Why Authors Believe in Ghosts

It’s because all of us writers are haunted.

Not just by reviews that sting or that never even happened. Not by interviews that went sideways. Not just by book tours that flopped or by books whose sales figures were disappointing.

No, many of the specters hovering around our desks, laptops, and tablets are the books we started and gave up on. They’re in our dreams, and their presence lingers no matter what we complete and publish.

We have unfinished chapters, abandoned proposals, piles of research we’ve boxed, notes we scribbled and filed and can barely decipher any more. Even shelves’ worth of reference books we’re gathered together, read or skimmed or never got to. There are also characters we fell in love with but we couldn’t get around to giving them life.

And then there the ghosts that are more insidious. These are the ghosts inside the books we’ve written: the plot twists we changed and regretted after the book came out, the scenes we axed for one reason or another, the narrative threads we cut for expediency or coherence but later wished we hadn’t. And sometimes a book is haunted by what you wanted it to be, and what you couldn’t accomplish for any number of reasons: a deadline, mischance, falling ill, or just not being ready.

One of my ghosts resides in a file cabinet drawer crammed with material for a novel that never grew past a first chapter I’m crazy about. But every time I’ve gone back to it, I’ve thought the research involved would take too long, plus I’ve doubted the book’s marketability. It’s a novel about a murdered American artist and I’ve got all sorts of juicy research about him and his family, including a rare book of poetry published by the killer.

For all the time I spent living and dreaming that book, it’s stuck in the land of What Might Have Been. The further away I get from it, the less inviting the whole project becomes.  And I’m not alone: I know we’re all ghost writers of one kind or another.

Lev Raphael is the prize-winning author of The Vampyre of Gotham and 24 other books in genres from memoir to mystery. You can study creative writing with him on line at writewithoutborders.com

When You’re An Author, Fans Can Keep You Going

There are a lot of things nobody prepares for you when you start a career as an author.  Going on my first book tour years ago, my publisher and editor didn’t ask if I knew how to do a reading.  Luckily I had some acting experience and my spouse was on sabbatical, so after every reading I got “director’s notes.”  What worked, what didn’t work, where did I need to slow down, how did I need to engage my audience better–and much more.

It was invaluable, like taking a one-person seminar, and it made each successive reading more successful.

That tour was when I first discovered how amazing it is to encounter fans.  People who haven’t just read your work, but have absorbed it and want to thank you.  One person told me she actually had read my book half a dozen times and kept it by her bedside.

I was blown away.  Writing is so solitary, and discovering the impact your work might have shifts you out into the world so differently than when you sit there reading a review.

The other day I was at the gym chatting with a trainer.  She’s used to seeing me wear blue but I was once again all in black and she asked what was up. I joked about going to Paris and wanting to fit in.  A woman nearby asked when I was going and we go into a talk about travel and learning language.  She was studying Italian for a big trip to several cities.

I told her about my last trip to Florence and that I’d done fine ordering meals, asking directions, and buying things, but that was about it.  She asked how many languages I spoke.  French and German were my mains, with side dishes of Swedish and Dutch.  Then I had to explain how I’d gotten involved in studying the latter two and we traded more travel notes.

I asked her name and introduced myself and she said, “Oh, I know who you are, I see you here a lot but haven’t wanted to bother a celebrity.  I’m a big fan of your mysteries.”

It made my day, made my workout.  And reminded me once again how lucky I am to have people reading and enjoying my work.

Lev Raphael is the best-selling author of a guide to the writing life, Writer’s Block is Bunk, and 24 other books in genres from memoir to mystery.  You can study creative writing with him online at writewithoutborders.com

“So…How Autobiographical Is Your Fiction?”

That’s the most common question people have asked me at the hundreds of readings, talks, and signings I’ve done over the years.  It especially comes up if I’ve read a story or part of book that’s been written in the first person.

Sometimes I’ll joke and throw out a figure like “Seventeen percent” or say “The adjectives–that’s where you’ll find the real me.” People laugh, and then I have to add “Everything.”  I’m serious when I say that.

Everything I write is autobiographical, no matter the genre, because I wrote it. Each book and short story derives from my experience in one way or another.

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That’s what I explain to my creative writing students, too, when they quote the dictum “Write what you know” and feel intimidated by it.

What we writers know isn’t just direct personal experience.    It includes all the stories of family and friends we’ve heard and anything we’ve ever experienced secondhand. It includes everything we’ve ever read in whatever form.  It includes world events and local events even if we only watched reports about them on TV or the Web.  And it includes every dream, everything we’ve ever imagined or hoped for.  The nightmares count, too.

Sometimes beginning writers tell me they don’t feel they have anything worth writing about because nothing’s ever happened to them, nothing “dramatic.”  I encourage them to step back and realize that their experience is already vast, if they’re open enough to see it, explore it, and mine it.  As Walt Whitman said, “I am large, I contain multitudes.”

