Sherwood Cycle: What's In A Title

 One of the things I occasionally do is clean out my "Writer's Closet". 

Except it's now more of a room than a closet. I always have a writing wall, where I write things about the project I'm working on--characters, scene outlines, music, bits of dialogue, etc--and that wall gets more and more full until I finish the initial draft of the project, when I pull all the 3x5 cards off the wall and start with a "clean slate", as it were.

 But because a wall has only a certain amount of space, I have to create files on my laptop and in various notebooks that are then stuck in my filing cabinet or my cloud drive or whatever because I'm the type of writer that keeps everything. 

And one of the things I keep is a list of possible titles for my project. 

I can count the number of times the first title for a project stuck on the finger of one hand.

That's one finger on one hand.

 One of my favorite authors once held a title contest for one of her novellas on her website(which was a really fun read), and another one made me feel even better when she gave some advice to her blog readers about writing any type of fiction. 

With the Sherwood Cycle, every single of the scripts has gone through at least three title changes, and not just because I can never make up my mind about anything(thank you ADD).

Recently I came across a little post-it note I scribbled on while writing "Wolves of Sherwood", and  there wasn't one title one it. There were four. 

Four different titles crammed onto this tiny piece of paper. 

I really used to bother me when a thing like this happened, but not so much anymore. 

Sometimes, my gut tells me the title doesn't work. 

Sometimes, my characters tell me the title doesn't work, and why(yes, I'm on speaking terms with all of them, it's an author thing, just go with it)

And sometimes it's just a Place Holder Title because you have to call it something other than that-one-project-i'm-working-on-but-can't-explain-cause-it's-complicated.

(Yes, I have called a few projects this before. Also a thing)

Another thing that I've learned over the past couple of years is that a title doesn't just have to work for you--sometimes it also has to give some kind of clue on how to market your project.

Don't believe me?

One of the greatest movies ever made, "The Princess Bride" was a box office flop for that reason--no one had any idea how to market it--even the trailer was a mess. 

Result?

Box office sales plummet, cast and crew suffers, and the film either "comes back via word of mouth/DVD(or in the case of "The Princess Bride", VHS" or disappears from existence except as an article on Google or whatever.

Because I'm the type of weird person who cares about that kind of thing, and I like to make things easier for all parties concerned, when I'm in the revision process one of the things I look at and constantly tweak and re-write is the title. 

Not even kidding.

And I'm glad that I'm not the only one.  

All part of the revision process.

Here's the next chunk of my current project's soundtrack, while I'm at it. 

Incidentally, it's not called "Robbing Hoods" anymore. 

Now it's "Out of Nottingham". 

Much better, in my opinion. 

Dear Agony(Aurora Version), by Breaking Benjamin & Lacey Sturm

 

Vivid, by Lemonade

 

Carry You (feat. Fleurie), by Ruelle

Are You Even Real?, by James Blake

 

Pull Me Down, by Mat Vansen

 

Far Away, by Breaking Benjamin & Scooter Ward

  

Never Too Late, by Three Days Grace

 

 

Game Face (feat. Sam Tinnesz), by UNSECRET

 

 

White Flag, by Bishop Briggs

Thespian Musings and Sherwood Cycle: Plot Driven vs Character Driven

So here's the deal.

Wolves of Sherwood  and the as yet named prequel-prequel(aka my own version of a "Robin Hood Origin Story"--upcoming project for November 2020 fingers crossed), are plot driven stories.

Lure of the Fox and the final script in the cycle(tentatively titled Prince of the Blood, and with tidbits coming to this blog April 2020--yay!!!!) are character driven stories.

What exactly does this mean?

Allow me to enlighten you.

(For those Already Enlightened, you are welcome to skip this post and I won't hate you. Or if your Lazy and Want to Just Google It, that's cool too).

Still here?

Awesome, here goes.

Plot-driven stories are when the plot--the events--are the driving force of the story.

Meaning if you take away the characters, it's likely the events will happen anyway.

Aka "Who/How" Stories.

