4 Things Writers Should Know Before Doing Readings From Their Work

I’ve done hundreds of invited talks and readings on three different continents and I love being out there with my writing—it’s a dream come true. But even though I’m an extrovert, I found doing readings more challenging than I expected when I started out touring twenty-five books ago.

I had the benefit of some acting experience in college, so I was very comfortable with my spouse coming along to give me director’s notes on my first book tour. I learned a lot from every single reading: what worked, what didn’t, and how I needed to up my game. I began to look forward to every reading with excitement. Do I get nervous even now? Absolutely, but in a good way.

I’ve taught workshops about how to do author readings because I believe that there are skills you can learn if you’re dedicated enough. And whether you’re an introvert or an extrovert, here are four things authors should know and consider before they meet their public in a bookstore or any other venue.

1. The word “reading” sounds a little flat because it actually involves a whole lot more than the text at hand. It’s a performance. You’re performing your own work, acting it out, giving it texture and color that might not even be there on the page, but that audiences crave. I’ve seen people actually fall asleep at some readings because the authors read as if they were sitting at their desk, in a monotone, with no shading, no nuance, no drama.

2. You need to prepare for this performance as if you’re going on stage, which in effect you are. You don’t have to memorize your text, but you need to have practiced reading it enough times so that you’re familiar with it and can look up at the audience as often as possible. Making eye contact is important in a reading, and this is a chance to connect with your audience in a very deep way. It’s not just your words that count, it’s the power you imbue them with.

3. Picking the right thing to read can be tricky. Whether you’re reading for ten minutes or half an hour, what you present needs to have a clear beginning, middle, and end. You want to satisfy your audience’s need for structure in the entertainment. Don’t choose anything you feel iffy about, or that you don’t have emotional control over. Crying or even choking up in a reading can be very embarrassing for people who are listening.

4. Trying to win the audience’s favor right off by apologizing isn’t a good idea. Telling them that this is your first time, or that you’re not entirely sure this story or novel chapter really works undercuts your authority as a performer. Likewise, announcing that you decided on what to read “on the way over here” is disrespectful to the audience: they deserve an author who’s prepared. And be careful about making jokes to warm up your listeners—they might fall flat.

It doesn’t matter how big your audience is. Every audience deserves the best you’ve got, and you can learn how to give that to them, no matter how shy you might be, or how anxious, or how reluctant.  Readings are a unique way to reach your audience–and they can make you a better writer, too.

Lev Raphael is the author of twenty-six books in genres from memoir to mystery and teaches creative writing online at writewithoutborders.com.

Is Writing a “Muscle”? Should You Write Every Day?

Lots of authors worry about the number of words they write per day. Some even post the tally on Facebook or Twitter 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 major fact-checking, too, 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 wrote 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.  I was done for the day!

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 now take a wide variety of online workshops him online at writewithoutborders.com.

Are You An Introvert? An Extrovert? An Ambivert?

A recent Suzie Speaks blog discussed being an “extroverted introvert” and how that plays out in her life.  The question of those polarities is something I think about all the time.

Picking an identity

I’d describe myself as the opposite of Suzie: an introverted extrovert.   Though most people I know would say I’m extroverted because I do so much public speaking as an author (26 books and counting).  I’ve done readings in more than one language and spoken about my work hundreds of times on three different continents, from Oxford University to The Library of Congress in D.C. to the Jewish Museum in Berlin.  Interacting with an audience is exciting and fun for me, and so is teaching in a classroom, which I’ve done on and off for many years.  That’s like writing, directing, and acting in a play.

Looking for an oasis

But I also crave my privacy and need down time after “performing.”  After a few hours of teaching, all I want is quiet, a glass of wine, and some calming music or streaming a no-brains movie.  It’s even more crucial for me to chill out alone when I’m on a book tour.  It’s way too easy for me to feel drained after spending so much time interacting with people because I have to be 100% present.  A book tour or any kind of invited speaking gig involves  constant talking with whoever picks you up at the train station or airport, with cab drivers, with your dinner companion, with fans.  Especially with fans since it’s important for me to do Q&A at my appearances.  Conferences where I do workshops are the same: I love what I do but I need to wind down afterwards ASAP.

