Soundtrack to a Novella.

Early on in the process of writing "Further Ahead," Christopher Klim directed me toward a useful writing strategy. He told me that while I was writing, I should listen to music that encapsulated the mood of each passage. I immediately recognized the value of this approach.

I have a highly associative memory and thought process (as I think most people do). I associate different books and records with different aspects of my life, or different parts of history. I'm also an amateur musician. A simple chord progression or melody is enough to make me feel something. Add lyrics into the milieu and I could be made to feel anything through a song.

"Further Ahead" deals with the aftermath of Sept. 11. Not only did the day alter the course of American history, it affected the progression of American art and music. On the cusp of this catastrophe is the first record I heavily relied on throughout the duration of the writing process.

Wilco -- Yankee Hotel Foxtrot: On a personal level, this record marks some sort of personal departure. With lines like, "Tall buildings shake, voices escape singing sad, sad songs. ..." you can't help but feel the allusion to national disaster, a national wound. While I wrote chapter one, during which my protagonist, Pat Hensley, takes an ill-fated journey to New York, taking the PATH train through Ground Zero, Jeff Tweedy's words echoed through my head on repeat.

The use of the second record on the list is slightly more contradictory.

George Harrison -- All Things Must Pass: When Patrick has his most materialistic moments, this record is playing in the background, literally. Not only did I listen to this record while writing a few chapters, I wrote it into the book. In terms of record titles, I don't think there is one that rings truer than this. And it is an important reminder. Even in the face of national tragedy, all things must past: "Sunrise doesn't last all morning. A cloudburst doesn't last all day. ..." It's an important message that Patrick -- ever the avoider -- chooses to overlook. He lets the worst parts of his personal life, and greater American life, consume him.

On a personal level, George Harrison struck me as the mysterious Beatle. He kept to himself, and was largely left out of the McCartney-Lennon song-writing equation. But when he finally struck out on his own, he produced a stunning body of music. For someone trying to write their first serious piece of fiction, this record was inspirational.

Bob Dylan & The Band -- The Basement Tapes: If I could sum up the feeling of "Further Ahead" in one song, it would be "Tears of Rage" from this record: "We carried you in our arms, on Independence Day." After reading Greil Marcus' "The Old, Weird America: Bob Dylan's Basement Tapes," I recognized the significance of these strange songs that I'd heard my father's band sing since I was a little boy. Dylan has asserted time and time again that these songs aren't folk songs -- they're political songs, and they're too weird to die. They are the very fiber of American consciousness. These songs are older than the country itself.

Since I was exploring how American identity has changed after Sept. 11, it seemed like a good idea to go to its roots. Dylan and The Band's roots music was essential.

So, if my novella had a soundtrack, this would be it. I'm always on the lookout for good writing music. Feel free to post your suggestions in the comments below. What music do you like to write/work to?