Aka High Concept Stories.

Aka every single high action "box office smash" that gets a summer release.

Aka:

1. The Fast and Furious Franchise
I love this franchise; I do--enough to own the first seven(I'm gonna see what the last three do before I see them on my small screen cause maybe once in theatres is enough, idk). But don't tell me that you would have a story if you took out all the cars and chases and explosions, cause you wouldn't. 

2. Every Thriller/Horror/Mystery Ever
The Mummy is about waking up something from the Dead. The Forest is about what happens after dark in a forest. Miss Marple/Sherlock Holmes/whoever would have nothing to do if nobody died. The Ocean's Eleven films are all about heists--events. "Knives Out" is the exception. Don't agree? We'll talk.

3. Every Single Event Biopic Ever
Pearl Harbor. First Man.  Red Tails. Midway. Selma. Newsies(Disney-fied, but still rooted--if shallowly--in a factual event). Hotel Mumbai. The Current War. Basically, if it's in the title, it's plot-driven.

4. Every Single Super-Hero Film Ever
Every single Avenger becomes an Avenger because of an event; every single DC character was shaped by an event; if the TMNT hadn't encountered the Ooz, they'd still be pet turtles. Change my mind, I'll wait.... 

Character-driven stories are when the characters are the driving force of the story.

Meaning if you take the characters out of the story, it crashes and burns a horrible death.

Aka Low Concept Stories.

Aka "Who/Why" Stories.

Aka:

1. The Prestige
Two men trying to outdo each other no matter the cost to themselves. I mean, it's bound to get ugly, but it's so fascinating to watch. And each twist of the plot is driven by a choice that the character makes--to outdo his rival.

2. Every Single Person Biopic Ever
 Hidden Figures, Freedom Writers, Julie& Julia, Shakespeare in Love(more fiction than fact, but still), Band of Brothers(Ensemble Character Driven), The King's Speech, Rocketman, Harriet. People make choices, and the story moves forward.

3. Every Single Coming-of-Age Film Ever
The Breakfast Club, The Perks of Being a Wallflower, Rumble Fish, The Outsiders, Honey Boy, The Peanut Butter Falcon. People make choices, and they make discoveries and the suffer the consequences(except, can you really "suffer" a good consequence? maybe use the biblical definition on that one), and the story moves.

4. The Joy Luck Club
When my twin brothers were six, PBS did a tv series based on Amy Tan's picture book, "Sagwa". So of course, I had to read the picture book. And then I had to read more Amy Tan, so I read this book and saw this movie about the lives of Chinese-American and Chinese women which was brilliant. And the story wouldn't happen if the women in the stories didn't make choices. 

The Now Novel website does an even better job of explaining both of the above than I did (see image below), so check them out too.

There's more than four of each, but this post is already long enough so Goggle can show you the rest.

Wolves of Sherwood  and the as yet named prequel-prequel are about how the characters are shaped by events to become who they are.

Lure of the Fox and Prince of the Blood are about the development of their protagonists and why they become who they become.

Cool huh?

Lure of the Fox: Month of Blood

Remember when I said that "Lure of the Fox" takes place in the colder months?

Well, as of now, I know exactly when it takes place.

Which is cool, considering what month it is right now...for the next five days anyway😛.

Ha ha.

Back in the Middle Ages, though, it wasn't called "November"--very much.  It was more commonly known as:

Blotmonað


Yeah, I have no clue how to say that, but that is how you spell it. 

And it means "blood month" or "the month of blood sacrifices".

See, back when the Anglo-Saxon calendar was a big deal, November was the time of year when it was likely that animal sacrifices were made so that the inhabitants could have a safe a relatively mild winter.

And stockpile for the winter as well.

Because, you know, food. 

These animal sacrifices were likely made when the leaves started to change color and fell off the trees, and it got stupidly cold.

But the sacrifices likely didn't begin until after the harvest was brought in, which was usually after All Saints Day.

Aka November 2.

Hence "month of blood".

