 Lynes notes that Lane's "primary compositional investment" is in "the sonic elements of language—noise, the play of sound" rather than in the subject matter of the poem.In response to an interviewer's question about her writing process, Lane has said "I think a lot about how it [the poem] sounds, and I revise a great deal to get the sound right for the subject".Lynes identifies the main broad concerns of Lane's work as "aesthetic, ethical/political, and environmental".