Is Writing Every Day A Must?

Lots of authors worry about the number of words they write per day. Some even post the tally on Facebook as if they’re in some kind of competition.

And if they’re not writing at least 500 or 1200 or 2000 words or whatever quota they’ve set, they feel miserable. Why aren’t they working harder? Why are they stuck? What’s wrong with them? How come everyone else is racking up the pages?

If that kind of system works for you, fine. But I think too many writers believe that if they’re not actually physically writing a set number of words every single day, they’re not just slacking, they’re falling behind and even betraying their talent. Especially when they read on line about other people’s booming word counts.

How do they get caught in that kind of dead-end thinking? It’s thanks to the endless blogs and books that urge writers to write every day and make that sound not just doable, but the norm. Some days, though, it’s simply not possible. Hell, for some writers it’s never possible. And why should it be?

And if you can’t eke out your daily quota, the advice sometimes goes that you should at least re-type what you wrote the previous day. Well, even if I weren’t a slow typist, that’s never had any appeal for me, either, or made much sense. I’d rather switch careers then do something so mind-numbing.

I don’t urge my creative writing workshop students to write every day; I suggest they try to find the system that works for them. I’ve also never worried myself about how much I write every day because I’m almost always writing in my head, and that’s as important as putting things down on a page.

But aside from that, every book, every project has its own unique rhythm. While recently working on a suspense novel, my 25th book, I found the last chapter blossoming in my head one morning while on the treadmill at the gym. Though I sketched its scenes out when I got home, I spent weeks actually writing it.

Some people would call that obsessing. They’d be wrong. What I did was musing, rewriting, stepping back, carefully putting tiles into a mosaic, as it were, making sure everything fit right before I went ahead, because this was a crucial chapter. I was also doing some crucial fact-checking, because guns are involved and I had to consult experts as well as spend some time at a gun range. It took days before I even had an outline and then a rough draft of ten pages, yet there were times when I had written ten pages in a single day on this same book.

The chapter was the book’s most important one, where the protagonist and his pursuer face off, and it had to be as close to perfect as I could make it. So when I re-worked a few lines that had been giving me trouble and found that they finally flowed, it made me very happy.

And if I didn’t write a word on any given day or days, I knew I would be, soon enough. Because the book was always writing itself in my head, whether I met some magical daily quota or not. I don’t count how many words or pages I write a day, I focus on whether what I’ve written is good, or even if it has potential with revisions. That’s enough for me.

Lev Raphael has been teaching creative writing at Michigan State University, and you can study with him online at writewithoutborders.com.

Teaching Creative Writing Should Be Creative, Not Destructive

I’ve done a lot of speaking at colleges and universities around the country and faculty tell me many behind-the-scenes stories. Properly disguised, they make great material for my Nick Hoffman academic mystery series: tales of petty infighting, squabbling committees, ridiculous vendettas–all the simmering snarkiness that Borges called “bald men arguing over a comb.”

But I also hear stories from students that aren’t remotely amusing, stories about what it’s like for them to be in a classroom with a professor who sees teaching very differently than I do. Teachers who seem to enjoy shaming students in front of the rest of the class, as if they’re coaches whipping an under-performing player into shape.

Creative writing is one of my passions and I’ve heard of professors in these classes who stop students while they’re reading aloud and say, “That stinks!” or worse. I’ve never done that. I have stopped stopped students to ask them to slow down or read more distinctly, or to say something positive if I was blown away and couldn’t wait till they’re finished. And sometimes I just start laughing if the work is really funny. As for dissing a student’s work, seriously, who does that help?

I’ve heard of some professors who can be so intimidating that they make students shake with fear when they challenge what the students have to say. I’ve also heard of professors in creative writing classes who don’t let everyone read their work aloud, but keep picking their favorites, creating resentment and embarrassment. In my creative writing classes, everyone has read aloud because the class should be a creative community, not a jungle.