Being an artist

The zigzag between introversion and extroversion has a deeper layer for me.  Years ago I read psychologist Otto Rank’s Art and Artist and he wisely noted that artists of all kinds need experience and stimulation to create, so they have to go out into the world.  But as Wordsworth wrote, the world can be “too much with us,” and so in Rank’s view, creation requires retreating from the world for us to have the necessary time and energy for contemplation and reflection.  Rank saw the artist as in a perpetual battle act between public life and private life, and it sometimes does seem that way.  I’ll be happy to go to concert, but wish I were home–or I’ll be working on a book and want to go somewhere, anywhere out in the world.

Marriage changed me

Years ago, I was the kind of person who people were glad to have at a party.  I enjoyed dancing, mingling, meeting new people.  As an extrovert, I could chat with anyone.  More than that, I loved throwing parties myself, organizing it all, inviting a cool mix of friends and acquaintances and keeping the whole thing going by just being on the entire evening.  Then I married an introvert who spoke only when it seemed necessary, and our long years together have definitely made me more introverted.  I prefer lunching with only person now, not a group, and would rather have just one couple over for brunch than do a dinner party–or any kind of party.

Living more quietly

I grew up in crowded, noisy New York City where it seemed like I was always surrounded by people and endless commotion.  But for several decades now I’ve been living in a suburb where the noise you hear is dogs barking, the chatter of birds waking up in the morning, kids laughing and biking, and the hoot of a distant train at night.  It’s something of an idyll for me, which is why I don’t apply to go to writers’ retreats: I have one.  Even though there are three main roads nearby, my house is at the center of the subdivision and we can’t hear any of that traffic.  It takes a lot to convince me to leave my retreat now, and I sometimes have to brace myself and get focused beforehand.  As much as I enjoy being with friends or traveling abroad, home is often my favorite place to be.  I guess when it comes down to it, I’m probably more of an ambivert–and yes, that’s a thing.  🙂

So how about you?  Are you an introvert, an extrovert, an ambivert?  What’s it like navigating your world?

Lev Raphael teaches creative writing online in on-on-one workshops at writewithoutborders.com.  His books range across genres from memoir to mystery.  You can check them out at  levraphael.com.

 

My Journey from Crime Fiction Lover to Crime Fiction Author

Growing up in New York, I read and revered The New York Times, which was one of a handful of papers in our house, but held the place of highest esteem.  And I remember classroom instruction in elementary school about how to fold it on the train or bus since it wasn’t a tabloid and the pages were so large.

I dreamed of being reviewed there at whatever point I became a published author.  But I never expected that it would be my mystery series that would open that door, and literally jumped for joy when it happened.

Let’s Get Criminal, the first Nick Hoffman mystery, is now back in print after a long hiatus and available on Amazon.

I had never set out to write mysteries, even though I loved crime fiction and started reading in it junior high school. When I launched my career as an author, it was with short stories which were ultimately collected in a book that won a Lambda Literary Award.

But one of them, “Remind Me to Smile,” featured a couple of academics faced with a bizarre situation: Stefan has gotten an ex-lover of his a job in the English department that is his and Nick’s home. Nick is outraged, and then depressed when Stefan invites the ex to dinner.

My first editor at St. Martin’s Press, the legendary Michael Denneny, was very taken by the story, only he said the dinner guest should have been poisoned. And then a few years later, when I was wondering where I should take my career after a collection of short stories, a novel, and a study of Edith Wharton, Denneny said, “Nick and Stefan could be like Nick and Nora Charles.”

That’s when the Nick Hoffman series was born. Nick and Stefan teach at the same school, are happy together, but the unexpected keeps intruding into their lives thanks to the murderous academics they work with. I’ve been writing it over the years because I loved the characters, and because I relished the academic setting where you find bald men argue over a comb, as Borges put it so well.

At the time of my conversation with Denneny, I was reviewing mysteries and thrillers for The Detroit Free Press. That made me determined to avoid one thing: sleuths who don’t get changed by what happens to them. In far too much crime fiction, the protagonist discovers a body and then goes off for breakfast at Denny’s as if nothing’s happened.