November was also a time for bonfires and mischief, particularly because the previous holiday, Samhain, was when the veil between the living and the dead was thinnest, so it's also possible that the animal sacrifices were to appease any lingering spirits in addition to protection from the upcoming weather. 

Of course, Malbete would have his own twisted definition for "month of blood".

And he uses it. 

Especially when it concerns Jean-Luc. 

Because he's so very twisted like that. 

Lure of the Fox: Romani

I said last week that Sorcha and Tirzah can code switch right?

And that there's a reason behind that?

Well, the reason has to do with their genetic, ethnic and socio-economic makeup(a phrase that I absolutely love and will use at any given opportunity, and not just cause it's fun to say).

Sorcha and Tirzah are Romani.

The Romani Flag

(Also spelled "Romany"; also referred to as "Roma", "Rom" or  "gypsies"--which is actually regarded as a derogatory term among the Romani people because of the way this term was used--as a source of abuse and racial discrimination; though there is some evidence that this term came from a misunderstanding of the Romani's origin. This evidence suggests that the word "Gypsy" came from "Egyptian", since it was thought that they migrated from Egypt, rather than northwest India. But I digress...)

Actually, in France, they are referred to as "Gitans" but I'd rather not do an exposition dump in any of my plays, so I'm using "Romani".

Romani have intrigued me since I first read "The Hunchback of Notre Dame"--which has a highly glamorized (and some would say bastardized) interpretation of a Romani in the character of Esmeralda.

And researching the non-fictionalized Romani has been fascinating. For instance:

They are nomadic by necessity.
Romani were among the ethnic groups enslaved by noblemen of the regions they inhabited and were among those rounded up and sent to concentration camps in World War II.

Interested parties can find a little more info on this topic here.

Which explains why Sorcha and Tirzah are so capable of looking after themselves--not that non-Romani are less capable, but...you get the idea, I hope.

They adopt the predominant religion of the region they inhabit.
Romani have spiritual beliefs, and complex rules that govern respect, honor, purity and justice. But they don't follow a single faith. If they happen to be in a predominant Catholic area, then they practice Catholicism, for example. They also have thier own worldview, known as Rromanipé.

Which, while religion doesn't totally come into play, in "Fox", it helps back up a couple of plot points(like Jean-Luc and Tirzah's marriage...spoilers....)

Language
Romani speak a language known as Rromanës, which has roots in Sanskritic languages like Hindi, Punjabi, Urdu and Bengali; and some words have been borrowed from English. 

And this is why Sorcha and Tirzah are able to code-switch. They speak three languages. 

Family is the strongest value held in Romani society.
According to the Rroma Foundation, "Rroma never had a country — neither a kingdom nor a republic — that is, never had an administration enforcing laws or edicts. For Rroma, the basic 'unit' is constituted by the family and the lineage." 
How cool is that?!

Also, lends stronger motivation to Tirzah's actions in the plot of "Fox".

They still face discrimination, persecution and racism today

Romani in Auschwitz

Because or the color of their skin, and/or their culture, and/or anything-else-sure-to-piss-off-anyone-who-fears-and/or-doesn't-understand-a-culture-or-people-different-from-their-own. See nomadic by necessity above.

Also, guess what one of the underlying themes of "Fox" is?

If I piqued your interest, there's more to find out by following this link here.

Also, there is an amazing TEDtalk about the Romani here.

Lure of the Fox: Reflection of Personality

It's NOVEMBER!!!!

Which means it's NANO!!!!

Which means I will use this as an excuse to finish this draft of "Fox" by November 30th, so help me!!!!!

Meantime, here's another tidbit.

One of my favorite authors--Lauren Willig(who I talk about so much both on an off this blog I'm surprised people aren't sick of hearing it yet) said something somewhere about how the atmosphere and plot of a story/plot line can reflect the personality(ies) of the protagonist of said story/plot line.

(Lauren says it a lot more eloquently than I just did and I rooted around on her website for like an hour trying to find that exact quote but to no avail. Grrrr. But I got the gist, soooooo)

You guys, I'm finding that this is absolutely true.

