Questions from Book Tour - Part 2

I wanted this to be the cover. I... didn't win that one.

1. The novel exposes much of the social change and violence in Russia that the characters experience. Did you feel that you wanted to create a different and perhaps more realistic story for the characters than the more sentimental one that existed in Fiddler On The Roof?

I did absolutely. The tone of the world changed dramatically in 1905 after the first Revolution—and Fiddler on the Roof nods to those changes directly with the program, the inter-marriage of Chava, the presence of Perchik and his ideals, and subsequent imprisonment.

But what Fiddler hints at, but does (and can) not directly display, are the true horrors experienced by individuals across the country during that post-1905 era. These are the brutalities endured particularly by women, children, the elderly, political activists and the religiously displaced. I wanted to add those very real adversities realistically to the plot, to throw light on a profoundly dark era, and in doing so, give our protagonists the dignity they deserve for they have the strength and capacity to endure such horrors.

I receive some strong "criticism" that the book is "dark" or "not like Fiddler—" both of which I don't interpret as criticism at all. Not only because those points are both accurate, but moreover, I am extremely proud of them!

Everything changed in 1905. The world became a harsher place. By hiding those truths, by brushing them under the rug, avoiding the horrors entirely and treating them like mere historical 'unpleasantness,' I rob Hodel, Perchik (and the millions of human beings they represent) of their strength and capacity to endure. Historical fiction is fiction, yes, but it is also historical. A history that was real, and thus must be accurate because the authors are choosing to set their tale truthfully in a time and place different from our own and it is important that we tell the truth. Details matter. Truth matters.


2. When did you start writing After Anatevka and did the writing process affect how you approached your role in the play?

I began writing the book about a year after I completed playing Hodel so it did not have an impact on her portrayal. However it did have a great impact on my portrayal of Tzeitel on Broadway, and subsequently, I utilized that knowledge and put it back into the manuscript before finally submitting it. It truly was stage to page, page to stage, and back again.


3. If you were writing/editing during the New York production, how did your role as Tzeitel affect your writing of hat is basically Hodel's story?

I realized that I had judged Tzeitel! Not unlike the way siblings judge one another growing up and come to understand the complexities more finely as they grow up.

One of the things so fascinating about being a human being is that we can all experience the exact same upbringing, parental guidance (or sadly, sometimes, lack thereof) the same birthday parties, high schools, teachers, elections, vacations… the list goes on. We can have identical experiences, and yet, interpret those experiences totally differently for a myriad of reasons. It’s one of the great joys of growing up— reconciling those differences and hopefully making sense as well as peace.

I suppose that is exactly what happened between Hodel and Tzeitel for me, the only difference was the experience occurred at the same geographical address. The result is a real dialogue between my older and younger “selves” and I believe one of the strongest parts of the narrative.


4. What is a fun fact people might not know about you?

I’m an introvert. In fact, according to the Myers Briggs personality test, I’m a super-introverted  INFJ (which is a very rare personality type, about 2% of the world’s population).

Many—if not most—people challenge me on this, based on their misimpressions of not only me but introverts in general. They meet me for 5 minutes and perceive me as "gregarious" or "friendly—" both of which I am the majority of the time. But those qualities are not antithetical to introversion. Introverts are not necessarily aloof, shy, people-hating trolls, we simply recharge our personal batteries in solitude.

Some unsolicited advice? If a person shares with you that they are an introvert, never say “But you’re so friendly” or “but you’re not shy” or, the worst of all: “No you’re not!” Comments like these are degrading to Introverts (who are not necessarily aloof, shy, socially anxious or rude). The final statement especially attacks the person’s sense of self, and knowledge of self. All of these comments are presumptuous and abrasive.

If you are surprised to learn that a person declares themselves to be an introvert, it is perfectly appropriate to respond with “Oh really? I find that very surprising, please tell me more,” but to deny what an Introvert is, or worse, that a person does not fully know themselves is rude at best, particularly if the individual prides themselves on their self-awareness. It is wise to assume that you are not the expert on anyone but your self. Ask questions before making any statements.

Despite my highly developed extrovert behavior, I still require (and enjoy!) lots of time alone to process life, abhor small talk, love to socialize in small groups, treasure my closest friends, and enjoy quiet, solo activities above all others. These all indicate that I am a powerfully introverted person— it does not mean that I don’t have highly developed extrovert behavior! But that behavior is energetically “expensive,” and I must always recharge from it.


5. It is highly unusual for someone to both act as a popular character (Hodel) and then to create a novel. Are you hoping to continue as a writer by creating more novels or do you prefer to continue more of your career in acting and singing?

I do not intend to stop professionally engaging in either! It has been my honor to enjoy such a varied and ongoing career on the stage, and writing has brought be extraordinary creative pleasure—We only get one life. Why limit oneself? I desire a rich and textured life full of a variety of experiences from the personal to the professional.

Is it at times challenging juggling doing multiple things? Certainly.
Rewarding? Inexplicably.

An example: Motherhood is an expansion of Womanhood, not the definition of it. So too is becoming a professional writer an expansion of my artistic identity. It is an expansion of my artistry, not the definition of it.

Society often associates “success” with a very vertical trajectory of accumulated rewards. “More." More things, more wealth, more possessions, more accomplishments, Broadway shows, fame, followers, etc. But I desire a wider trajectory of “more." More experiences, more connections, more skills, more cultures, knowledge, satisfied curiosities, and, I suppose, more careers. I’ve said it before, but success is not about what you do, it is about how you feel about what you do, and I feel my best when I am contributing to the world, and connected to a sense of attempting to fulfill my maximum possible potential for one lifetime.

When I am done with this life, I want to feel like I wrung every last drop out of life's washcloth.