From Myth to Manuscript: The Stories Behind the Stories
Alisse Lee Goldenberg discusses her passion for folklore, character-driven storytelling, and balancing writing with family life. She reflects on her acclaimed series, collaborations, and the magic of theatre and screenwriting.
Alisse Lee Goldenberg is a literary force whose storytelling seamlessly blends mythology, history, and imagination. An award-winning author of Children’s Literature, Horror, Young Adult Paranormal Romance, and Fantasy, she has captivated readers with her rich narratives and compelling characters. With celebrated series such as The Sitnalta Series, The Children of Colonodona, The Dybbuk Scrolls, and The Bath Salts Journals (co-authored with An Tran), Goldenberg masterfully crafts worlds that are both immersive and unforgettable.
Her background in Fine Arts and Education, coupled with a lifelong fascination with folklore, infuses her writing with depth and authenticity. Whether she is exploring the supernatural through the lens of Jewish mythology or delving into the trials of courageous protagonists, her work is marked by vivid storytelling and emotional resonance. Beyond novels, she has also made her mark in theatre and screenwriting, proving her versatility across creative mediums.
In this exclusive interview, Goldenberg shares insights into her creative process, the inspirations behind her beloved works, and the delicate balance of writing while raising a family. Her passion for storytelling is evident in every word, offering an inspiring glimpse into the mind of a writer dedicated to bringing powerful narratives to life.
Alisse Lee Goldenberg is a masterful storyteller, blending folklore, history, and imagination to create unforgettable characters and richly immersive worlds.
What initially inspired you to write fantasy and folklore-based stories, and how has your background in Fine Arts and Education influenced your storytelling?
I have always been interested in fantasy and folklore. I had the good fortune of living with my bubbie (grandmother) while growing up, and she was a wonderful storyteller. She filled my head with tall tales from her homeland of Poland, so while other little girls grew up with Little Red Riding Hood, and Cinderella, I learned about the dybbuks and the shretelech of her childhood.
My degree is in Fine Arts Cultural Studies, so I had a lot of leeway in what I took, so I did courses in everything from Children’s Literature to Apocalyptic Science Fiction, to Horror Films. Afterwards, Education made the most sense to me, as I loved reading and learning about what children love to read and learn about. Even today, most of what I read is what my kids hand me saying that I have to try it out. People say to write what you know, and this is very much what my life is filled with.
The Sitnalta Series features strong, determined characters facing incredible challenges. What is your approach to crafting compelling protagonists like Sitnalta?
For me, the most compelling protagonists are those that feel real. Even before I begin writing the plot, I create my characters. I get to know them, where they come from, their entire biography. With Sitnalta, I got to know her from the day she was born. I looked at how she was raised, what she liked, and disliked, how her mind worked. In order for her to be a full-fledged person on the page, she had to become one in my mind. She had to have flaws, have heart, and feel like someone I could sit down and have a conversation with. When she was all of this, then I could write her story; because then I knew how she would react honestly in any given situation.
As a co-author of The Bath Salts Journals, how do you navigate the collaborative writing process with An Tran?
Writing with An Tran is almost ridiculously easy. She and I met when we were both teenagers doing a summer English programme in Oxford, and she’s been one of my very best friends since. When I approached her, I didn’t even know if she was interested in writing, but she also seemed like the most natural fit for this story. Knowing her love and respect for the zombie genre, I asked if she was interested. Her response was quick, enthusiastic, and slightly obscene. In other words, perfect for the project. Navigating working with her was simple. We crafted a rough sketch of where the story was going, and then each went our separate ways sending each other pages and mock diary entries as they were done. We’ve been workshopping a couple of other ideas since then. We’ll see what happens.
Your works span multiple genres, from horror to children’s literature. How do you adjust your writing style depending on the audience and genre?
I think that my writing style is consistent throughout. What I need to watch is the level of language I use. Certain words and phrases can be acceptable for a gory adult zombie story, but I need to be conscious about how they won’t fly in a middle grade sports novel. But no matter what age range or genre I’m writing for, it’s always character first and building the story around the hero.
Many of your books incorporate elements of mythology and folklore. Are there any specific legends or cultural stories that have heavily influenced your writing?
I’d say that a lot of my writing is influenced by the lasting mark my bubbie left on my life. She was a Holocaust survivor from Poland, and her stories of her childhood, and of the people she lost, how she coped with that and didn’t just survive, but thrive has inspired much of what I do. Throughout my writing, there is a lot of that. I look at how loss and grief can be transformative. I look at the folklore she was raised with and raised me on. Specifically, she talked a lot about her own superstitions and belief in dybbuks. What to do to avoid their whims, and their possession. This is quite apparent in my Dybbuk Scrolls Trilogy.
Beyond books, you’ve also worked on screenplays and plays. How does writing for the stage or screen differ from writing novels, and do you have a preference?
I love theatre. I love the ability to see your words brought to life, and to hear the crowds react in real time. There is no rush quite like that. The frustrating thing is trimming the prose to make a script. Novels rely so much on description, and you get to write out what everyone is thinking, if that’s your wish. There is no limit to what you can put on the page in a novel compared to a stage or screenplay. I sometimes find the limitations difficult to manoeuvre. So, when it comes to writing, I will tend to favour books.
What advice would you give to aspiring authors who are trying to balance writing with other responsibilities, such as family and career?
Don’t beat yourself up over what you can accomplish within the given hours of the day. When it comes to balancing family and writing, I will always allow family to win out. My word documents will always wait for the kids to be asleep or at school. Kids are not so patient. I started my writing journey when my triplets were born. I like to joke that there was nothing good on t.v. at 3:00 a.m. (before the days of streaming). And so, I would write between feeds and diapers. Now, I write when they’re at school, or asleep at night. I will never begrudge them the time they ask for during the day. After all, there may come a day when they stop asking.