Confession: when I started out writing what is fondly becoming known(to me, at least) as the Sherwood Cycle, I didn't intend it to be more than one show.

But, as it usually the case, I fell in love with so many of the characters(as is my wont) that I had to write more of their stories(and I'm repeating myself, I know).

Wolves of Sherwood took place in the summer.

Wolves of Sherwood was super swashbuckling.

There were 11 fights

(more in the Utah production, because we had three fight choreographers--one main choreographer and two fight captains/assistants--rather than one. Which was cool.)

 And, while there were some dark things that happened in the plot,

for the most part in Wolves of Sherwood, everything was light and frothy and gave you warm fuzzies.

However.

Lure of the Fox is not Wolves of Sherwood.  And not just because the title is different(ha ha).

It's darker.

Fox takes place in the autumn/early winter(the most important part is that there is no snow, cause I hate snow).

It's not frothy and whimsical and dappled sunlight and all of that.

There's shadows and cold and broodiness and darkness--both atmosphere and people-wise.

 It's grittier.

Fox's events occur in a war-torn country,

complete with mercenary thugs and the like,

and, it's me,

so of course there will be combat.

Just not as much--

and those fights are shorter, harsher, bloodier...

because why not(ok, fine, there is a legitimate reason, but still)....

It's heavier.

Stakes are higher.

Consequences are more dire.

Themes are more mature.

Get the picture?

It's sexier.

We get to see what happens when a tiger and a fox-bear get together.

Because yes.

'Nuff said.

It's more cerebral.

There's plenty of emotion and sword fights and the like,

but it's less swashbuckling,

and a lot more internal

 with a heist type plot line, rather than straight up action/adventure.

 Also, it's becoming a lot more character driven,

which is interesting,

as WOS was mostly plot-driven.

Also, also, there's more French.

A lot more French.

All of which actually fits Jean-Luc's personality to a T.

He's cerebral(an emotional cerebral, but still),

he's dark and broody,

he's gritty,

he's incredibly sexy (in my mind anyway, because y'all know how I feel about Dark Horses and their personalities, and it doesn't help my romantic heart that he still looks like Harry Richardson--who is Drake from Poldark--in my head:)

And he's like a dormant volcano,

with thoughts and emotions bubbling beneath the surface

that will explode if not released sooner or later.

But explosions always have consequences.

And it's always really fun to watch those play out!

Thespian Musings & Lure of the Fox: Hazards of Being a Playwright

 So once upon a time, I went on family vacation.

My family really likes to do outdoorsy things(except me) so we planned a hike to---someplace I don't remember where exactly--so we all had backpacks and water bottles/camel-backs and snacks and the works.

And, because I write 24/7(sometimes literally) I had a notebook and a pen in my backpack--the latest draft of a script I was working on. 

We went and did the hiking thing and when we got to wherever it was and stopped for snacks/lunch/rest(or in my case recoup), I took out my notebook and my pen and did some writing. 

And when we got back to our rental house I emptied my backpack to get ready for next day activities and saw this:

Apparently my water bottle was not closed, or something because my entire notebook was soaked all the way through.

Which meant that 75 pages worth of writing were next to useless.

Which meant I had to start my script all over again.

Can you spell C-A-L-A-M-I-T-Y?

And, ok, fine, it was not the end of the world but it was still enough to make me grind my teeth and mutter about "stupid-hikes-and-stupid-water-and-ruined-have-to-stupid-do-all-over-a-stupid-gain"(and that's the filtered version).

You would think I'd have learned my lesson. 

HA.

Flash forward...several years to now. 

August.

Wolves is in rehearsal and I'm plugging away at Fox.

In a notebook. 

Which I'm supposed to carry around with me at all times.

Until one night, I left it in the rehearsal space.

I

Left 

It 

In 

The

Rehearsal 

Space.

And since we were sharing it with other people it probably got thrown away.

And it was fine.

It was fine.

It was totally fine.

