Discover How Moretti Uses Music And History To Create Timeless Narratives That Captivate And Inspire
Steve Moretti discusses his integration of music and time travel in storytelling, his journalistic approach to biography, and how his diverse background influences his creation of passionate, relatable characters.
Steve Moretti is a masterful storyteller whose works have captivated readers with their intricate blend of music, history, and fantasy. His ability to weave time travel into narratives that explore the depths of human passion and artistic obsession is nothing short of remarkable. Moretti’s “Song for a Lost Kingdom” trilogy is a testament to his talent, seamlessly intertwining the timelessness of music with the rich tapestry of 18th-century Scottish history. His writing not only transports readers across time but also delves into the emotional landscapes of his characters, leaving a lasting impression that resonates long after the final page is turned.
Moretti’s diverse background in broadcasting, journalism, public education, and technology has uniquely equipped him to craft stories that are both intellectually stimulating and emotionally engaging. His biography of Pyotr Tchaikovsky showcases his journalistic rigor and narrative flair, offering a nuanced portrayal of the composer’s genius and personal struggles. Moretti’s dedication to uncovering the layers of his characters, whether historical figures or fictional creations, is evident in his meticulous research and vivid storytelling. As a writer, he invites readers to explore the passions that drive individuals to transcend their limitations, creating narratives that are as thought-provoking as they are immersive.
Your work often intertwines music and time travel, as seen in the Song for a Lost Kingdom trilogy. How do you use music as a narrative device to bridge different time periods and characters, and what do you believe this adds to the emotional depth of your stories?
Music is timeless. Each live performance recreates a new incarnation of the composer’s ideas.
It affects the mind differently than other forms of artistic expression. Music is processed in seven areas of the brain, including the group of amygdala neurons that interpret fear, pleasure, sadness, love, joy, and other emotions.
In the series, I explore the idea that a particular piece of music can trigger a metaphysical reaction which connects a person to the epigenetic DNA memories of an ancestor. Though Song for the Lost Kingdom is a fantasy with a romance element, the trilogy references theoretical neural science, 18th Century Scottish history and musical composition theory.
In your biography of Pyotr Tchaikovsky, you explore both his musical genius and personal struggles. How did your background in journalism and public relations influence your approach to writing this biography, and what challenges did you face in portraying Tchaikovsky’s complex inner world?
My goal with Pytor was to dramatize key moments in Tchaikovsky’s life. My co-author, Paul van Geldrop, delved deeply into the historical context and musical significance of his compositions, allowing me to focus entirely on his development as a composer and a man struggling with his sexual orientation.
As a journalist, I wanted to uncover the layers of Tchaikovsky, the man, by sticking to documented facts. But as a novelist, I wanted to get inside his head and live his deepest, most conflicted inner thoughts.
The Song for a Lost Kingdom series features themes of historical fantasy and personal sacrifice. What drew you to the specific historical and cultural settings of Scotland and its Jacobite past, and how do you think these elements enhance the themes of your narrative?
I chose the Jacobite uprising in Scotland in 1745 quite by accident. I read about Kinnaird Castle near Montrose, Scotland, and ended up staying there with my wife for a weekend in 2009. I was fascinated by the castle’s dark history and stories of the many Earls and their families who lived, fought and died there.
When I discovered the oldest cello in the UK was created in nearby Aberdeen in the early 1700’s, all the pieces for my idea seemed to come together. I spent the next five years writing and researching a time travel trilogy powered by music, with a dual timeline of 2018-19 and 1745-46.
Transitioning from journalism and software development to writing time-slip novels must have involved significant changes. How did your previous careers influence your writing style and storytelling techniques, and what skills from these fields have proven most valuable in your creative process?
Working in journalism and public relations honed my research and writing skills. Software development challenged me to solve complex technical problems. I incorporated these into my creative writing to add depth to the characters, settings and plots.
Asking questions is essential to journalism, as is exploring alternative solutions in software development. Conflict is inevitable in working closely with other people on stressful projects with tight timelines.
These experiences served as essential training for my long fiction, short stories and biographical writing.
Your stories often feature characters deeply connected to their passions and the challenges they face in pursuit of them. How do you develop these characters to ensure they are both relatable and compelling, and what personal experiences or observations have shaped your portrayal of such intense dedication?
Any novel becomes a flat read without compelling characters. In my previous professional work, I interviewed and worked with a wide variety of different and interesting people, seeing them at their best and worst. Following copious research and journal writing, I focused on developing flawed, driven, and sometimes infuriating characters who became close acquaintances.
When I became engulfed in a scene with my characters who take charge of their own destinies, I felt a rush that writers sometimes feel. We spend so much time in a world we’ve created that when it takes on a life of its own, it becomes a tremendous creative satisfaction.
