BORN TO LOVE WILD
A Paranormal Romance Short Story Anthology
from Stars and Stone Books
Featuring: USA Today Bestselling Author Traci Douglass, Cara McKinnon, Sheri Queen, Pepper McGraw, M.T. DeSantis, Read Gallo, J. Bigelow, and Andrea Biagini.
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Paperback on: Amazon
Traci Douglass – “Blood Strong: A Blood Ravagers Novella”
One guardian demon in love. One witch with a secret crush. One evil threatening their newfound connection.
Cara McKinnon - “A Change of Heart”
She’s a hybrid shifter who’s not supposed to exist. He’s a wolf who was born to protect her. But her secrets force him to choose: his mate, or his pack loyalty?
Sheri Queen - “The Robinson Agency”
Some are born with the gift to see into the future. Others create their own destiny.
Pepper McGraw – “Full Moon Shenanigans”
The full moon’s coming and it’s time to embrace the wildness within.
M.T. DeSantis - “Forever Love”
To find a chance… A chance to find…
Read Gallo – “The Flying Saltines”
When a river falls in love with an ordinary person will New York City survive?
J. Bigelow – “Focal Point”
Sometimes a wizard from Sweden needs help from a medium from Michigan.
Andie Biagini – “Water Temperature”
An engineering student and a cryptozoologist. One of them can talk to sea monsters, but it’s not who you think.
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We asked the Born to Love Wild authors to list 3-5 songs that would be on the soundtrack if their story was made into a movie or TV show. They were encouraged to describe why they picked the song, and maybe even what song it would play in. Here's the Spotify playlist of all their choices:
“Water Temperature” takes place on and near the ocean, so all my soundtrack songs are about the sea. Chantal Chamberland sings “La mer” over the opening credits and as Madison is watching Luis get out of his truck. When they go out to dinner at the tourist restaurant, the keyboard player is doing a lounge-y, synth-heavy keyboard cover of “Under the Sea” from The Little Mermaid. Chris Trapper’s “Feelings Without Weight” is on the car radio at the beginning of the road trip. The Kooks “Seaside” plays softly during the scene in the motel. The score for the sea monster riding scene would be Ralph Vaughn Williams “Sea Songs,” a dramatic march based on three old sea shanties.
“Empty Corridors” by Ben Howard. This song would play while Faas is walking through the woods following one of the Bone Men. This is the mindset of Faas.
“Pure Massacre” by Silverchair. This song would play during the battle scene in Ohio. The possession of the ghost happened because of a senseless act of violence. The feeling and words of the song play to the scene.
“Here with Me” by Susie Suh and Robot Koch. This song would play during the hotel scene. The song speaks about distance and still being with someone.
“To the Fairies They Draw Near” by Loreena McKennitt
This song wouldn’t actually play during my story, but it would be lead-in music to the main story—like opening credit music if Forever Love were a movie. The song is gorgeous, and it sets the tone of dancing fae nicely. If you’ve seen Disney’s Tinker Bell movie, it’s featured in that.
“Dearly Beloved” from Kingdom Hearts
This is the menu screen music for this Disney video game, and it’s got a tinkling, gentle feel. It would make lovely background music during the scene where Antrina shows Ellowyn memories of their past together.
“The Song of the Chanter” (also known as “The Chanter’s Song” or “The Chanter’s Tune”)
This is a traditional Irish song, which I believe is more like a call to war. At first glance, this might seem like an odd choice for romance music, but think about all the references. “All’s fair in love and war.” “Love is a battlefield.” “The art/dance of war.” It works (or so I’m telling myself, because I’m the author, and I can). In particular, the version from Brian Horton and friends is the one for Forever Love. It’s fast enough to be a dance, slow enough to be sensual, and there’s this beautiful flute part. I can just hear fae laughter while it’s playing. In particular, I hear this when Karli and Ellowyn are finally dancing together and maybe also at the end of the story.
*Compilation note: Spotify doesn’t have the same version, so we added the version by Mark Dudrow and Justin Dean
Hmm. Let’s see. Well, Spud’s a classic rock sort of guy, so picks for him would be:
Bon Jovi – Dead or Alive
Foghat – Slow Ride
Emma is a huge Stevie Nicks fan, so faves for her would be:
Fleetwood Mac – Rhiannon
Fleetwood Mac – Gypsy
During their birthday night in the woods, and say the soundtrack would definitely be:
Aerosmith – Sweet Emotion
Summer in the City by The Lovin’ Spoonful went through my mind a lot during the scene where Hudson is describing the summer where everyone is relaxing and enjoying life, which is not what happens during the summer in the city.
Wallet by Regina Spektor is Lum’s song. It’s such an innocent, optimistic, and yet melancholic song about someone investigating something much deeper than they needed to. Basically, anytime Lum is getting into trouble, picture that playful piano in the background.
River by Bishop Briggs was a partial inspiration for Hudson due to the lyric “shut your mouth and love me like a river” and me trying to figure out what the heck that meant.
To be honest, this question makes me draw a blank. I don’t listen to music very often and I rarely associate it with my stories. Instead, if my imagination infuses any music at all, it’s usually instrumental in nature and builds to a crescendo of sound. And honestly, it’s more the of music than actual music itself. So pulling up real songs is an almost impossible task for me.
However, in the case of , I actually needed a song for the story, so I created one of my own. There were a few songs that might have worked for the scene I had in mind, but I preferred to write my own lyrics so that I didn’t run into any copyright issues. The song I wrote is called and basically would be playing during most of the bar scenes, particularly when the full moon is making all the wolves a little crazy and a lot hyper.
The theme song to “A Change of Heart” has to be “Something Wild” by Lindsey Stirling and featuring Andrew McMahon. “If you face the fear that keeps you frozen…that’s when something wild calls you home.” My story is all about finding home, and family, and connection—in the wild.
Other than that, though, I tried to stick with 90s songs for this one, because the story is set in 1999. So the next song is “The Old Ways” by Loreena McKennitt. It’s a song about a shape-changing being in love with a human who cannot stay in the human world. As with “Something Wild,” this song also acknowledges that wild things—and those who belong to the wild—can become home: “the pounding waves are calling me home, home to you.” I also like that the shape-changer in this song has wings, like Zoe, who thinks she cannot live in even the shifter world because of who she is—and who runs when she fears her secret will be revealed.
“Do What You Have to Do” by Sarah McLachlan is the song of the dark moment, after Zoe runs. Zoe’s life has taught her that the world is dark and running will keep her safe. But Nathan yearns for her, and wars with his need to protect her—he doesn’t know how to let her go. Especially poignant is what I see as Zoe’s reply: “Deep within I’m shaken by the violence of existing for only you. I know I can’t be with you, I do what I have to do.” But of course, they find their way back to each other after this moment.
“Stay” by Lisa Loeb is Zoe realizing she screwed up and deciding to come back. “I was wrong, ’cause I missed you.” When Nathan asks her to stay, she decides to take the risk.
“Sanctuary” by Darling Violetta, otherwise known as the theme to the TV show Angel, is the final song. The idea that a person can be someone’s sanctuary really struck me when I thought about Zoe and Nathan. Zoe resists the idea, but she does find sanctuary in Nathan—and he in her.
Bonus: It doesn’t entirely fit in terms of the verses, but I really love the chorus to Pat Benatar’s “We Belong” for Nathan and Zoe. “We belong to the light, we belong to the thunder. We belong to the sound of the words we’ve both fallen under. Whatever we deny or embrace, for worse or for better, we belong—we belong together.”
Craving You—Maren Morris & Thomas Rhett
Start of Something Good –Daughtry
Truly Madly Deeply – Savage Garden