I had most of Act II(which was the contents of said notebook) already typed up and I'd worry about the mini plot-holes later and just get to work on Act I--which is probably what I should have done in the first place, but as I said before, I write things backwards.

So I started writing again--this time from the actual beginning, and it was nice. I carried my new notebook around with my new pen(because yes I needed a new pen with my new notebook; it's a thing; shut up) back and forth to day job and rehearsals and everywhere else.

And somewhere between getting from point A to point B I lost that notebook too.

Just like that.

All gone.

Disappeared.

Lost.

Kuput.

Which was awesome.

Grrrrrrrrrrrr.

Soooo I got to start over.

Again.

However,

The upshot of all this is that the old saying "third time's the charm" is actually true in this case.

Yes, I was frustrated cause I had to start from scratch each time.

But each time I was getting a new notebook and a new pen and adding to/cutting from my playlist soundtrack for this script I had a lot of time to think.

Which turns out to be exactly what I needed.

Because when it comes to my scripts and my characters I get

I was happy with what I had before.

I was.

But what I'm working on now is so much better.

Things that didn't click before now are falling into place.

Plot holes I thought I'd have to deal with aren't plot holes anymore.

And I've made new discoveries about my characters.

One of which made my head explode 😛

Lesson?

Make sure your water bottle is closed when it goes in your backpack

Make sure you know where your stuff is, and back it up(like maybe in two or three different places just in case).

Sometimes when things "blow up" in your face, it's cause your Muse is telling you that you have to start over

and you if you don't listen to your Muse or whatever the first time

your Muse will beat you over the head until you do.

Result?

"Fox" is so much better!

And so much fun!

Which means I go home every day to the Writing Cave and emerge every night from the Writing Cave with a big stupid grin on my face.

End of entertaining anecdote.

Lure of the Fox: Animal Parallels

Right, so now that my life has calmed down for a Hot Minute(I have a concept trailer shoot this weekend, so we'll see how long that lasts...) I'm glad to able to go back to "Lure of the Fox"!

People who have read this little blog(and also who know me outside of this) are aware that in "Wolves of Sherwood", each character had a "spirit animal" in my head.

That was a cool little quirk to have

 A) Because it was fun, so why not;

and

B) Because a couple of animal references were in the dialogue so why not give all the characters an "animal parallel" which would mostly stay in my head since it was just for fun.

Except it didn't stay in my head.

All of them eventually made their way into the script.

Which is what happened this time.

So here, for your pleasure, is yours truly's animal parallel list for "Lure of the Fox". Enjoy!

Jean-Luc:

Bears are symbols of power, courage, confidence and introspection(yes, that is a line right out of WOS)and it suites Jean-Luc cause he thinks waaaaay  too much. Foxes are clever, and cunning and that gets them into trouble. A lot. If I told you why Jean-Luc has two Animal Parallels, that would fall under Spoilers, so...yeah, he has two; moving on...

Tirzah: 

Tigers are used as symbols of protection and healing, which is exactly what Tirzah is--a healer, I mean. Other things tigers represent is raw feeling and instincts--the ability to trust oneself and  follow your intuition. Which is what Tirzah does. Also, if you piss her off, she will claw you to death.

Declan: 

This one is kind of interesting. Scorpions are symbolic of defensiveness, protection, treachery, and passion, among other things. Declan is always on the defensive, and closes himself off from everyone and everything, but has a protective connection with Jean-Luc, so...yes, he's a scorpion.

Raynaud: 

Spiders represent shrewdness, resourcefulness, determination and patience--all qualities that Raynaud has. They are also really creepy to look at(especially the ones that seem to scoot over surfaces rather than crawl--that's both creepy and gross!). And this fits because Raynaud is also creepy as all get out.

Cassian:

There is a reason this is one of my favorite animals. Courage, strength, unyielding loyalty, uncanny instincts. All of these are present in a wolf; and all of these are present in Cassian. He just hasn't figured out how to use some of them yet.

Ravenna:

Another interesting one. Ravens can represent loss, sadness and death. However, they are also a symbol of freedom--the "don't tell me what to do" type of freedom. Which Ravenna has in spades.

