My first conversation with Miriam Landis took place just over a year ago, fittingly, about a book.
We were sharing our appreciation of Pacific Northwest Ballet Artistic Director Peter Boal’s recently-published memoir, and although only a short exchange, it was one that would prove to be a starting point for a longer conversation twelve months later.
And this time, about her writing.
I recall (waaaay) back during my elementary and middle-school summer breaks, we were assigned with choosing several books from a recommended book list, reading them, and then summarizing them on an index card with a focus on identifying the moral of the story.
Considering my attraction at the time to all things ballet, I undoubtedly would have selected Lauren in the Limelight and rushed home to read it.
But I would have had a hard time expressing the lessons the book was written to teach me. Not because there aren’t any. In fact, quite the contrary; it’s because there are so many.
Landis’ third book, Lauren in the Limelight, is jam-packed with life learnings told in an entertaining way. The first three chapters quickly establish the book’s geographical setting as well as the three protagonists whose alternating narration of the chapters provides different perspectives as the story moves along.
Lauren, Bryan, and Serena are three highly self-aware preteens who are in the same ballet class. Now, I’m either very unaware of what eleven year-olds are like in the 21st century or Landis has intentionally created such emotionally mature role models in order to have vessels who could carry her messages to the masses.
On the cusp of adolescence, the trials and tribulations of the main characters are the driving force behind this coming-of-age fiction. They carry so much weight on their shoulders and in their hearts as they navigate peer experiences related to racism, bullying, grief, and competition while at the same time trying to understand the unique dynamics of each other’s families, as well as their own.
Along with the heavy stuff, we are made aware of just how meaningful laughter, empathy, and compassion are in overcoming challenges. And it is in these moments during the book that we feel the comfort and resolution not unlike that which comes from being hugged by your best friend.
Although Lauren in the Limelight uses the ballet world as its principal universe, the story reaches beyond the boundaries of the studio walls and rises above the second tier of McCaw Hall.
And it is precisely this that I wanted to chat to Miriam about – along with, of course, the ballet references. Read on for insight into the author’s mind, imagination, and inspiration.
In her third book, Miriam Landis draws from her observations as a former professional dancer and active ballet teacher (at Pacific Northwest Ballet School) to create this entertaining and enlightening book revolving around the mental and emotional growth of its preteen protagonists Lauren, Bryan, and Serena. For more insight, read our interview with Miriam Landis.
Interview with Miriam Landis
‣ Any dancer and/or dance educator can immediately see themselves in many of the situations presented in Lauren in Limelight. Which of your own experiences specifically informed some of the storylines in the book?
Hearing that others can see themselves in the book means a great deal to me, and I appreciate you saying so.
For my first two novels, Girl in Motion and Girl on Pointe, I used many scenarios from my experience. That’s common for a writer’s early work. Lauren in the Limelight was different – I was working on leveling up my craft, so the plotlines came more from my imagination and scenarios I’d seen with my kids and students.
The one situation that drew from my experience is Lauren’s shift from wanting to quit because she doesn’t get the role she wants (minor spoiler there) to her growing to understand how to find pleasure in the work. I can clearly remember how my thinking changed when I was Lauren’s age and how disappointments helped me reevaluate why I should continue dancing and what I should expect in that world. I thought that was important to show in her character.
Developing expertise in any specialty is impossible without committing to the work and accepting there will be failures.
‣ Considering your involvement in the ballet sphere, were there particular people in your life who helped you in molding certain characters?
Yes and no. I wanted the book to reflect the ballet world as I see it professionally.
Here at Pacific Northwest Ballet, we have some extraordinary dancers who break stereotypes. I knew it was inevitable that readers would see shades of those real-life dancers in my main characters.
That said, when I designed the book, I had specific themes I wanted each of my characters to learn, and I based the identity and journeys of my three protagonists around those themes, not around people I knew. I’ve been in the ballet world a long time – over forty years – so I’ve known many, many teachers and dancers and could make each of the characters a mash-up of people I’ve known in a way that served my story.
‣ Why did you choose to use rotating points of view?
Great question. I owe that choice to a mentor and dear friend, the great literary agent Richard Curtis.
My early drafts of the book were all told from Lauren’s point of view. After Richard read it, he said the story would be much more interesting if we could get into some of the other character’s heads. So, I tried writing a few chapters in Bryan and Serena’s voices and never looked back.
I was afraid to write in Bryan’s voice. The way the publishing industry is today, it can be perilous to write a character different from the author, and I am not a 12-year-old Black boy who wants to dance on pointe.
Several other writers told me I had no right to tell his story. But over time, it dawned on me that if I didn’t include Bryan’s point of view, that specific type of character would probably never show up in a book.
