Blending Journalism and Fiction with Mastery
Iris Dorbian discusses her journey from acting to journalism, the inspiration behind her award-winning novels, her investigative reporting, and the storytelling principles that shape her compelling fiction and non-fiction works.
Iris Dorbian is a storyteller of rare breadth and depth. An award-winning novelist and seasoned journalist, she has carved an impressive career that seamlessly bridges the worlds of investigative reporting and creative fiction. Her name is synonymous with excellence across multiple literary landscapes, from business journalism in Forbes, The Wall Street Journal, and Business Insider to insightful coverage of the theatre industry as the long-time editor-in-chief of Stage Directions magazine.
Dorbian’s ability to capture the essence of complex industries with clarity and precision is matched only by the rich emotional landscapes she weaves in her fiction. Her latest novel, Next Stop, Boston, is not only a 2024 Firebird Book Award Winner but has also garnered accolades for its gripping narrative and masterfully crafted plot twists. Meanwhile, her historical novel An Epiphany in Lilacs delivers a poignant and unforgettable account of survival in the aftermath of war. Whether through non-fiction or fiction, she possesses a remarkable ability to engage, educate, and deeply move her audience.
In this exclusive interview for Reader’s House, Dorbian reflects on her journey from the stage to the newsroom, her research-driven approach to writing, and the stories behind her critically acclaimed books. She shares insights into her literary philosophy, the challenges of covering the evolving cannabis industry for Forbes, and the lasting impact of her theatre journalism. A consummate professional and an inspiring voice in contemporary literature, she is a force to be reckoned with.
As you delve into this conversation, prepare to be inspired by an author whose work transcends genres, capturing both the immediacy of journalism and the enduring power of fiction.
Iris Dorbian’s storytelling brilliance shines in both journalism and fiction, crafting insightful, thought-provoking narratives that captivate, inform, and inspire readers worldwide.
What inspired you to transition from acting to journalism, and how did that shift influence your career?
I was tired of always being broke and always auditioning. It was a grind I found increasingly untenable as I entered my early 30s. I was fed up and burnt out. Compounding to my discontent were a few toxic experiences that made me seriously question continuing this slog of a career. During this time, I started exploring other career options, which always led me back to my other love—writing, particularly journalism. I applied to my dream school, Columbia Graduate School of Journalism. They rejected my initial application but encouraged me in the rejection letter to get a year’s experience before reapplying. I did that by taking writing and editing courses at another school. Through one of my instructor’s referrals, I managed to get a byline in a local newspaper. I reapplied to Columbia’s j-school two years later and this time, I was accepted.
How did your experience as editor-in-chief of Stage Directions shape your approach to writing about the theatre industry?
My firsthand experience working in theater as an actress absolutely informed my approach to writing and editing about theater. Without that unique insight and personal knowledge, I’m not sure I would have been able to generate story ideas and edit content with such ease and facility. This doesn’t presuppose that you must have a theater background to be an effective editor of a theater magazine—but it certainly helps having that built-in familiarity.
Could you share some insights into your experience writing Great Producers: Visionaries of the American Theater and the research process behind it?
In 2006, while I was still working as editor-in-chief of Stage Directions magazine, I was commissioned by Allworth Press to write Great Producers: Visionaries of the American Theater. My editor and I decided it would be best to write the book as an educational resource, full of helpful tips and fun, insider anecdotes. The targeted readers would be drama educators, drama students and aspiring producers. And because Broadway is seen as the pinnacle of achievement in theater, nearly all of the producers I interviewed for the book had a Broadway background.
I culled my list to very prominent and prolific producers in addition to legendary producers, such as Florenz Ziegfeld, David Belasco and Joe Papp. For the latter three, I thought it would be highly disingenuous to write a book about great producers and not include three long deceased icons who left an indelible mark on the theater landscape. I interviewed nearly all the producers featured in the book, asking them how they got started, their career highlights (and lows) and tips they wanted to impart to budding producers. I also spoke to key creatives, such as actors, directors and designers who had collaborated with these producers for their insight and input.
Obviously, I couldn’t interview the dead producers, so for Papp, I interviewed people who worked with him while also delving into research to fill in the holes. And believe it or not, I was able to speak to someone who had worked for Ziegfeld as one of his Follies when she was a teen! At the time I spoke to her, she was over 100 years old and very alert and spry! That was a real boon for my research.
Belasco was a bit difficult as he died in 1931 and if there was anyone around who had worked with him in his lifetime, I couldn’t find them in 2006 or 2007 to interview. For him, I spoke to a top lighting designer about Belasco’s contributions to American theater as Belasco is considered the father of technical theater. The designer had a lot to say about him.
Initially, it was a challenge snagging the interviews with the producers as they are very busy and can be guarded when it comes to talking to press. But after one producer agreed to be interviewed for the book thanks to a bit of coaxing, the others soon agreed. It was a wonderful nearly year-long process that I enjoyed thoroughly.
What challenges did you face while covering the business of the legal cannabis industry for Forbes?
Because this is an industry still wildly in flux in the U.S., one of the big evergreen challenges I face writing about the business of cannabis is that the news, especially in the regulatory channels, can change from week to week. Consequently, what’s current one week becomes obsolete the next. This is really the case when it comes to the increasing number of states legalizing the recreational and/or medical markets.
How has your background in journalism shaped your storytelling in your novels, particularly in Next Stop, Boston?
When I was in journalism school, I learned several important writing tenets, which have served me well as both a journalist and novelist/nonfiction author. One, always remember you’re telling a story, whether it’s in a factual context as in journalism or in a fictitious context as in novel writing. And two, always remember your audience and to engage them. And finally, write to express, not impress. Too many writers and authors like to forget that last best practice.
What themes or messages do you hope readers take away from An Epiphany in Lilacs?
The true test of survival begins after the war. In this instance, it’s World War II and the survivor in question is the teenaged protagonist Daniel who survives the Holocaust not knowing whether his immediate family has also survived. There is also another message: Even in the bleakest of hours, there is always a beacon of hope.
What advice would you offer to aspiring authors looking to navigate both fiction writing and non-fiction journalism?
For each piece of writing, be it fiction or non-fiction journalism, try to distill what the story is about in one or two sentences. If you can’t do that, then you don’t have a story. Also, don’t get intimidated by the blank computer page. Once you know what your story is about, start writing, even if it seems like gibberish. Don’t self-edit as you go. You can do that when you’re done. The most important thing is getting it all down in the first draft. Once you’ve done that, then the real work begins.