Tarquin:

Apparently, both of the Gisbourne kids have bird symbols, which is cool.  Hawks stand for vision, intensity, strategy, and power. Tarquin posses all of these qualities.

Sorcha: 

And just as the Gisbourne siblings are both birds, the Massimo girls are both cats. Panthers represent courage, intelligence, valor and tact. Sorcha absolutely has more tact than Tirzah, but if you piss her off she will also claw you to death.

DeClaire: 

Snakes are connected to life changes(like life and death), duality and transformation. DeClaire certainly brings about those life changes, and he is absolutely two-faced. Also, snakes bite or attack when threatened, which, again, is what DeClaire does the little...jackass....

Malbete: 

Ok, first, don't make a weasel mad. They will tear your face off, no joke, the aggressive little suckers. Weasels are symbols of stealth and the cycle of life and death. Huh. No wonder this suits him so well.....

Lure of the Fox: Carmine Reynaud

 Since this is a sequel to "Wolves of Sherwood", some of the characters you already know--if not, just can find out about Tarquin, Declaire, and Malbete here; Jean-Luc here; Cassian here; and Ravenna and Tirzah here.
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
I know I keep bringing up Aladdin, but its the easiest way to describe some things(have you see it yet?!).

Like Carmine Reynaud's personality.

Reynaud is like Jafar from Aladdin. The new one(aka Marwan Kenzari. Google him, cause WOW!!!!).

Yes, I know there are people who didn't like the interpretation of this Jafar, but I loved it! He's subtle; he doesn't explode in public(often); he knows how to manipulate; he can threaten people without even raising his voice.

That's scary.

That is the Reynaud type of scary.

Which is great, because Reynaud is the villain of this piece.

Unfortunately, Reynaud's physical model is not from Aladdin. He's from the films "Alpha," "Atomic Blonde", "Game of Thrones", "The Last Kingdom", and the upcoming "Where'd You Go, Bernadette".

Jóhannes Haukur Jóhannesson. You know what's great about this actor? He can say things in a single look than some actors can say in a paragraph. Watch "Alpha" if you don't believe me. Or just watch "Alpha" cause it's that good.

This is a guy you don't want to mess with. He's dangerous, but he never lets it be known in public--all his threats come in private.

You guys, Reynaud scares me.

And his soundtrack is perfect for the kind of human being that Reynaud is. It's dark and gritty and...well here, give the highlights a listen:

Feed the Wolf, by Breaking Benjamin

Inside, by Sting

I'm Alive, by Disturbed

New Divide, by Linkin Park

This Pain, by Kamelot

Lure of the Fox: Theme Soundtrack

Last post was soundtrack-centered and currently I'm deep in the research cave for "Fox"--plus rehearsals--so we'll go with easy this time and do more music. Sound good?

So "Wolves" was dark, gritty, and political.

"Lure of the Fox" is darker, grittier, and more political.

And I guess--in a way--it's Jean-Luc's fault.

I've always seen Jean-Luc as a harder, harsher, darker character, even before I finished writing "Wolves"(I mean, he's got a serious case of PTSD); and Declan is Mr Dark Horse; and the baddies are all really bad(this is DeClaire and Malbete before they had no control--if they ever had any--and before they got tangled up with Gisbourne--who is calculating, sly and too proud for his own good--which makes both of them...T-E-R-R-I-F-Y-I-N-G). So, because the central character this time around is a harder-hitting type of person, it makes sense to me that the soundtrack for this project is going to be harder-hitting(as you've probably seen by now).

This includes the themes.

Whenever I write, the one thing I never do is sit down and plan out what the heck the theme of the story I want to tell actually is. Characters are what pop into my head first--characters and images.

Because I don't ever start a writing project by thinking "I'm going to write about Subject ABC", theme of the story evolves for me. When it eventually become clear, I'm the last person to realize that. The first time I ever heard one of my plays read aloud and I got great feedback on the themes I had no clue what that even meant.