I see it that way because I had an amazing creative writing teacher freshman year at Fordham University; she became my mentor and model. She ran her workshops with good humor and warmth. She spurred us all to write better by pinpointing what we did best and helping us improve whatever that was. She never insulted us, humiliated us, made fun of us, or played favorites. She encouraged us all with grace and good humor. I’d even say she enjoyed us; she definitely enjoyed being in the classroom and made us feel that way, too. Nobody ever dreaded being there.

Teaching isn’t combat or coaching, especially teaching creative writing. We’re not in the classroom to humiliate and harden our students as if they’re going into the cutthroat world of business or getting ready for the next football game against a team with no losses. Our role should be to help them grow as writers, identify what they do best and where they need to do more work.

That’s what I do with my online creative writing workshops, too. As reporter Charles Kuralt put it simply: “Good teachers know how to bring out the best in their students.” Who needs shame to do that?

Lev Raphael is the author of Writer’s Block is Bunk and 24 other books which you can find on Amazon. His creative writing workshop site is writewithoutborders.com.

When A Character Seems TSTL

TSTL is a term used in the mystery reading/writing community for Too Stupid To Live. These are the characters in books and on big or small screens who seem to be smart but then make ridiculous mistakes that totally undermine their credibility. It’s the person who’s fully aware that a serial killer is on the loose who walks into their house and doesn’t turn on any lights. Readers or viewers howl in disbelief, press the pause button, or toss the book across the room.

I was recently watching an excellent British crime series that features some very strong woman detectives, and was very disappointed with a sudden plot twist.

The capable, resourceful, dedicated, and fiercely intelligent woman detective got a call and rushed off to meet someone, refusing to take anyone with her.  She also didn’t say where she was going or why.  The source she was meeting was closely connected to more than one murder and was possibly going to supply crucial information the detective’s whole team had been unable to get.

So what happens?  We see her in conversation at a restaurant but don’t see who it is (though we can guess), and she excuses herself to make a call to her chief to let him know she’s on to “something big.”  Okay, informing her superior is believable, and so is wanting some prvacy, but she doesn’t just step outside of the restaurant.

She crosses the street.

And walks down a dark alley.

With her back turned to passersby and traffic.

So of course she’s attacked before revealing what she knows.  The ambulance can’t get there quickly enough.  She dies.

This was infuriating.  There was no reason at all for her to behave the way she did, from start to finish, and it contradicted her character arc over four+ seasons.  Yes, she was impulsive, but never stupid.

Another term in the mystery world that applies here is “femjep.”  That’s when writers of whatever kind put a woman in ridiculous jeopardy.  It serves the plot, but it’s both retrograde and foolish.  Here, it was especially infuriating because you felt the writers wanted an unhappy ending to the season, and so they wrenched the character way out of whack.

Lev Raphael loves crime fiction and is the author of the acclaimed Nick Hoffman mysteries.  He teaches online creative writing workshops at writewithoutborders.com.

How I Almost Quit My Writing Career–Before It Took Off

This blog is dedicated to my creative writing students.

Special Archives at Michigan State University’s library purchased my literary papers almost ten years ago and updates The Lev Raphael Papers yearly.  Last week someone came by to pick up several boxes from 2018 of drafts, publications, correspondence, notes for workshops I did at conferences and anything else connected to my writing career.

I’m extremely fortunate to have sold my papers because I know writers who haven’t been able to donate their papers to a school they went to.  But after my very first publication years ago, I seriously thought about  abandoning my dreams of a writer’s life.

I grew up in Manhattan with New York ideas of success. I wanted to be a writer, so I imagined reviews in the New York Times, interviews on local news programs, my book in the windows of all the terrific bookstores on Fifth Avenue like Brentano’s and Rizzoli’s. And of course, it would be published by a prestigious publisher like Scribner’s or Knopf.

My first published story seemed to have opened the door to all that. It won a prize and was subsequently published in Redbook which at the time had 4.5 million readers. I made today’s equivalent of around $7,000, and just as exciting, I received fan mail and queries from agents.

