I’ve been following Julia Jordan’s career since she was living on a boat.

That’s right, early on in her life in NYC, she lived on a boat . . . in Manhattan!  And why?  Well, it was cool, of course, but she did it so she could have cheap rent so she could write more.

And write more she did . . . impressing me and tons of others with her early output including The Mice, Sarah Plain and Tall, many others, and eventually, that cool, suspenseful, Murder Ballad.

Her writing has always gotten her a lot of attention, but over the last several years she’s held the microphone for one of the most important conversations in the theater . . . gender parity.

She founded The Lillys and has been instrumental in The Count.  Don’t know what The Count is?  Well, listen in and hear her tell you in her own words, as well as . . .

• How the most important thing her first writing teacher did was NOT discuss the quality of her work.
• What a Pulitzer Prize winner told her to do with her main character to get her play produced . . . and it worked . . . unfortunately (you’ll hear why).
• Why she thinks about her audience when she writes.
• What Broadway means to her . . . and why she doesn’t care if her work gets there. (Which will probably be why she DOES get there, btw.)
• The shocking statistics about gender in the theater and how she is helping change that (and what you can do to help).