Téa Obreht

“As a teenager, I spent hours dreaming up plots for books. This was something I felt was cooler than going to the mall, but not so cool that I was willing to waste daylight at a desk with a pencil and notepad. To make it cooler still, I would burn dozens of CDs (iPods not being in existence yet), soundtracks that would serve as musical stand-ins for what I felt I would be writing: mishmashes of rock and roll, classical music, and show tunes that, as assemblages, had no significance for anyone but me. When played, they would immediately transport me into the world I was devising, and I would walk, sometimes for miles, around and around the neighborhood, while my Discman churned in an effort I believed to be inextricably bound to my writing. I assumed, because I never actually wrote any of what I dreamed up, that this exercise was a failure. Then, many years later, I found myself in grad school and subject to a similar compulsion—except now I had a car, and ostensibly a brain, because the plots were actually making their way onto the page. I still can’t listen to music while I’m writing—music is never just white noise to me. But I would say that any writing time now begins with driving around under the influence of carefully arranged playlists that call to mind characters, plot points, or even the whole narrative arc of whatever it is I’m working on. I’m generally in favor of anything that makes the world you’re trying to create more real and accessible to you, so my advice is: Make a soundtrack for your book!”
—Téa Obreht, author of The Tiger’s Wife (Random House, 2011)