Putting the vagaries of daily experiences into a fictional context
L.R. Lane draws from his original music (The TW Suite)
to build a story using the letter 'F'.

 

A One of a Kind Literature/Music Invention


The words:

Ontological - demanding proof of being real

Terpsichorean - about dancing and movement

Farraginous - a random mixture


Sounding slightly scholarly and implying wisdom, but really only stirring things up when the going gets tough in a world where new ideas are "tools of the trade" they are a formidable trio.

The marketing strategy to promote All in a Day's Dance and its music The TW Suite via the internet has been through many twists and turns leading to a popular newsletter group more different than anyone could expect by using unconventional storytelling techniques to acquaint readers with the music specifically and there is an unusual challenge in it for anyone who is game to try.

The first sentence in the story to follow poses an abstract problem which on its surface seems like there is a practical solution, but by reading further along the role of the formidable trio of words should become clear.

   

A composer in love with a dancer has a dilemma - she needs music to tell her story and he needs a story to make her dances come to life.

Everyone knows it as an ontological riddle about where music comes from asking for an answer to an impossible question - except for the dancer that is and it begins as a fictitious claim that music can come from anywhere.

It is as though a simple equation, experience + emotion + (F) = music if applied will resolve the composer's problem, but it does not.

It only compels him to make his story about everything the dancer does then turn it all into fiction (including the music) in order to prove his love for her and it becomes a serious game of reinventing a single character whose name becomes concentrated into the letter F and leads the composer on a difficult mission to complete an entire suite of original music.

The validity of every step is tested by levels of discernment and changing conditions (farraginous) defying the stereotype of romantic passion and forcing love to redefine itself over and over.

The composer solves the situation only to be faced with one critical fact.

He has no audience because his music only exists in a fictitious story featuring his beloved dancer (ontological).

Knowing the music has to be real the composer must wrangle with F to transform the fictitous soundtrack into a real playlist coinciding with moves on a shifting world stage and the sun rising and setting everyday being the only sure thing.

The process continues in the in the Medium newsletter series.
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