Unless you're Stephen King or Joyce Carol Oates, no one's going to recognize you on the street, and you're promoting your book, not yourself.

I think I was also afraid of the novel. I write line by line, proceeding at snail's pace, rewriting as I go and paring the excess away. This is against all the best advice for writing long form prose, and I have tried over the years to break myself of the habit, but I can't bear to leave anything ungainly on the page and half the fun for me is that tinkering. So the length of a novel was a daunting prospect.

The trajectory of my writing has moved further and further away from autobiography. My first stories in Confessions of a Falling Woman worked familiar territory - places I had lived, people I knew, my life as an actor in New York - and many were prompted by or grounded in personal experience.

Once I had started, I discovered the secret pleasure of writing a novel. It's such an immersive, deep commitment. With short stories, you're continually having to start again from scratch, but with a novel you only need one good idea every few years.

If you had told me twenty years ago that I would write a novel set in Russia, much less two, I simply wouldn't have believed you. I had no familiarity with Russia or its history, but part of what drives me as a reader, and more and more as a writer, is curiosity, the desire to explore unfamiliar terrain and inhabit alternate lives.

Before I got my present job, I spent many years teaching writing part-time, so-called, at community colleges and universities. It's academia's version of migrant labor.

If anything, I've found nonfiction a little easier. You don't have to make anything up. Of course, that's the inherent difficulty as well: when you hit an information black hole, you don't get to make it up. That hasn't come up too often with this project though. I'm lucky to have tons of primary source material , reams of letters and diaries and memoirs.