Lev Raphael has taught creative writing at Michigan State University and you can study with him online at writewithoutborders.com.  He’s the author of 25 books in many genres including Writer’s Block is Bunk.

My Legacy As An Author

This past week someone from Michigan State University’s Special Archives stopped by stop by to pick up seven boxes that will be catalogued and added to The Lev Raphael Papers.  They were filled with materials from conferences I spoke at, drafts of my next book, and “association copies”: books signed to me by other authors. All these items help fully document the life of a writer in the late 20th/early 21st centuries.

I was fortunate to sell my literary papers to the university where I had done my PhD. Michigan is where my career took off after five years of publishing drought, and it’s been my home for more than half my life. It plays a role in many of my books, so there couldn’t be a more appropriate place for me to leave my legacy as an author. Not just published books, but everything that both went into them and that followed their publication: research, journal entries, reviews, interviews, posters and flyers from my book tours, and even gifts from fans.

Special Collections will also get more journals and diaries than they already have, but that’s after I’m dead, or if I’m just tired of them taking up cupboard space. Someone once asked me at a reading how I could let all this material out of my hands.  It’s easy.  I’m enriching a collection for future researchers and freeing myself of connections to the work I’ve already done.  It clears my mind.

When I was growing up and dreamed of being a writer, I never imagined that there would be so much “stuff” connected to that career. It’s enjoyable to review it all as it goes into labeled folders and then boxed, and even more fun to let it go and move on to the next book–which will of course get boxes of its own.

Lev Raphael is the author of twenty-five books in genres from memoir to mystery, available on Amazon.  He has almost two decades of university teaching behind him and you can study creative writing on line with Lev at writewithoutborders.com.

My Worst Review Taught Me a Valuable Lesson

Romance writer Rachel Van Dyken just did a helpful blog about how to handle your bad reviews. No matter who you are, you’ll get them.

That’s why a graduate creative writing program can actually be good preparation for your public life as an author where you’ll face reviewers who not only dismiss your work, but might even hate it.  The criticism you get in a writing program can toughen you up and get you ready.

It worked for me–even though it might have been devastating.

My first really fine short story was totally trashed by my MFA workshop. It drew on deeply personal material for me: this was the first story where I explored the emotional realities of being a son of Holocaust survivors.  I thought I’d made a breakthrough in terms of subject and style.

The workshop participants disagreed, with gusto.  One by one, they demolished the story, pulverized it, and blew the dust into the wind.  They didn’t like the prose, the characters, the structure, anything. There wasn’t much left by the time the professor pronounced his verdict. He dismissed it as just “something you could write in your sleep.”

I was shocked, but I didn’t believe they were right.  The critiques didn’t stop me from entering it in the program’s writing contest which was judged by the editor of the Best American Short Stories series.  She was the famous co-founder of Story magazine and had championed the work of Tennessee Williams, Richard Wright, and J.D. Salinger.

Three weeks later, she awarded it first prize, and when I told her what had gone on in my workshop, she growled, “Don’t change a goddamned word.”  A week later in the workshop, the professor said, “It’s still crap, but now it’s crap with a prize.”

That story was published a year later in Redbook, a magazine with a circulation of 4.5 million readers, and it launched my career.  I got queries from agents and fan mail.  So when bad reviews eventually came my way in newspapers or magazines, I remembered that workshop, the prize, and just kept writing.  Because I learned early on that as a writer, you can’t please everyone–and you won’t.

Lev Raphael is the author of 25 books in genres from memoir to mystery.  He teaches at Michigan State University and you can study creative writing with him online at writewithoutborders.com.

 

 

Writers Are Always Writing, Even When They’re Not “Writing”

People at my health club often ask me “What are you working on?” or “Are you writing another book?” This happens even if I’ve just published a book. and it was covered in the local newspapers and on local radio.

When I say “I’m always working on something,” most people look bemused. It probably sounds too vague, or maybe they think it’s an excuse, a cover for the fact that I’m not actually writing anything at all.

But it’s the truth. I never stop writing. I don’t need a PC, tablet, legal pad, Post-it notes or anything physical to write. Once I have an idea, it settles into whatever part of my brain has become Lev Raphael, Inc. and has its own independent life.  Sometimes it has Casual Fridays or staycations, but that company is busy 24/7.

Watching a movie or TV show, I’m not a passive viewer. I rewrite dialogue in my head and sometimes say it out loud (only at home). When I caught an episode of The White Princess, I winced when two characters in Tudor England said to someone whose daughter had died, “I’m sorry for your loss.” That struck me as way too 2018, and Lev Raphael, Inc. was thinking of ways the show’s writers could have expressed the thought with a less 21st century feel: “Your loss grieves me” or maybe “I mourn for your loss.”