Then five years of drought followed.  Not one story I submitted anywhere was accepted.  I was rarely encouraged to try again: the rejections were almost always form slips.  Even neighbors started to look at me with pity when I’d open up my mailbox in the lobby and I’d discover more than one stamped, self-addressed manilla envelope. Finding an agent didn’t change anything, even though she was famous and had celebrity clients.  My first novel didn’t get any better responses than my short stories.

I started thinking about a Plan B.  What would I do with my life if I wasn’t going to make it as a writer?  I explored two new paths. I interviewed at a rabbinical seminary because I had recently deepened my connection to Judaism.  And I considered a career as a therapist since I had been reading dozens of books of psychology, from Jung to Freud to Otto Rank and Karen Horney.

I didn’t get very far with either possibility before the rains came.  I story I’d written in a fever overnight was accepted for publication.  And then another.  And another after that.  I was finally finding an audience.  Despite my despair, I hadn’t stopped writing and hadn’t stopped reading books that inspired me.  I believed that as the son of Holocaust survivors, I had stories to tell, stories people would want to read.

Back then, I had no idea that I’d go on to publish twenty-five books; do major book tours in Germany; present my work in Canada, Israel, France, Scotland, England, and all across the U.S.; have scholars publish articles about me; wind up with my own radio show where I interviewed authors; write in so many different genres; and see one of my books sell over 300,000 copies.

I was just trying to get short stories published, and because I didn’t give up, whole new worlds opened up to me.  Tobias Wolff’s words are something all writers and would-be writers need to remember: “We are made to persist.  That’s how we find out who we are.”

Lev Raphael teaches creative writing workshops online at writewithoutborders.com

“Elite” Is a Hot Spanish Mystery Series on Netflix

The new Netflix original mystery series Elite is set at a posh high school near Madrid where “the leaders of tomorrow” are being trained to take their rightful place and rule the world.  How posh is this school?  It looks like a cross between a contemporary art museum and a tech company’s headquarters.

One of the oldest plots in the world is the entrance of somebody new into a closed community.  Here it’s made fresh via three lower-class students who’ve been given a year’s tuition in a PR move, because their old school’s roof collapsed thanks to shoddy construction.  The builder involved is determined to salvage his reputation and he’s behind placing these students at the same school his son and daughter attend.  He’s corrupt, of course, and his scheming sweeps up lots of innocent people over the course of eight episodes.

To make the situation even dicier, one of the new students is a Muslim teen who wears the hijab–until she’s ordered to take it off or be expelled. She hides this from her parents, but like all the secrets in Elite, it’s unexpectedly revealed. Bigotry and religious conflict are recurring themes in the series, tightly woven together with the much more intense simmering class conflict that leads to violence.

Elite isn’t just another teen drama fielding a good-looking cast, it’s a crime show whose structure is reminiscent of How To Get Away With Murder and Inside Man.  We find out right off that someone’s been killed and the murderer isn’t revealed until the last episode.  All the kids are quizzed by the police in tight close-ups about what happened leading up to the murder and about their tangled relationships. These kids are very mature, with adult passions, obsessions, and anxieties–all of which makes the arguments with their parents even more compelling and the series compelling and unique.

Lev Raphael is the author of the Nick Hoffman mysteries and many other books in a wide range of genres.  He teaches creative writing online at writewithoutborders.com

 

Are You Tired of “Femjep”?

Characters in thrillers–especially the women–seem to live in a parallel universe. A universe where they’ve never read a thriller or seen one on TV or in a movie theater. Because otherwise they wouldn’t behave like idiots….

Take Jennifer Lopez in the recent erotic thriller The Boy Next Door. She plays a high school teacher of classics–that’s right, and in a school offering a year-long course in Homer (the poet, not the Simpson). It’s one helluva well-paid job because she drives what looks like a Cadillac SUV.