When I first met Walter Mosley, we talked about ways to keep a series from becoming routine for the author. He said his strategy was to take the series through historical changes, and see how they affected Easy Rawlins.

In the Nick Hoffman series, Nick ages and is definitely changed by the deaths he encounters. His relationship with Stefan develops, too. Depicting a loving gay couple over time, and under stress, has been one of the joys of this series.  The world has changed a lot, too, since the series began in the 90s, so it’s been fun to chart those changes in mysteries, which are good vehicles for social commentary.

Mystery writing has made me a better teacher and I’ve been fortunate to teach mystery fiction in classes, workshops, and online.  The series has had more impact than I would have guessed, putting me on the map in ways I never expected.  But that’s how a writing career goes: the unexpected is always your companion.

Lev Raphael’s is the author of 26 books in genres from memoir to crime fiction.  The latest review of his new mystery State University of Murder is at the Lansing State Journal. You can study creative writing with Lev one-on-one at writewithoutborders.com

 

Why I’m Teaching Creative Writing Online

I come from a family of teachers. My mother’s father taught economics in Poland. My mother taught language and literature in Belgium. And in New York, my brother taught special education.

I picked my undergraduate college, the Lincoln Center branch of Fordham University, specifically because of one creative writing teacher I’d heard about as inspirational. It was a great choice. I ended up taking all her classes and didn’t just learn the subject matter, but also how to teach, how to orchestrate a class, and how to have fun doing it.

In senior year, she took me on as an unofficial apprentice because I told her my twin goals in life were to write and to teach. I watched what she did in classrooms as an observer, and she even showed me how she graded papers. When I started teaching, her model was always in my head. She was in my head.

Recently I’ve been teaching at Michigan State University. Like many colleges and universities, the powers-that-be have no idea what a good learning environment is for teaching literature or creative writing. They especially overcrowd the creative writing workshops, which means students can’t get the attention they need in class or out of it. That’s grossly unfair to the students, many of whom work more than one job to help pay their tuition.

Typically I’ve had twenty-five students in writing workshops, though once it was thirty. Yes, thirty. These class sizes not only made it harder for me to give students all the attention and feedback they need, the overcrowding made it harder for students to get to know each other and feel comfortable sharing their work. But administrators don’t seem to care.

Luckily I’ve also been able to teach independent study students and supervise their senior theses, where individual attention is the critical foundation.  When you sign up for one of my workshops, you’re really doing an independent study.

I’m applying what I’ve learned in many years of classroom teaching in a very focused way. I get to coach and mentor writers at all stages and offer the kind of individualized attention that learning to write requires. No matter where you are in your development as a writer, sharing your work with someone requires trust and an atmosphere of safety. That’s what I saw my college mentor create over and over. Teaching online, I can truly share what I learned from her, and carry on a family tradition in an exciting new way.

Lev Raphael is the prize-winning author of twenty-five books in a dozen different genres, including a guide to the Writing life, Writer’s Block is Bunk. You can find his creative writing workshops at writewithoutborders.com.

Tony Morrison & The Author’s Dilemma

I never met Morrison but she helped me cope with one of the most vexing aspects of being a writer.

It happened in Chicago.  I was on a short Midwestern book tour with another author.  Over a steak dinner one night, we shared our admiration of authors including Morrison.

Like many of her fans, I read The Bluest Eye, Beloved, and essays of hers in a state of wonderment and delight. Writers like Morrison, Ann Tyler, Julian Barnes, Ian McEwan are so polished, so deep, so memorable that reading them, I feel like Viola in Twelfth Night: “O brave new world to have such people in it.”

Done with talking about her work, my travel buddy told me a story he had first hand that has stuck with me for twenty years.

A young writer contacted Morrison to ask for a blurb for her forthcoming novel.  Now, whether you do an MFA or follow a different route to becoming a published author, nobody warns you how demeaning it can be to beg authors you know–or would like to know–to endorse your book.

It’s not enough to have fought your way through to find an agent or a publisher, now it seems like you’re starting all over again, a supplicant in a universe of wealth.

