When Should Authors Say “Yes” To A Gig?

It’s really hard to say “no” to a gig when you’re a writer, even when you’re not a newbie. There’s nothing more precious than your time at home writing, but there’s always the chance that saying “yes” might make you a valuable personal or professional connection. And then there’s the simple reality that doing anything out there in the world can ease the isolation that every writer feels. It’s a strange profession: the world is what we write about in one way or another, but we need to retreat from it to reflect and create.

I’ve done hundreds of talks and readings now on three different continents and I’ve had to learn the hard way how to figure out when I should say “yes” to a speaking invitation.  Here are my personal guidelines.

1—Are they paying enough for my time, whether it’s an evening reading and Q&A, or something more involved like a college visit with multiple events? Any time I spend away from writing is precious, even though I’m an extrovert and love sharing my work with new audiences.

2—Is this an audience I haven’t reached before? Can I do something new and different? Will I read from a different book or do a different kind of talk? Or can I put a new spin on something I’ve done before?

3—How much prep time will I need? I practice all my readings several times, and when I do a talk, I don’t read it, but work from talking points which I prepare very carefully. All that advance work is connected to #1 above.

4—Will it be fun or maybe even exciting? Is the group or the venue or the city enticing in some way? I like to go places I’ve never been to before, or if I have, return to cities I enjoy, like when I was an instant “yes” to keynoting an Edith Wharton conference in Florence.

5—Am I confident that whoever is inviting me will do adequate publicity? There’s never a guarantee about turnout, but it helps to know how much time and effort the host will put into publicizing the event.

6—Is there any chance that after I say yes I’ll regret it? That takes a lot of contemplation and weighing the factors above. It also involves gauging how far I am in any current project, and how disruptive the time away will be.

None of this is foolproof. I’ve had 75 people show up to an event that wasn’t publicized very much and fewer than a dozen come to one that was furiously advertised with emails, posters, and postcards. And events I was ambivalent about turned out to be wonderful experiences. The key for me when I get there is to give the audience 100% no matter its size. That takes more work if fewer people show up, but when you’re an author, everyone deserves to hear you at your best and best-prepared.

Lev Raphael is the author of twenty-five books in genres from memoir to mystery.  He’s escaped academia to teach creative writing online at http://writewithoutborders.com.

Please Don’t Call Me A Survivor

As one of the first American authors to publish fiction dealing with the experience of children of Holocaust survivors, I’ve been invited to do hundreds of talks and readings across the U.S., Canada, Western Europe, and Israel.

I’ve appeared at a wide range of kinds of venues: colleges and universities, libraries, book fairs, synagogues, churches, and writers’ conferences.  For my memoir/travelogue My Germany I did between fifty and sixty presentations alone.  Being invited to be a speaker has been tremendously satisfying because sharing my experience as the son of two Holocaust survivors through my work has been a mission of mine for many years.  It’s my personal tikkun olam, the term derived from Jewish mysticism which means healing the world.

Hearing myself introduced is often a humbling experience. Sometimes, though, I have to gently correct the person who’s introduced me–and it’s something I will work into the Q&A so as not to embarrass anyone. Why do I need to do that? Because I’ve been called a “second generation Holocaust survivor.”

That label couldn’t be more wrong. My parents survived the Holocaust. I did not. They lost their homes and their countries, and dozens of members of their family were murdered.  My mother was in a slave labor camp at the end of the war–but before that she was in a ghetto and a concentration camp.  My father was a slave laborer for the Hungarian army and wound up near the war’s end in Bergen-Belsen.  Each one witnessed and survived horrors that are staggering to contemplate.

Many children of Holocaust survivors, known as the Second Generation, cope with a difficult legacy.  Growing up with parents who survived horrific events is very complicated because it can feel like living in a minefield.  Your parents may or may not want to talk about what they endured, but either way, it’s easy for you to say or do the wrong thing and enrage them, or make them cry.  While their own childhoods were normal, their childrens’ aren’t because their  parents are coping with mammoth trauma and loss.

Psychologists have studied the Second Generation and found many of us have problems ranging from anxiety, depression, and a predisposition to PTSD, as well as issues with relationships, self-esteem, and identity.

I’m proud to have keynoted several international conferences bringing together children of Holocaust survivors, child survivors of the Holocaust, and their allies.  And I’m glad that there’s been an international audience for my work.  But if I labeled myself a “Second Generation Holocaust survivor,” I would be blurring important distinctions.  I would be elevating any personal trauma I grew up with and making it equal to what my parents suffered.  It isn’t.  It never will be.

Lev Raphael is the prize-winning author of 25 books in genres from memoir to mystery, including the memoir/travelogue My Germany.  You can study creative writing with him online at writewithoutborders.com

 

Publishing Is A Wild Roller Coaster Ride!

It started out as a fantasy.

An editor at an esteemed publishing house contacted me and asked if I had a book for him. He admired my previous work and wanted me on their list.  I was flattered and thrilled.  The timing was perfect because I did have a book, so I was soon signing a contract that gave me an advance big enough to pay for my upcoming wedding.

