Tag Archives: The Broken

Man, I’m a Slow Writer … and It’s Time to Get Back to It

I started my writing journey over 12 years ago in 2011, when a friend and I decided – almost as a joke – to participate in that year’s National Novel Writing Month (NaNoWriMo). Over the course of that November, I churned out nearly 50 thousand words, which would eventually become the prelude to my (still) ongoing fantasy series, The Redemption of Erâth. By 2014 I had wrapped and published the first volume, Consolation (then through a vanity press because I was naive and knew no better). Two years later came the second volume, Exile, and in 2018 I followed this with the third book, Ancients & Death.

From that fateful 2011 November onward, I also began blogging; at first like a madman, with hundreds of posts a year. Now, I’ve posted exactly 17 posts in 2023, and possibly even fewer than that in the years preceding. The point is, I’m a slow, and sometimes non-existent writer, and that bothers me. I didn’t completely abandon writing after the third novel in 2018; in the interim, I’ve published two other standalone books under my real name: 22 Scars (2017) and The Broken (2021). But I really haven’t done an awful lot of writing since then.

I haven’t been completely idle, of course; I’ve made a return to my first creative love, music, for example. For the novel The Broken, about a rock band in the 90s, I actually took the time to write and record their (fictional) three albums in their entirety. I also completed three other albums of orchestral/rock music, and most recently completed writing a Requiem for orchestra and choir. I’m even now applying to graduate school to return to the field of music (assuming I’m lucky enough to get a spot), and the future, despite the past having had little written word in it for the past few years, is looking bright.

But despite that, I feel that I’ve somewhat abandoned my passion as a writer, and that feels … well, kinda crappy. So I have an intention – one that I have every year, of course, around this time – to pick up the virtual pen once more and start blogging, novelizing, and just generally getting words written and out of my head.

The fourth book of The Redemption of Erâth, The Fall of Thaeìn, is more than halfway complete, so one of my goals this year is to finish and publish this work. I also feel that it’s been a fair time since I wrote any contemporary fiction like 22 Scars or The Broken, and recent reviews – not to toot my own horn, but indicating that they’re pretty okay – have inspired me to look for new topics to write about, as well.

I also want to return to a regular blog schedule, through which I can get random thoughts out of my head, and continue to practice the art of writing. This post will (hopefully) mark the first of many more to come this year (although history has shown that I rarely follow through on these commitments).

Composing, Songwriting and Producing – Pick Two

[As a side note, I’m nearly done with chapter five of the fourth Redemption of Erâth book – that’s a fifth of the way through!]

I’ve written extensively about music here before; whether the genius of Tchaikovsky’s Pathétique symphony, or the ferocity of some new death metal album, or even the gothically tragic undertones of The Cure’s Disintegration, it should come as no surprise to anyone that music is an enormous part of my life.

What not everyone knows, however, is that my actual degree is in classical music composition. That’s right – my highest level of education revolves around scores, sheet music, appoggiaturas and cadenzas, and whilst I often slip out of the habit for extensive periods of time, it’s something I’ve never really forgotten, or let go of.

Way, way back in 2004 I started work on this project that I called a ‘heavy-metal symphony’. Not a symphony in terms of orchestration – there are no great brass swells or roaring timpanis – but a symphony in terms of structure: a four-movement album which each movement being a distinct movement within the whole. The opening movement in sonata form, the second movement a slow dirge, the third a scherzo and trio, and the fourth a twisted rondo … so on and so forth.

I actually ended up completing (to a fair amount of satisfaction) the third movement, which was a submitted as part of my dissertation. The second, slow movement followed to completion, but I never quite got around to finishing off the first movement, and never even started the last.

Then I ended up getting caught up in the day-to-day banality of life, and abandoned this project for over fifteen years. I moved countries, wrote a book, wrote another book, wrote a third book that was completely different from the first ones … life took over.

But in the back of my mind, I always wanted to return to this project. In particular, I wanted to remaster it in genuine production software, rather than through the terrible synth sounds built into my computer. I wanted to finish the first movement, write out the fourth, and have a full, complete album to show for myself.

The problem is that I don’t know how to produce music. I’m exceptionally good at putting notes one after the other, but production is a beast entirely unto itself. The best composition in the world will still sound terrible with poor production, and as pop music so often proves, good production can make an otherwise terrible song sound amazing.

It’s funny, too, because I’ve just come off the back of writing a complete album to accompany my alter-ego’s work-in-progress, The Broken, an upcoming novel about a band caught up in tragedy and despair. I wanted to know what their music sounded like, so I wrote eleven tracks which now form their ‘debut’ album. The thing here is that I didn’t strictly compose these songs; I never used notation software, didn’t write it out in score – i just recorded it into Logic Pro X as a songwriter.

Songwriting, you see, is yet another aspect of the musical creation process; as opposed to composing, where every note, every chord, every harmony and melody is meticulously thought and planned out, writing a song is a more fluid, organic process; you come up with an idea – a riff, a vocal line, a chord progression – and basically stitch these disparate pieces together into a coherent song. The lyrics are forefront, even if they don’t come first; the rest of the instruments are backing to the singing.

I think that my background in composition has helped (to an extent) with songwriting, but my ability to produce the music into something even remotely listenable has been stretched and taxed beyond my wildest imaginations. I’ve learned more about music production in the past six months than I knew in the previous rest of my life, and I’m only just beginning to grasp the audio engineering concepts required to get the kinds of sounds I’m looking for. Guitar amp and pedal effects mystify me in particular; I can hear in my head the exact sound I’m going for, but I’ll be damned if I can figure out how to get there!

Still, it’s been a fun ride, and I look forward to continuing to better my skills. Despite it all, it’s a lot of fun to write music (in any capacity), and the recording/engineering part is just another aspect to be learned. Still, I can’t help feeling like the old adage, cheap, fast, good – pick two – only for composing, songwriting and production. Maybe there’s a way to be good at all three, but boy is it a steep hill!