Hello, everyone! First, I’d like to thank Jenny’s brilliant daughter, Mollie, for building us a gorgeous site and just generally being a genius. Isn’t it great? Also, I’d like to thank Jenny for doing the vast, vast majority of the updates here. I am not at all surprised that woman has a genius for a daughter. Third, I’d like to thank you guys for coming here, checking in and commenting. You are all little bundles of wonderful drizzled in awesome sauce. Thanks so much.

In anticipation of the release of Dogs and Goddesses (February 3rd, I cannot believe it’s almost here) we’re going to be here every day for the next few weeks sharing behind-the-scenes stories about the writing of the book, digging into the characters and talking about what it was like working together. Consider this your DVD bonus content.

Anyway, one of the first things we did once the three of us had settled into our characters was build a soundtrack. Different writers use soundtracks in different ways - some don’t use them at all - but for me, the music is about setting the tone. I like to play music that makes me feel how I want the words to make the reader feel. I actually listen to the soundtrack on constant repeat while I’m writing the book, so it’s not unusual for me to hear a song thousands of times by the time I’m done, and whenever I play a soundtrack, it instantly brings the book back into clear focus, which is why I encourage writers to do it if it works for them at all. It’s very helpful when you’re in revisions and have been away from the book for a while; pop on the soundtrack, and you’re in the zone again, almost instantly. I also don’t listen to a particular book soundtrack unless I’m writing or plotting; that makes the association even stronger. Go ahead, kids. Try it at home.

Now, a word before we get started on this soundtrack; this is my version, the songs that worked for me. There are a couple here that Jenny and Krissie mentioned, so I put them in there to fill in the community, but this is a very Daisy-Noah centric soundtrack, since that’s what I was writing. That said, here we go:

Lady Magic / Ben Taylor - this was my big theme song for the book; this is the style that I based Noah’s song on during the open mic night, and in my head, he sounded like Ben Taylor. Such a sweet, soulful, sexy voice.

A Little Less Conversation  /  Elvis Presley - we had an Elvis thing going on. I’m not sure how that happened, I think it was Jenny. Plus.. you know. The King and Samu the Summer King. Nice little hint of symmetry. I’m not sure Sam ever did anything that crazy with his hips, but you’d really have to ask Jenny.

Mighty Tight Woman  /  Bonnie Raitt - I think I picked this up as a Shar song. Or because I really liked Bonnie Raitt.

Istanbul, Not Constantinople / They Might Be Giants - this is the ring tone Daisy has on her cell phone, and it’s basically both a nod to the region and the fun tone of the book. Plus, what a fab ring tone, huh? I need to put that on my phone. How is it possible I’m just thinking of this now?

Jericho /  Davka - I got a couple of middle-eastern songs for flavor. They didn’t work for Jenny, but I liked that sense of the mid-east. Of course they were probably from the wrong region, but hell. A girl can only do what she can do.

The Boy Can’t Help It  /  Bonnie Raitt - This is about Sam. “If he walks by and the women get engrossed… if he winks an eye and the bread slice turns to toast.” A tribute to Sam, the manwhore.

Fall to Pieces /  Avril Lavigne - I had this as a song for Abby. Abby was the youngest, and she had the most tender vulnerability, and I think there’s something of that feel in Avril’s voice.

Since I Fell for You  /  Bonnie Raitt - Okay, I have a serious thing for this song, and when I found a version by Bonnie Raitt, I had to have it. It’s Noah and Daisy’s love theme.

Raks Araby / George Abdo & Flames of Araby - another middle-eastern song.

I Beg of You  /  Elvis Presley - more Elvis. Just ’cause.

Safe Enough to Wake Up  /  The Ben Taylor Band - This one almost seems like it was written for the book. “Everyone’s floating on some old school magical potion.” I love it. This was Noah singing to Daisy for me, especially because Daisy had so many trust issues. God, I love those two. I miss writing them.

God Will / Lyle Lovett - There was a point in one of our chats when Krissie was talking about Christopher being a fan of country music, and I thought that was such a great characterization for such a (seemingly) uptight guy. This was one of the songs she mentioned.

Im Nin’alu  /  Ofra Haza - more middle eastern flavor.

One Night  /  Elvis Presley - this one actually got a mention in the book, it’s playing in a bar where Shar sees Sam. At least, I’m pretty sure that scene is still in there. You’d think I would know, but honestly… we cut a lot of stuff. I’m pretty sure it’s still there, though. Yeah, I could get up and look but… I’m pretty sure. 98%.

Surround Me / The Ben Taylor Band - Okay, listen to this man’s voice and if you don’t want to shag him, there’s not much I can do for you.

How Can I Tell You  /  Cat Stevens - God, I love this song. It’s so quiet and wistful and sweet. I see this as Daisy to Noah, because she has such a hard time reaching out to him and telling him what she’s thinking.

Big Dog / Lyle Lovett - Big Dog. Lyle. No-brainer. I’d never heard the song before, then Krissie mentioned it, and I’m forever grateful to her. Love it.

Birdhouse in Your Soul  /  They Might Be Giants - This song became something of a theme song for the three of us. When we all started writing together, I’d known Jenny for a while kind of casually, and I’d only met Krissie a few times in passing. By the end of the process, we were so bonded that I can’t go a day without e-mailing them both. They’re two of the best friends I’ve ever had, and my life is so much better for having them in it. This is sort of the love song of our friendship, more about us (to me, anyway) than about the book, but our bond is reflected in the bond between Abby, Daisy and Shar, so I couldn’t have the soundtrack without it.

For Me It’s You  /  Train - I really like Train, and I have at least one song by them in each of my book soundtracks. This is another Daisy/Noah song. “Everybody got something that they want to sing about, laugh about, cry about, it’s true. For me, it’s you.” Love that.

Concrete and Clay  /  Unit 4 + 2 - This is a fabulous, retro-y song that’s bouncy and fun, just like the book. Jenny’s suggestion; I love it.

Tea for the Tillerman  /  Cat Stevens - I love this song. Starts out with this meloncholy vibe, then ends in this almost gospel-ish happy day thing. So cool. Plus, “Wine for the woman who made the rain come,” kinda speaks to the goddess thing.