Dialogue that misses the mark makes me think harder about the dialogue in whatever book I’m working on.

Of course, I enjoy it more when the dialogue is memorable, and that’s one reason I’ve watched Scandal. It’s showcased characters each episode by giving them moments where they go off and repeat themselves in various ways with different emphases. Sometimes the feel is comic, sometimes it’s threatening or even grotesque, sometimes it’s all of that–and it’s always entertaining.

On Scandal the character playing Attorney General David Rosen once actually brought a human head in a box to his ex-girlfriend’s apartment, asking her to store it briefly in her freezer or fridge. She was incredulous and demanded to know why the powerful, shady character Rowan had given it to him. Hapless Rosen said it was because he needed a DNA sample to track down a deceased villain. While the box sat in his lap, he explained:

That man terrifies me, I was not about to argue. He gives me a head, I say thank you for the head. I take the head and I go, right?

I had DVR’d the episode, so I replayed this a few times. His lines made me take mental notes about a character in an extreme situation not responding with panic, but acting almost normally while reporting something completely bizarre. The contrast between the box and how he spoke about it was highly instructive: Lev Raphael, Inc. opened another file…..

Lev Raphael is the prize-winning author of 25 books in genres from mystery to memoir, including, Writer’s Block is Bunk, a guide to the writing life.  You can study creative writing with him on line at www.writewithoutborders.com.

Letting Go And Moving On: A Writer’s Tale

I’m working on my 26th book and I know that finishing it will leave me sad because living in the world of writing is balm for my soul.  Life feels concentrated, focused, enriched when a book is my mental companion.  It’s part of the fabric of each day, whether I’m actually writing or not because it’s always on my mind, and I feel a sense of loss when it’s done.

But finishing is also joyful. And that’s not because I enter the familiar process of watching the book move out into the world through various stages of publication–and then look forward to all the possible speaking engagements.

The joy is partly something more mundane: cleaning up and letting go.

While working on a book, I generate endless drafts of chapters, sections of chapters, and several of the entire book itself no matter what the genre. With some books, especially one of my Nick Hoffman mysteries, I might have to go through ten drafts of a really difficult or challenging chapter before I get it right.

I print everything off because I learned a long time ago that it’s too easy for me to miss errors, gaps, typos, and continuity issues reading the book on any kind of screen.  I need to have the text in my hand to see it clearly.

For almost ten years now, all that paper has been indexed and stored–but not by me. Special Archives at Michigan State University’s library purchased my literary papers and whenever I finish a book, I box up everything connected to it and someone from the library comes to take it away to add to The Lev Raphael Papers.  My work has joined the papers of other well-known writers associated with MSU like Jim Harrison, Thomas McGuane, Carolyn Forché, and Richard Ford.

If any researcher now or in the future wants to follow the progress of a book or story of mine, it’ll all be available, from Post-it Notes to scribbled-on rough drafts to the final product final drafts.  The blind alleys and abandoned parts are all there, and so is all the research material I’ve gathered, since I don’t need to consult it any more.

When I’m done with a book, I’m always surprised at how much “stuff” there is associated with it.  But seeing the collected work of a year or more carted off doesn’t leave me with the writer’s version of Empty Nest Syndrome.  That’s because there’s always another book waiting in line to be written, another world for me to enter and explore.

Lev Raphael is the author of 25 books in genres from memoir to mystery including a book of advice for writers: Writer’s Block is Bunk.

Clashing with Copyeditors

Years ago a novelist friend told me that the only thing worse than not being published was being published.

I liked his phrase so much that I later made it the epigram of my second mystery, The Edith Wharton Murders. But at the time, I had no idea what he could mean. Once you got published, what could you have to worry about? Wouldn’t life be perfect?

That was before I had my first collision with a copy editor.

In my debut fiction collection, there were a number of stories about Holocaust survivors, and I was careful about having their dialogue reflect that English wasn’t their native language. Like many immigrants, they “translated” from the language they knew best, giving their English a Yiddish-inflected twist.

The copy editor didn’t get it and relentlessly standardized every line of their dialogue in one story after another. An author friend I shared this with said that a writer friend was once so enraged by his copy editor’s rampant lack of imagination that he just wrote across Page One of his manuscript, “Stet the whole goddamned thing.” I could never do that, because copy editors do catch real problems, but I’ve come to understand the sentiment.

On a recent book, I found the publisher’s copy editor aggressively changing everything—my style, my syntax, my vocabulary—to some imagined idea of good prose. The effect was to make it sound as if it had been written by a computer program slavishly conforming to grammar and style rules without any room for originality.

This person even had the nerve to commend a word I used as “a good word”–as if I were in elementary school. That was before telling me I wasn’t using it strictly correctly. But after having published nineteen books, hundreds of reviews, essays, and articles, I had my own ideas about what was correct for my book, and I said so.

