Interview with Lee Lane
Author of All in a Day's Dance by L.R. Lane
What the "F" is about
All in a Day's Dance introduces a challenge to the reader to find a way out of the bubble and solve the "F" ontological riddle with a terpsichorean twist on how to level a farraginous playing field, which seems impossible. Being the first and only literature/music invention of the twenty first century by L.R. Lane, it is designed as a fun way of dealing with things enigmatic, unstable and disorganized.
It is purely fictional as though there is a special equation (with the variable "F") for finding solutions, with music being the equalizer and dancing a metaphor for creativity about making moves on a shifting world stage while seeking a way to transcend the bubble.
[This "How to be creative with F" newsletter describes the role of the letter.]
However, at the heart of the book there is a theme riddle giving the protagonist a choice to dance around it or face the music to find its true meaning in order to beat and defeat the fantastical character (the unknown) and when you buy the book and music (The TW Suite by L.R. Lane) only then can you discover the star of the story's prowess for overcoming the phantasm and have a chance to get to the finish. There are no shortcuts - only deeper levels and if you look further into it, the author's website has a cache of "juicy tidbits".
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Why did you decide to write this book and title it All in a Day's Dance and what is the story All in a Day's Dance about?
- The idea was inspired by a remark that my live theater performances needed a story line to have more of a context so my wife and I chose the sequence of events in every person's day for that and gave it its title.
Firstly, it's kind of about my own lack of desire (before writing it) to do anything more than to aim for a goal knowing that if it was within my reach it would have personal rewards, so considering the importance of writing about "what you know" I made "the thing that makes us do what we don't actually want to do" the subject of my story.
More succinctly I saw it as being about those of us who are trying to get the most out of our lives everyday, facing a new set of challenges and somehow having to dance through it.
I created two characters who are really one in the same, yet one is the protagonist and the other the antagonist and on the surface though it might seem thematically similar to something else - it is not, because in contrast to other manipulative, conniving, sinister personalities nothing about my antagonist is evil even though he is absolutely unlikable, so those who lean towards Svengali, gas lighters and narcissistic types are not going to understand the relationship I describe with my story.
It is about a young woman using her creativity to grow and she loves music, dancing and life, but what she doesn't know is that there are a set of unknown circumstances both past and present influencing her direction - a common condition pretty much everyone lives with and has no solution to which is the platform on which the antagonist Farrago thrives. All of the things you do not know and are trying to deal with he magnifies. However, to me he is always a disorganized version of the truth and when I introduced him to the protagonist in my story the opportunity for nuances of expression correlating to my music suite came to light. As a result, facing the music the main character invents compositions making what is disorganized become organized.
Since the perception of the ontological riddle is always an influencing factor I want anyone reading my story to think only of smart ways to wrap everything up in an organized victorious fashion.
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.
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.