Some authors never bother to reply.   Others wait till it’s too late to fill their spot to let you know they’re busy and can’t do it.  I’ve even had one well-known author change his mind at the last minute, without offering a reason.  Another said she never blurbed books, which made my editor at the time laugh because this author had skyrocketed to fame thanks to a blurb she got for her first book from someone as famous as she was now.

Then there are the writers who say they’ll blurb the book but don’t have time to read it, and tell you or your editor to write whatever.  And you’re stuck wondering if it’s ethical to have their name on your book when the quote is in effect bogus.  Does it taint the book’s karma, or your own?

So the young author waited and waited for Morrison to reply.  Then the author wrote a second request which was on the desperate side.  This time, she got a speedy reply: “My dear: I understood your letter to be a request, not a demand.  Sincerely, Tony Morrison.”

My first response after laughter was pity for the newbie author. But then my focus turned to Morrison herself.  She probably was the recipient of hundreds of blurb requests–and that was before she won the Nobel Prize.  I felt sorry for her and admired the elegance of her note.

Would Morrison’s blurb have made a difference?  There’s no way of knowing.  Best-selling authors have blurbed my books and it’s been lovely to have their imprimatur, so to speak, but the excitement fades too quickly because there’s always another book in the pipeline and a different sent of authors to hit up for blurbs.

When Morrison died, that story about her note was the first thing I thought of.  It had turned the obnoxious task of getting blurbs into a mild comedy of errors, and we authors need to laugh more about the vagaries of our business.  As an author friend once warned me, “The only thing worse than not being published is being published.”

Lev Raphael teaches creative writing online at writewithoutborders.com and is the author of 26 books in genres from memoir to mystery.

9 Writer Types to Avoid

Writing is lonely and sometimes it seems that the only people who truly understand what that feels like are other writers, but the bond can be deceptive.  Just because someone else writes doesn’t mean that they’re truly simpatico.  Be careful who you choose to bring into your writing world and make a friend.  You might end up regretting that choice.

–Avoid writers who are obsessed with the ups and downs of the publishing world. Knowing what the trends are is important, but it shouldn’t keep you from writing what you want to write, or distract you from your own work.

–If you notice that a writer consistently belittles their own success, stay away.  There’s nothing wrong with healthy enjoyment of doing well.  But some writers are never happy, and that undertow of negativity might eventually affect you.

–Be wary of writers who dismiss or even ignore how you feel about career setbacks or disappointments.  If they can’t empathize with you when you’re down, is that really a person you want to know long-term?

–Not everyone feels the need to write every day, and writer friends who obsess about their daily progress via word counts or page counts can become annoying, even if you’re not feeling stuck.

–Publishing is uncertain, but avoid writers who are paranoid about things that will never happen to them, like being dropped by their publishers when they’re successful.  You’ve got your own real worries to deal with.

–Sometimes other writers will let their contempt show about the genre you write in, if it’s not one that they truly admire.  Don’t hang around anyone who actually looks down at your work while pretending to be a buddy.

–If you’ve got a writer friend who keeps sending you their great reviews, interviews, etc., ask yourself why?  Does he or she feel the need to impress you?   What for?  Isn’t it enough to just share the news itself?

–Beware of writers who tell you what you need or what your work is missing.  One friend reported to me that another author told her she didn’t have “enough angst” to be a writer.  Blanket assessments like that are pointless, dumb, and insulting.

–We’re all busy (if things are going well), but writers who keep complaining that they’re over-committed yet won’t stop doing events like readings, signings, or conference panels that they claim frustrate them obviously have a deep need to complain.

In the end, being connected to other writers is important, but it’s just as important to have friends who aren’t writers. That’ll help you remember that the world is a place where not everyone is working with words 24/7.  It’ll keep you sane.  Well, saner….

Lev Raphael is the author of Writer’s Block is Bunk! and two dozen other books in many genres. He offers creative writing workshops, editing and mentoring online at writewithoutorders.com.