So, the more I wrote in Bryan’s voice, the more I felt obligated, and I knew he had an important story to tell. I did my best to get him right.
The other reason rotating points of view worked well was that I could give the reader a better idea of how every dancer has different feelings toward ballet.
One of the big questions all young dancers must figure out for themselves is whether they love ballet and how much.
- What sacrifices are they willing to make for it?
- Does making ballet a big part of your life bring more pleasure or pain?
The answers are different for everyone, especially during the years when puberty hits, and friends change and fall away. Serena and Lauren’s relationships with ballet are very different, and their feelings about dance play a huge role in how their stories turn out.
‣ There are many feel-good moments throughout the story, but they often seem to be overshadowed by drama or interrupted by some sort of unfortunate circumstance. How do you respond to those readers who may thus have the impression that the road to being a dancer is full of so many obstacles?
My response would be that I’m glad we’re talking about it. One of the primary reasons I wrote three books set in the ballet world was to bring attention to the psychological and emotional issues that come with the territory.
As a ballet student, you learn how to dance and be silent in the studio, but it’s only recently that schools and companies are paying attention to all that goes on for dancers beyond the technique. When I left my ballet career to go to college, I remember asking why no one told me how hard it was going to be and where it was all leading.
When you look for books about dance, you’ll find histories of ballet, memoirs of famous dancers, children’s picture books, and little else. I can count on two hands the novels about ballet dancers, and there are even fewer about teens.
There must be some drama and misfortune in fiction, or there is no story, but I tried to be accurate about the ups and downs of dancers’ lives and not sensationalize in a way that condemns the art form.
I love ballet and have done my best to show how much there is to be learned from participating in it.
‣ What lessons were you indeed hoping to impart on the readers?
The lessons that Lauren, Serena, and Bryan learn are the most valuable takeaways, not winning a leading role or receiving praise.
Lauren understands that to achieve excellence, she must do the work despite the outcomes. Serena develops the courage to follow her heart despite parental expectations. Bryan discovers that it’s okay for him to be the person he is on the inside, even if it’s not what the outside world expects.
There are obstacles – a lot of them – for most kids who want to dance professionally, even the very talented ones. I’d rather we be honest and upfront about that instead of sugar-coating it.
‣ The book reads so loud and clear as, unfortunately, the current state of many of the issues touched upon still leave much room for concern. What are you hoping to achieve by placing them at the forefront of young readers’ minds?
Because ballet is historically such a closed world, many parents and young dancers fall in love with it before understanding everything involved. There is so much illusion involved in ballet that it can be very confusing when the ugly side of it rears its head.
Knowledge is power, and I’d rather share it than gatekeep.
When we send our kids to college, we do all the research, but the inner workings of ballet programs and companies are more challenging to understand. I want young dancers and their parents to know what to expect.
My other intention was to raise awareness in the ballet industry of our impact on people’s lives. The industry can and should improve if we want this art form to remain relevant and receive ongoing support.
We must do better for the communities we serve. We’re all connected in our love for dance.
‣ Considering the broad reach of the themes covered, what other settings – rather than ballet – do you think would have worked?
I love this question.
In writing this book, I used ballet as a prism for kids’ challenges in many other passionate pursuits. Because of that, the story would have worked in any other competitive activity, from gymnastics to ice skating, tennis, chess, and beyond.
‣ I imagine your intent is to reach as many young audiences as possible. What has been the most difficult barrier to cross in attracting readers who perhaps cannot see past the pointe shoes on the cover and assume that Lauren in the Limelight is “just another ballet story”?
Where do I even begin? I struggled for so many years even to bring my books to readers because the publishing industry insisted that ballet was too niche. General publishers said they wouldn’t know how to market these books.
They have indeed been a labor of love that perhaps echoes Lauren’s big lesson about doing the work and persisting. Ballet prepared me well for what these books required.
The problem is inherent to ballet itself - how can ballet appeal to a broader audience to survive?
Because I’m entrenched in the ballet world, I had to make the package about ballet because I wrote it for all the dance people I love. However, reaching a wider audience is challenging, and I am still looking for innovative ways to market it. Anyone who follows me on social media can see I’m still at it.
I’d love to see the book break out past our dance audience the way Center Stage did, but in today’s world, it’s so difficult to get people’s attention. I’m confident people who know nothing about ballet will enjoy it. I’m all ears if people have fresh ideas for spreading the word.
Thanks so much for having me. I’ve enjoyed your coverage for years and am honored to be here.
‣ Thank you for taking the time to speak with us!
Featured Image of Miriam Landis by Dan Lao and cover illustration of Lauren in the Limelight by Jill Cecil.
