Music has always been part of my storytelling. Long before a scene fully forms in my mind, there is often music playing somewhere in the background — sometimes softly, sometimes overwhelmingly — shaping emotion, atmosphere, and memory long before the words arrive. For me, writing and music are deeply connected. Both tell stories without needing to explain everything directly. A single melody can create longing. A single note can awaken memory. A single song can transport us back to another moment in our lives almost instantly. That emotional power fascinates me endlessly as a writer.
Music Creates Emotion Before Words Do
One of the most remarkable things about music is how quickly it reaches the heart. Before we fully understand a story, we feel it. Music works the same way. A haunting violin can create sorrow before a single word is spoken. A sweeping orchestral piece can make a moment feel timeless. A soft piano melody can carry nostalgia, romance, loneliness, or hope all at once. When I write emotional scenes, I often imagine them almost like film sequences — with music shaping the emotional rhythm beneath the dialogue and imagery.
Sometimes I build entire chapters around a feeling created by a melody.
Different Stories Have Different Soundtracks

Every book seems to carry its own musical atmosphere. Some stories demand silence and reflection. Others feel cinematic and grand. For my time travel stories, I am often drawn to music that feels nostalgic, mysterious, and emotional — pieces that seem suspended between centuries. For more emotional or introspective scenes, piano music becomes especially important. Piano has a unique ability to feel intimate and haunting at the same time, almost like memory itself. And sometimes, music becomes more than inspiration.
Sometimes, it becomes part of the story.
Have you ever heard a song and instantly remembered a person, a place, or a moment you thought you had forgotten? Music has an extraordinary relationship with memory. A melody can unlock emotions buried for years. It can bring back entire moments with startling clarity — the light in a room, the feeling in your chest, even the version of yourself you once were.
That connection between music and memory has always fascinated me creatively. Perhaps that is why music appears so often in my writing: because it feels deeply tied to emotion, longing, nostalgia, and the invisible threads connecting people across time.
Music as Memory
Music helps create those emotional landscapes. It slows scenes down. It deepens emotion. It gives silence meaning.
I often think of stories visually and musically at the same time. Sometimes I imagine scenes almost like fragments from an old film: rain against windows, empty concert halls, distant piano melodies, city lights at midnight, forgotten letters tucked between pages of old books.
And in many ways, it becomes another character within the story itself.
The Heart of Rhapsody in Dreams

Music became especially important while writing Rhapsody in Dreams — a story shaped by dreams, memory, longing, and the haunting feeling that certain souls may find each other again and again across lifetimes.
The novel’s emotional atmosphere was deeply influenced by piano music and cinematic compositions.
I wanted the story to feel almost dreamlike — delicate, emotional, nostalgic, and slightly unreal, like a melody remembered from another life. Because sometimes music expresses what words never fully can.
Stories and music both exist to make us feel something. They remind us of who we were. They help us process what we have lost. They allow us to dream beyond ordinary life.
And perhaps that is why certain books stay with us forever — because they carry emotional rhythms we recognize somewhere deep inside ourselves. Long after the final page is turned, the feeling remains.
Like a song we cannot forget.
Excerpt from Rhapsody in Dreams
Her seat was empty.
Al took another bow, smiling at the audience. A standing ovation, which he never took for granted and was always touched and humbled by, held him on the stage of the Jacoby Hall for the last fifteen minutes straight. They didn’t want to let him go. Shouts of bravos, loud cheering, and even whistling along with a thundering applause kept him in a spellbound state of mind only a musician could understand. His heart rejoiced. His art, his music, was well received and approved of, accepted. The Oktoberfest concert was a smashing success. Al was happy, but tired to the marrow. And strangely bereft. Her seat was empty.
Why did she leave? When did she leave? She was there through the first part of the evening, for the Wagner. During the intermission, he tried to switch gears and prepare himself mentally and emotionally for the Beethoven part of the concert, all the while changing his soaked-through clothes. He was too wound up and busy to think about anything but the music.
When he came on stage for the second part, she was there, sitting with her grandmothers and her friend, looking like a human torch in her dazzling golden dress. Her eyes, those impossibly huge mermaid’s eyes, looked straight at him—straight through him—like she could see inside of his head and his heart. How could he ever forget those eyes?!
Al’s breath hitched, and his heart went into overdrive. How could he ever think that he could forget about her?! How he could have survived these eighteen years without her was the question he couldn’t answer, even if he had the time and inclination to ask himself and to ponder on, which he did not. He was on stage, about to perform one of the most demanding pieces in music history: Beethoven’s Ninth Symphony with the famous Ode to Joy.
But he could feel her eyes on him all through the sixty-five minutes of the performance, from the very first note to the very last. He was never distracted when he performed; he never thought of the audience behind him when he conducted or in front of him when he played as a soloist. During the performance, he’d forget where he played—what city, town, country—never think of what hall, theater, or stage he was currently on. He simply forgot anything and everything as soon as the music started. Such was his focus on music and his dedication to the craft.
Today was the very first time when he had felt his focus wavering—oh, so slightly—by the presence of one special member of the audience. Her. And for the first time in his career, it mattered what that one member of the audience thought of his performance, whether she liked it or not.
And then, after the Ninth, when the excitement of the audience and the thundering applause made him return onstage for the fourth time, Al decided to play a very special piece just for her. He didn’t know that he would. It wasn’t planned.
But when it became obvious that an encore was inevitable, Al had requested a piano to be wheeled in the center, and he sat at the bench. The audience exploded with an enthusiastic applause but hushed as soon as Al lifted both hands, palms up.
The silence was absolute.
He took a deep breath, closed his eyes. And then began to play.
It was the piece inspired and dedicated to the girl who looked at him with her huge blue eyes clouded with pain and shock. It was a melody born from the heart and nurtured by the promise he had made—to show her the wings. He had composed it more than two decades ago and had played it in public only once. For her. Eighteen years ago. Today was the second time. Unusually nervous, Al placed his fingers over the piano keys. And showed her the wings. Again.
When the piece was over, Al sat at the bench for a long time, his eyes closed, his hands poised over the piano, suspended in between the music and the silence.
The audience, spellbound by the magic, was mute. And then all the people in Jacoby Hall surged to their feet. It was a standing ovation. It was an absolute success. Al, finally coming back to reality, slowly rose from the bench and, turning to the audience at last, looked directly at the place where his special guests were seated. But her seat was empty…




















