Miriam Landis

I came to writing the same way I came to ballet: by paying close attention and looking inward. I trained seriously as a young dancer and spent years in studios where discipline, musicality, and small daily corrections shaped everything. When I stepped away from a full-time performance path, I struggled a great deal with finding out who I was if I wasn't a dancer. After years away from ballet, immersed in college and the publishing industry, I began teaching—first to stay connected, and then because I found I cared just as much about developing other dancers as I had about becoming one myself.

Writing grew alongside that. I kept noticing the stories dancers carry that aren't publicly told. My novels came out of that space.

Now I split my time between my family, the studio, and the page. Teaching keeps me grounded in the physical, immediate work of dance; writing lets me step back and make sense of it. Both feel like extensions of the same practice: observing closely, being honest, and helping young artists see what’s possible for themselves.