 

 

3 Things Nobody Tells You About The Writing Life

When I published my first short story in Redbook after winning a prize, I thought my career was set. I was my MFA program’s star; I’d made a lot of money (for a graduate student) from the prize and the magazine; I was getting fan mail and queries from agents. But even though I’d spent over two years in the program, nobody told me what my career could be like. When I got my degree I had no idea what the writing life was like and learned three key things the hard way.

1–You need to accept from the start that you have very little control. You can polish your work as much as you can, read widely and educate yourself as an author; attend seminars; find a terrific mentor; network like crazy; get a top agent and even land a book contract with a great publisher–but what happens to your book once it’s born may seem completely random at times. Other books just like it will swamp yours. Books that are far worse will get great reviews or better sales. Your book may simply be ignored by reviewers of all kinds for reasons you will never know. So you have to focus on what you can control: being the best writer you can be; enjoying what you do while you do it, plan it, revise it, and research it. And then, try to let go and move on to another project.

2-Writing is a business. It always was and always will be. Expect pressure from all sides on you to sell, sell, sell. When I started out, bookmarks and other petty swag were in. Then I was urged not just to attend conferences but to advertise in conference programs. Later came building my web site, book trailers, establishing a Facebook and Goodreads presence, blogging, tweeting, blog tours. There’s always something new which is the magic answer to making you successful. But the competition gets fiercer all the time and you can find that promotion is a rat hole. It’s important to establish parameters for yourself since you can’t do everything and be everywhere. Never let promotion become more important than writing itself, and just because something works for someone else is no guarantee it’ll work for you.

3–The writing life will be lonelier than you can imagine despite all the writers you might meet and hang out with, and they’re not always the easiest people to be around. Let’s face it, are you? Ask your significant other. As paradoxical as it might seem, don’t let writing take over your life. If you haven’t already, start building a life for yourself that has other compelling interests. Travel. Learn to play an instrument. Study a foreign language. Garden. Train for a triathalon. Get a dog. It doesn’t matter what you do as long as writing isn’t the be-all and end-all of your existence, because otherwise those days (or weeks or months or even years) when things go south you’ll feel empty. And make sure you have plenty of friends who aren’t writers so that you’re not constantly talking shop. Normal people can be interesting, too.

Lev Raphael offers creative writing workshops online at writewithoutborders.com after over 15 years of university teaching.  He’s authored 26 books in genres from memoir to mystery, most recently State University of Murder.

Why Did I Start a Mystery Series With a Gay Sleuth?

I never set out to write mysteries, gay or otherwise. When I launched my career as an author, it was with short stories which were ultimately collected in a book that won a Lambda Literary Award.

But one of them, “Remind Me to Smile,” featured a couple of academics faced with a bizarre situation: Stefan has gotten an ex-lover of his a job in the English department that is his and Nick’s home. Nick is outraged, and then depressed when Stefan invites the ex to dinner.

The good ended happily and the bad unhappily, to paraphrase Oscar Wilde. That was what this particular fiction meant, anyway.

My first editor at St. Martin’s Press, the legendary Michael Denneny, was very taken by the story, only he said the dinner guest should have been poisoned. And then a few years later, when I was wondering where I should take my career after a collection of short stories, a novel, and a study of Edith Wharton, Denneny said, “Nick and Stefan could be like Nick and Nora Charles.”

That’s when the Nick Hoffman series was born. He and Stefan teach at the same school, are happily married, but the unexpected keeps intruding into their lives thanks to the murderous academics they work with. I’ve been writing it over the years because I loved the characters, and because I loved the academic setting where, as Borges put it so well, you find bald men argue over a comb.

I was already a fan of mysteries before I started; I grew up in a household filled with Agatha Christie books, and I was reviewing mysteries and thrillers for the Detroit Free Press. That made me determined to avoid one thing: sleuths who don’t get changed by what happens to them. In far too much crime fiction, the protagonist discovers a body and then goes off for breakfast at Denny’s as if nothing’s happened.

Years ago, when I first met Walter Mosley, we talked about ways to keep a series from becoming routine for the author. He said his strategy was to take the series through historical changes, and see how they affected Easy Rawlins.

