As a screenwriter, it can be hard to instill in your screenplay the atmosphere and mood you so desire. It’s something that I have struggled on and off again over the passed five or so years. It becomes even more troubling because ever writer has his/her own technique to achieve a cohesive atmosphere, which may or may not work for you. And I speak from experience that none of my writer friends suggestions have ever worked out for me. Then one day I happened upon something that helped me greatly. The girl I was dating in the summer of 2010 suggested it, having never tried it herself. To put it as simply as possible, write with music on.
The music choice should be dictated by synchronization of mood between the music and that which you endeavor to write. For instance, when I was writing The Little White Bird, I listened to Lou Reed’s album Berlin constantly (as well as David Bowie’s albums with Brian Eno from the late seventies, but that should go without saying). For How Is One To Live?, it was Mark Kozelek’s album What’s Next To The Moon, and Sophie & Martin’s Day In The Sun was written while listening to a number of Bill Callahan records (thanks for those Josh). Each script, in so far as I am able to tell, has benefited from this. So keep this in mind next time you sit down to write a script.