Not so with this project.

Most likely it's cause "Lure of the Fox" is a prequel, so I have a pretty good idea who these people are and where they end up, so it's easier to figure out where they've come from.

Below are the two songs that embody the theme of "Fox".

RISE(feat. The Word Alive), by The Glitch Mob

When Legends Rise, by Godsmack

  

You know what my favorite thing about these songs is? They both have the word "rise" in them.

Which is what all of these characters have to learn to do, anyway. They all lose(physically, mentally, emotionally), and they all have to rise to the occasion.

Lure of the Fox: Additional Soundtrack

Because rehearsals for the second production of "Wolves of Sherwood" are in full swing(YAY!!!!), I have done a tiny bit a time travelling for this post. 

Several characters from "Wolves" also make an appearance in "Fox", they also are part of my soundtrack. However, as most of these people are vastly different(in some cases) from the types of people they are in "Wolves", their music is slightly different too--and in some cases, their playlist is shorter--and they all come with music videos! Rather than deluge y'all with info you already know, I'll just say this: if you want more deets on these characters, just go here.

Jean-Luc
Demons, by Imagine Dragons

Under Your Scars, by Godsmack

Passionate, by the Backstreet Boys

Survivor, by Olivier Dion

What Ifs(feat. Lauren Alaina), by Kane Brown

Dangerous Night, by Thirty Seconds to Mars

A Bird Without Wings, by Celtic Thunder

Heaven, by Kane Brown

Figure It Out, by Royal Blood

Bleeding Out, by Imagine Dragons

Home(from "Bright" Soundtrack), by Machine Gun Kelly, X-Ambassadors, and Bebe Rexha

Broken Hallelujah, by The Afters

Tirzah 
Creature, by BONES UK

Beltane, by Ron Allen

Lost in the Middle of Nowhere, by Kane Brown

Huron ‘Beltane’ Fire Dance, by Loreena McKennitt

Warrior, by Avril Lavigne

Break the Fall, by Laura Welsh

Tirzah and Jean-Luc

My Angel(from "Furious 7" soundtrack), by Prince Royce

One Thing Right, by Marshmellow & Kane Brown

Him & I, by G-Easy & Halsey

Cassian  Young Volcanoes, by Fallout Boy

Bury It, by CHVRCHES

The Wolves(Acoustic Version), by Ben Howard

Rise(feat. Jack&Jack), by Jonas Blue

The way you dance for me, by Sebastien Agius

Never Say Die, by CHVRCHES

Shattered (Turn the Car Around), by O.A.R.

Younger, by French Wives

Ravenna 
Never Ending Circles, by CHVRCHES

Blackbird(Mocean Worker Re-Mix), by Nina Simone

Here With Me(feat. CHVRCHES), by Marshmellow

There's No Way(feat. Julia Michaels), by Lauv

You Set Me Free, by Michelle Branch

C’est Bientot La Fin(from "Mozart: L'Opera Rock" soundtrack), by Mikelangelo Laconte, Dianne Disigny, Maeva Meline, Florent Mothe, and Melissa Mars

Technicolor Beat, by Oh Wonder 

But I Do Love You, by LeAnne Rimes

DeClaire Indestructible, by Disturbed

Coconut, by Fever Ray

Inertia Creeps, by Massive Attack

Malbete Don’t You, by Candlebox

Blood//Water, by grandson

Cursum Perficio, by Enya 

Tarquin Like A Recall, by Sebastien Aguis 

Crystal Visions, by The Big Pink

Way To Break My Heart(feat. Skrillix), by Ed Sheeran

Nowhere/Bloodlines Pt 1, by Sir Sly

Cross Me(feat. Chance the Rapper & PnB Rock), by Ed Sheeran

Ready to Run, by One Direction

Helpless/Bloodlines Pt 2, by Sir Sly

Last soundtrack had a lot of Blackamore's Night and Peter Crowley. 

This one's got Loreena McKennitt, Kane Brown, and CHVRCHES, for some reason.

And is also seven and a half hours long.