five boxes of CDs from one place to the next. I have as much more music thankfully on portable hard drives, flash drives, and on my computer itself. I will never run out and continually add more.
UPDATE
I finished my pandemic/family saga trilogy FLU SEASON (click for the series page) and immediately started in on a fourth book, which I dub a sequel to the trilogy. 
FLU SEASON 4: THE BOOK OF DAD is complete and undergoing revision at the moment. I expect it to be available by summer. Revision was delayed because I immediately began a fifth book in the series, following the grown daughter of the Book 4 protagonist. It is about half-way at present. I know how it will end but I set it aside to revise Book 4 and get it ready for publication. I look for Book 5 to be available in December 2024.
Will there be more books in this series? I don't know. If a compelling plot presents itself I may pursue it. Otherwise, I try to end every book as though the reader could stop there and be satisfied. But we shall see.
*See the error on the score? Samuel Coleridge Taylor is a music composer; Samuel Taylor Coleridge is the famous poet.
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Violators shall be written into novels as characters who are killed off. Serious violators shall be identified and dealt with according to the laws of the United States of America.