In the Nick Hoffman series, Nick ages and is definitely changed by the deaths he encounters. His relationship with Stefan develops, too. Depicting a loving gay couple over time, and under stress, has been one of the joys of this series.  The world has changed a lot, too, since the series began in the 90s, so it’s been fun to chart those changes in mysteries, which are good vehicles for social commentary.

Mystery writing has made me a better teacher, too, and I’ve been fortunate to teach mystery fiction in classes, workshops, and online.  The series has more impact than I would have guessed, putting me on the map in ways I never expected.  The New York Times Book Review took notice, especially relishing the academic milieu.  That’s how a writing career goes: the unexpected is always your companion.

Lev Raphael’s latest mystery is State University of Murder, a story of homophobia, sexual assault, gun violence and much more.  He teaches writing workshops online at writewithoutborders.com.

When an Author’s Quirks Get in the Way: Chris Bohjalian and “The Flight Attendant”

Chris Bohjalian’s most recent novel of suspense tells a gripping story about an alcoholic flight attendant, Cassie Bowden, who wakes up in a luxury hotel bed in Dubai next to a murdered man she slept with the night before.  His throat’s been slashed and there’s lots of blood in the bed.  When she drinks too much, she has blackouts, and she’s wondering if she could have killed him, though she can’t imagine why.

What should she do now?

Cassie has a history of bad choices and some of what she does immediately and in the days after her horrific discovery is truly off the wall–when it’s not just plain dumb.  The lawyer who eventually tries to help her has no problem calling her crazy.

So who killed Cassie’s sexy, wealthy hook-up?  And was he really a hedge fund manager?  Cassie doesn’t know, but before long she starts suspecting that she’s being followed.  In classic thriller style, her troubles escalate as the story unfolds, and often because of her own mistakes.  Cassie is almost a total screw-up, but it’s hard not to sympathize with her, given the alcoholism in her family.  And given that she’s painfully aware of how stuck she is in very bad patterns:

She wanted to be different from what she was–to be anything but what she was.  But every day that grew less and less likely.  Life, it seemed to her…was nothing but a narrowing of opportunities.  It was a funnel.

The details of her work life in the air and on the ground are fascinating, ditto how she interacts with her fellow flight attendants, and Bohjalian is at his best describing Cassie’s shame about her alcoholic blackouts.

But the writing is a bit odd at times. Streets and aisles are described as “thin” rather than “narrow” for no apparent reason. The author has a fondness for unusual words like “gamically,” “cycloid,” “niveous,” “ineludibly,” “noctivagant,” and “fioritura” which stop you right in your tracks.  The last one is a doozy.  It refers to vocal ornamentation in opera and seems totally out of place in describing a lawyer’s complaint to her client.

At a point when Cassie is longing for a drink, it’s not enough for Bohjalian to call it her ambrosia.  No, he has to pile on synonyms “amrita” and “essentia.”  Seriously?

You get the feeling with all these splashy word choices that Bohjalian is showing off, but why would a best-selling author bother?  Does he somehow feel that he has to jazz up his thriller with fancy-shmancy diction to prove that he’s more than just a genre writer?

Bohjalian also spends way too much time on Cassie’s amygdala, her “lizard” brain, and mistakenly thinks it’s a seat of reflection.  It isn’t.

Almost as annoying as his vocabulary or his weak grasp of neuroscience is the fact that his American characters sound British when they use “rather” as in statements like “I rather doubt that–” Even the narrative employs “rather” as a modifier way too often.  This is apparently a tic of his that nobody’s bothered to point out to him. Likewise, Bohjalian uses formal phrasing in a story that’s anything but formal, so time and again there are constructions like this one: “She hadn’t a choice.” Given the book that he’s written, “She didn’t have a choice” seems more direct and natural.

Despite the distracting quirks, I stuck with this thriller because the protagonist is a fascinating hot mess and Bohjalian is a solid story teller when he gets out of his own way.  The novel has some fine twists and a satisfying and surprisingly heartwarming ending.

Lev Raphael is the author of 26 books in many genres including the newly-released mystery State University of Murder.  He teaches creative writing workshops online at writewithoutborders.com where he also offers editing services.