Interview with Lee Lane

Author of All in a Day's Dance by L.R. Lane

L.R. Lane is an author/composer living in British Columbia, Canada where he grew up and went to school.

His interest in words was keen at a very young age beginning with fairy tales sparking a fascination for imagery created by words and now his video (based on the main character from his book) demonstrates the way he processes what he sees and hears to tell a story.

Through his piano practices L.R. Lane drew the correlation to evoking imagery using musical phrases starting in the way many of his music books told simple stories to go with what he was playing and now amplifying the emotional complexities of life through his writing is a huge component of his work as an artist.

How certain emotions could be stirred by playing notes, making phrases and developing them into compositions depicting an array of characters became his repertoire for a dancer navigating through life's emotional ups and downs to come out victorious, unbound so what she hears and feels is no longer just music in a book - instead a private concert hall where everything that matters is on a list of audible events.

Story Description: All in a Day's Dance is about everyone being an artist in their own right and what really matters is how we express our love (the music), value creative freedom and respond to being hit hard by reality (the dance).

A young girl Truchsia is metaphorical, a gem of intelligence and inspiration that epitomizes extremes of visualization atypical in any social circle and has the ability to interpret common occurrences musically and when she designs special qualities for her portfolio of characters then stores them away as works in progress an unusual stage in her life begins. Dirt to be dug up invariably taints the groundwork for her creative outpouring. Yet she perseveres.

Actually everything in this story is metaphorical and fictitious similar to the way things happen to many of us to evoke the response, "I can't believe this is happening!" and that is how possibly the most colorful character in the story is provoked and his name is Farrago.

The unflattering moniker (never meant to be applied) literally evokes emotion and conflict magnified by music and that is how the energy of the story builds with everything described being fictitious, including the music related to it. Yet the arousal of Truchsia's enchantment and her relationship to Farrago could not be more real, and proof of its existence is in the range of music downloads available through the author's website.

L.R. Lane's writing style here describes each morning beginning like a dance with destiny on a stage with transforming sets and characters that resemble being in the twilight of a dream as a spectator whose spirit has slipped through the crack of a closed curtain in a theater prior to a performance, soaking up the sumptuous course of flavorful personal experiences until the rhapsody becomes submerged in a swirl of wickedly frolicking reminders.

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Why did you title your book All in a Day's Dance?
  • There is a sequence of events in every person's day, so to put a light on the emotional structure that coincides with those experiences All in a Day's Dance seems to be the most appropriate title for this book and besides that, the word dance has increasingly become a more encompassing definition for activities in a variety of fields.

    It is through that observation (the variety of fields) that led to the creation of my video depicting how any product of creativity needs heart to burst out of its bubble and to avoid being confined to a box, and it is the most succinct portrayal of anything related to my book out there.
Why did you decide to write this book?
  • I was at a stage in my life where live theater performances came to an end so the idea of writing a book with what I have learned and having it published opened up a whole new world for me, even though it put me at a crossroads trying to decide how to write a story and believe it was necessary. Now looking back I realize that I really had no option and the opportunity to become part of this Profile group for writers is in my mind remarkably fortuitous and a validation that my decision to venture as far out on a limb as I have has potential benefits.

    The opening paragraphs on the profile page caught my attention and I could see that the vision of Profile surpasses run-of-the-mill promotional methods that merely drive the works of many authors to the bottom of the proverbial bin.
What makes All in a Day's Dance different from anything else, especially considering that it is a novella?
  • Think of the book Johnathan Livingston Seagull by Richard Bach which is less than 10,000 words and how that's all he needed to get his message across, demonstrating how the length of a story is not what determines its appeal; besides, I've made my story a "smartphone theater" - an anomaly linking prose and music together in a way that cannot exist anywhere else in the world.

    The subject and style of All in a Day's Dance are also original, but I have occasionally second-guessed the wisdom of creating such a condensed portrayal into a novella because although it is fictionally described in the book anyone can actually listen to the music, therefore a lengthier story would not likely be complimentary. However, it isn't difficult to see how every character in the story can have an expanded biography for some potentially entertaining spin-offs.

    More importantly All in a Day's Dance is designed to entertain with alliterations, word inventions and some newly coined phrases - in general unusual word play - so the page count is not a top priority.
Are you planning to write more stories, and if so, what subjects are you interested in addressing?
  • I always have to have a good reason for writing because needing to deal with the unknown when I wake up every morning, just to be able to communicate and see value in connecting people to the music within them as in the common phrase "face the music" is imperative to me as a creative person. I want the reader to sense the extraordinary relationship building between the illusionary maestro in the story and its inventor, and since the subject has never grown old or tiresome enough for me to consider moving on to anything else, nothing more is planned.
Since you are referring to music as vital to your story how important is it to non-musical readers?
  • Trying to market this work to anyone who has no comprehension of musicality would be like expecting a football fanatic or a physics expert to be immersed in a Gordon Ramsay book on cooking. However, considering that Alice's Adventures in Wonderland by Lewis Carroll paints a picture of rather zany experiences through literature, it is not too different than music being stretched to extremes using literary descriptions and never actually hearing any of it.
What do you think readers will appreciate the most about your story?
  • Being unWalter Mittyish, it leaves just enough to the imagination to be able to relate to everyday situations with a slap in the face to bring the reader back to reality where they can see more clearly that the things we have to deal with everyday are what pushes the envelope of our creativity.

    It really is a "cybertale" of music in a context describing how we all see the same things differently.
What authors do you pattern your own writing style after the most?
  • Authors who have a larger than life (ominous) personality when it comes to trying to understand what makes them tick have always been the most inspirational to me, but I really have not spent any large amount of time living vicariously through other peoples creative work(s). It is really more important to me to find new and better ways of communicating effectively on my own.
Does anyone have to be a dancer to get something out of this story?
  • Not necessarily, because at the end of the day if we play everything back in our mind we will see a kind of choreography to perhaps a routine or new steps carved out to tackle different situations that in some way require us to perform and that's the context of the opening to The TW Suite music, not specifically linked to any lifestyle or occupation.
Can you sum up your story in one phrase?
  • Anyone's performance characterized, caricatured, dramatized and rationalized - all riding on the amount of heart put into it.
Is there a particular setting and time for the story All in a Day's Dance?
  • I guess it can be said that this story is timeless since it is told using metaphors to describe the complexities of human emotions within the realm of daily life and there is no specific place or time, nothing described in it has ever really taken place and the way the characters interact (although it is in their own special world) seems familiar, but from a new perspective.
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The well-known saying all in a day's work transcends to become more special in this metaphorical narrative that encapsulates a visionary's extraordinary approach to living while having to face the music exemplifying the idea that anything going beyond the ordinary is all in a day's dance.