I am a composer, pianist, and dance accompanist who crossed over to write a fantasy series called 1001: The Reincarnation Chronicles. Before writing every day, I devise a playlist that is an eclectic mix of styles, and I wanted to explore how this music affects my writing. But no song expresses a character; no instrumental sets a scene in my book. So why listen to music when I write?
Of course music plays a part in Book One of 1001: The Qaraq – a group of souls who travel together from lifetime to lifetime. In each chapter, one of the qaraq members recalls a past life story; the present day action acts as a mainframe to enter into the memory, like the Scheherazade framing tale device in The Thousand and One Nights. Having worked in musical theater, I channel the techniques used for moving from a spoken scene in and out of a song to accomplish this shift. And some of the tales involve music: one character remembers his incarnation as Vaalat, an East African mallet instrument called a xalafon, which transfixes its audience.
On reflection, I realize the main influence music has on my writing is through the idea of hidden forms. As a composer, I love complex structural devices that we don’t hear in the music, but which shape the score. This love inspired me to construct eleven hidden structures that unify the 1001 series. Here are five examples, along with musical samples of corresponding hidden forms.
1. Embedding a past life story into each chapter is not so hidden, but it’s not obvious reading the first book that there will be 1001 chapters and 1001 lifetimes in the series, God help me! Frank Zappa, master musical parodist, loved to embed famous pieces of music into otherwise pop sounding tunes. In Status Back Baby, a bubble headed high school kid’s lament is interrupted (at 1:27) by an electric quotation of Stravinsky’s ballet score Petrushka (first minute); then, with a cheerleader’s whistle, the jaunty song returns, mocked by the juxtaposition of kitsch and class.
Zappa, an incredible guitar virtuoso, could also be lyrical and breathtaking, with hidden rhythmic complexity, such as the beautiful Zoot Allures (:38-3:00) .
2. In a score, motifs or longer melodies can recur in obvious or subtle ways. In Stephen Sondheim’s musical, Passion, a motif is varied incessantly, to represent the character Fosca’s obsessive, neurotic nature. In Fosca’s Entrance, we first hear it with “I do not read to think” (1:20-2:20), which then snakes its way throughout the scene. Similarly, for each of my central characters, I reiterate a set of traits, a gesture, and a literary voice in all their incarnations. Ooma, the sexy, troubled present day incarnation of the orgy-driven Queen of the Scheherazade tale, recalls her lifetimes in a haunted stream of consciousness. Sometimes I want these tropes to help identify the central character in the incarnation; sometimes they are hidden and just help me create the character. Sahara, the main character, likes to play with her hair: in 17th Century France, we recognize her as she curls a lock of hair around her finger; but in the Ediacaran Era, she is disguised as a two-inch organism with filaments that wave in the waters on the sea floor.
3. The great master of the hidden form was Alban Berg, the Viennese composer whose opera Wozzeck rejected conventional structures like arias and duets. Berg composed each scene of this story, about an oppressed soldier who descends into madness, around a particular structure supporting the dramatic action, some old forms like fugue or march, others more abstract, like the inventions of the last act. In Act III, Scene 2, when Wozzeck murders his wife Marie, the hidden form of Invention on a Single Tone reveals itself with a chilling crescendo. In Act III, Scene 4, the Invention on a Hexachord accompanies Wozzeck’s drowning (circa 3:15) as the chord washes up and down in the orchestra. Creepy brilliance.
Influenced by Berg’s superimposition of forms onto a narrative, I placed in each past life story a hidden reference to one Arabian Night. The Thousand and One Nights contains 1001 parts of stories; remember that Scheherazade interrupts her storytelling every morning to save her head, so each Night she tells only part of a tale. In my writing process, I use the Nights references to add local color or suggest a character’s inner thoughts. At times I lift a whole plot line to guide a past life tale: the magical roukh from Sinbad flies in and out of the qaraq’s mythic memories of the Red Isle.
4. Despite Stravinsky’s revolutionary status, he also followed Berg’s lead and used hidden techniques like retrograde, where you take a sequence and use it backwards, or the palindrome, where a sequence is the same forwards and backwards (Madam I’m Adam). In his opera The Flood, Stravinsky depicts the deluge structurally as a palindrome: the seas rise with orchestral tremolos for the storm, then the music retrogrades with the receding of the waters. In 1001, the chronological order of the past lives presented in the series is a karmic palindrome. The first 500 lifetimes create issues among the characters, and the last 500 are the karmic consequences, resolved in retrograde order. If the incarnation in lifetime #251 murders incarnation #252, then in lifetime #750, the victim forgives the murderer’s incarnation #751. That’s a hidden form!
5. A final example comes from Mozart’s first act Finale of Don Giovanni. We are at a masked ball, where three musical ensembles each play a different dance tune, like the minuet (2:50-5:15). Mozart actually got this idea at a party standing in between two chambers with different orchestras, hearing the clash of styles. In the scene, the different meters and phrase lengths of the dance forms fight each other to support the dramatic tension. When the math of it all works out so the three tunes are about to start over at the same moment, the action hits a surprising twist. This idea of intertwining structures comes up in 1001 as frame tales within frame tales. In the present, the characters might remember a series of tales, and within that past time period, the incarnations recall another series of tales. I make the interlocking frames as clear as possible for the reader, but how I use this device over the whole series is another of the eleven hidden forms of 1001.
If you haven’t stopped reading and called my local asylum to come fetch me immediately, I hope you might be excited to go hunting for hidden forms, or even use them in your work. They help generate ideas you’d never think of otherwise, and at the very least they have a subconscious effect on the reader. Maybe that’s how my daily playlist influences my writing; it’s a hidden form working on a subconscious level.
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