Of course, who cares about reality since you’re either ogling Lopez looking gorgeous in every scene or drooling over ripped Ryan Guzman, the sociopath who moves in next door.  He befriends her nebbishy son, displays his body for Lopez at night in a well-lit bedroom across the way, seduces her, and then stalks her in escalating scenes of nightmarish threat and violence.

It all ends with bizarre family togetherness, but before that, Lopez goes dumb in major ways aside from having humped a high school sociopath. Her bestie phones Lopez to come over right away because she’s in trouble. When Lopez pulls up and the house is totally dark, is she cautious? Nope. Does she call first? No again. She rushes inside. When the lights don’t work, does she back out and dial 911? Well, you guessed it. She proceeds alone and unarmed into the large dark house, calling out her friend’s name.

And in her final confrontation with the psycho hunk, when she gets a chance to take him down, she clunks him on the head just once. When he’s knocked out, she doesn’t finish the job or even kick him a few times to further incapacitate him, despite knowing how dangerous and twisted he is. He’s tied up her husband and son, threatened to kill them both, killed her best friend, and was going to turn the barn they’re all in into a giant funeral pyre. So of course she turns her back on him.

And of course that one blow doesn’t do the trick. He predictably rises up and attacks her again, like one of those monsters in a horror or sci-fi movie that just won’t die. More mayhem ensues…and Lopez shrieks enough to win a Yoko Ono Award.

You’d think that after Scream had eviscerated this kind of plotting years ago, writers would be embarrassed to have their characters behave like dummies, but Hollywood keeps churning out femjep films. Sadly, this one was co-produced by Lopez herself.

Lev Raphael is the author of 25 other books in many genres, including the novel of suspense Assault With a Deadly Lie.  He teaches creative writing workshops online at writewithoutborders.com.

I Love to Mentor Writers

My college creative writing mentor was amazing: funny, good-natured, and inspiring. I took every course she offered, both literature and creative writing. I even took what that college called a “January Project”: a short intensive course between first and second semesters. In hers, we studied a novel and some short stories through the lens of psychologist Karen Horney’s work on cultural conflicts. It was unforgettable, and gave me a whole new way to read and enjoy fiction.

My mentor offered me the chance to do unofficial teacher training with her because I wanted to become a teacher as well as an author. So I got to sit in on one of her classes in my last semester; afterwards we’d discuss what was going on “backstage.” We didn’t just talk about how she had put her syllabus together and picked the books, but analyzed how she orchestrated a class moment by moment. She was especially good at working with what might look like chaos to outsiders—those moments when the class seemed to go off on a tangent.

While I’ve been a full-time author and reviewer since graduate school, I’ve now been an adjunct at Michigan State University for six years in a row and fortunate enough to teach writing workshops and literature courses I love. Perhaps because I’ve published more books than all the tenured creative writers in my department combined, writing students have asked to work independently with me.

No matter what the genre they’ve chosen or how often we’ve met, everyone has grown as a writer. That’s been my goal, because my question before working together has been: Can I help this student do what they already do better?

Assisting students as they progress through various drafts and deepen their stories, I can pass on what I’ve learned from all the accomplished newspaper, magazine, anthology, book and magazine editors I’ve had over the years. Best of all, I feel myself connected to my college mentor, whose devotion to students was exemplary. Working one-on-one during office hours, I’ve heard my students ask questions that I asked when I was their age and discovering myself as a writer, learning my craft, finding my voice.

And now that I’m teaching online, the experience of mentoring has blossomed in new ways.  My workshops are limited to only ten participants, and I truly feel I can give them the in-depth feedback they need.  But as before, if I’m momentarily stumped for a comment or response, my mentor seems to pipe up with the right thing to say. All these years later, she’s still guiding me.

Lev Raphael is the author of twenty-five books in genres from memoir to mystery, available on Amazon, and his work has been translated into fifteen languages.  He teaches creative writing online at writewithoutborders.com and his next month-long workshop begins November 1.