The project wasn’t spoiled, but I had to put far more work into restoring my prose, excavating the dull ruin it had been turned into. I was pissed off to have encountered such tone-deaf copy editing.

And yes, I mean pissed off–not annoyed, irritated, steamed, put out, or vexed.

Lev Raphael is the author of Writer’s Block is Bunk and 24 other books in genres from memoir to mystery.

The Secret World of Author Blurbs

Before I got my first book published, a novelist I knew quipped, “The only thing worse than not being published is being published.” I had no idea what he meant, but I soon figured it out.

Take blurbs. Begging for blurbs for your forthcoming book is a definite downside of being published. It’s humiliating to have grovel to for them rather than have your publisher take care of it (when they remember!). You can feel like Dorothy in Oz.

Far too many authors think blurbs will magically rocket a book to success. That the right, brilliant blurb by some famous author will impress the publisher, readers, reviewers–and of course our friends, family, and fans.

But do blurbs really make a difference in terms of sales? It’s hard to say. How can you quantify a blurb’s impact? As a reader, there are actually some authors whose names make me not want to read a book because they’re what’s known in publishing as “blurb whores” and love having their names on as many book jackets as possible.

What you can be sure of is that not getting a blurb you hope and pray for is a major buzz kill, and getting it is often like July 4th on steroids. The entire world is ablaze with joy. Someone famous, or at least someone you admire, has given you their blessing. They like your book, they really like it–won’t their fame be contagious?

Is it any wonder blurbs can make us writers frazzled? A writer friend told me a hilarious, sad story about a new author asking a national best-selling author for a blurb. I can’t name the celebrity writer, but she’s huge. The newbie waited and waited. No response. So the anxious author tried again. This time she got a swift and stinging reply:

“My Dear: I understood your letter to be a request, not a demand.”

I sympathized with the celebrity author feeling put upon, but I felt sorry for the writer who was embarrassed, and wished The Famous One had simply said “no” the first time.

Stories like that have made me determined never to ignore a request from an author or publisher asking for a blurb. If I can’t do it for whatever reason, I always let them know ASAP.

Still, you never know how competent a publisher is. Once a publisher of mine in New York never got advance copies of my book out in time for blurbs and had to rely on reviews for my previous book. That wasn’t a disaster, but it was very frustrating. And I recently did a blurb that the author loved, but despite her insistence, it didn’t show up on the book. The publisher wasted my time and the author’s, which is just more proof–if anyone needed it–that publishing is a crazy business.

Lev Raphael is the author of Writer’s Guide is Bunk and 24 other books in genres from mystery to memoir which have been translated into more than a dozen languages.

Should You Worry About the Size of Your Publisher?

Because I grew up in the heart of the publishing world, New York, I thought nothing could be better than having a book published by a big trade house. Or at least a prestige publisher like Scribner’s or Knopf.

I got my wish some time ago.  But my experience with that publisher was bitter.  Yes, it was the heftiest advance I had ever received from a publisher, though nothing extravagant. And they took me, my agent, and my co-author out to lunch and talked big.  But that’s all it was. Talk.

The editing wasn’t better than editing at any other publishing house I’d had before or have had since. The big difference came in how I was treated.  They ignored my input on the ugly cover by saying they’d spent a lot of money on it and they knew what they were doing.  The implication was that I didn’t, even though I had published a handful of books already and had two more in press.  On top of that, I was a book reviewer and saw hundreds of books every year and knew the difference between a great book cover and a dud.

This publisher promised me a book tour and then reneged for no clear reason, trying to convince me that they were 100% behind the book, and that sending out postcards would be very effective.  Again, I wasn’t a newbie in publishing, and I could tell I was being played.  The ugliest little betrayal was when I gave them a very idiosyncratic choice of someone famous to do a blurb.  They loved my suggestion so much that they had this celebrity blurb somebody else’s book.

All this came back to me when an author friend of mine recently won an award and was celebrated by the publisher.  I noted that celebration meant being taken out to lunch (not dinner, of course) and despite the fulsome praise from the publisher and editor, none of it meant more money in the next book contract or any advertising.

When I’ve published with smaller houses, the relationship has always been closer and more productive.  One publisher sent me six possible cover designs and I actually had several long conversations with the art director (an author friend was stupefied when I shared that experience).  Two independent publishers sent me on tour.  All of them worked hard to publicize my books and all of them welcomed my experience and insight. I wasn’t just someone on their list, I was a partner in this venture; I felt valued and respected for what I had written and for what I had learned as an author and a reviewer.

So even though I grew up in New York City with New York ideas of success, I thankfully got over it.

Lev Raphael is the author of Writers Block is Bunk and two dozen other books in genres from memoir to mystery.