And then things went south.  The editing process was fine until the day before I left for a book tour in Germany and the editor told me the book was being moved up a season because the publisher loved it.  Ordinarily that would have been great news, since in-house excitement is crucial to launching a book.  But he asked me to correct the edited manuscript and get it back to him (via email) in the next two weeks.

I explained that I was leaving for a tightly-scheduled book tour, doing daily events and would be in transit when I wasn’t speaking and reading. Moreover, tours were exhausting and I didn’t feel I’d have the focus required for reviewing the book. I also worked on a PC and didn’t have a laptop, which would mean going to internet cafes.

He insisted.  I thought, okay, I have to try.  But when I got to Germany I discovered that even if I tried to squeeze in some time at an internet cafe every day, there was no way I could work on German keyboards because they were laid out differently and very confusing.  My emails home were garbled and I didn’t want to risk any errors creeping into the book.

I explained all that and he said fine, he would get it taken care of.

To my dismay, when I got the book back in page proofs, there was one passage that was repeated.  I deleted the repetition while making other minor corrections. But when I got back home after the tour, the publisher himself called to tell me that it would be too expensive to re-do the book since it had gone too far in the publishing process.  He refused to fix the problem.

While I loved the book’s cover, I was mortified that it was being published with a glaring flaw.  And then a reviewer blamed me for letting the book appear with a repetition.

I felt burned, but luckily fans enjoyed the book despite the screw-up.  That’s what publishing is like, filled with ups and downs, and nothing is predictable. As novelist and memoirist Deborah Levy says, “The writing life is mostly about stamina.”

Lev Raphael is the author of 25 books in many genres, including the guide for writers, Writer’s Block is Bunk.  You can take creative writing workshops with him online at writewithoutborders.com.“Studying creative writing with Lev Raphael was like seeing Blade Runner for the first time: simply incredible.”
—Kyle Roberts, MSU Class of 2016

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

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.

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.

“Do You Know Stephen King?”

It sounds like a specialized question, but it’s not. Apparently, if you know King, your reality as an author is verified, whether the person asking will ever bother to read a book of yours or not.

I’ve been asked about King many times times by cab drivers when I’m doing book tours across the country and they find out why I’m in town. It’s almost always the first question.

So, here are some sample answers to help out all you road-weary, flummoxed authors in those moments when your mind might go blank and you’re wishing you had stayed home or taken your parents’ advice and gone into your cousin’s wallpaper business. Feel free to suggest your own.

— “We went to college together. Dude could par-tay!” Make up the wild story of your choice at this point. You’re a writer. Be grotesque. Embellish.

— “That SOB? Never wanted to. He used to date my cousin and he was into really kinky sex that left her with a limp and allergies. It’s really sad.” Sink into your seat and mutter darkly.

— “Yes, but he trashed my house once after a séance and we haven’t talked since, though our lawyers are working it out. At least he says those are his lawyers. Sometime you can see right through them…. It’s kinda creepy.”

— “Stephen who? Is he some kind of writer or something? Like, wha has he written I might have heard of?” Look truly puzzled.

— “Are you kidding? I’m the one who gives him his book titles and plot twists. He gets writer’s block all the time and calls me drunk at three in the morning. Shit, I shouldn’t have said anything. Please don’t tell anyone!”

— “No. Have you?” Glare.

Lev Raphael is the author of 25 books in genres from memoir to mystery.

Be Prepared: Finishing Your Book Can Bum You Out

I’m currently a few chapters away from a solid draft of my 26th book, and even though I’m excited that it’s been going so well, I’m sad to be seeing the end.

I’ve published books in a wide range of genres–including memoir, historical fiction, erotic vampire tale, and literary novels–but no matter what I’ve written, the experience is always the same: immersive.

I may be worried about something in my own life, about a friend’s health, or about the state of our nation’s politics, but when I’m writing a book, I feel protected and cocooned.

It’s not that I don’t register what’s going on around me; I experience it all inside a kind of bubble.  The book-in-progress is always on my mind, whether I’m at the gym, grocery shopping, taking a shower, or walking the dogs.  I may not be consciously working out the next scene or chapter, but the book is as real and present as soft music coming from another room.

A book of any kind is an adventure, a promise, a series of doors that open and some that close.  It changes as it grows and I change with it.  The end point likely won’t be what I thought it would be, though sometimes the last line is waiting for me like a charming host ready to pour me a great glass of wine.

Ironically, with the end in sight, everything is clearer and I usually write faster, but I feel a countervailing pressure to slow down, to enjoy these last moments with the companion of many months–or even years.

Don’t get me wrong. I love what happens when it’s done: editing and revising, the chance to revisit a manuscript and see it with fresh eyes after a break.  And working with a good editor is one of the joys of publishing. But that’s not the same as creating something new.  When I’m done, the sense of wonder and discovery that Mandy Patimkin sings about in Sunday in the Park with George has vanished.  “Look, I made a hat…” he sings.  “Where there never was a hat.”

When the book is done and revised however many times it needs, the technical, business side is ahead.  It becomes a product in the marketplace. And though I love doing readings from my work and have a great time on book tours thanks to being an extrovert with some acting experience, I’m already thinking about the next book, the next adventure….

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

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.

Writers Need to Respect the Audience

I just heard from a friend who attended a conference workshop where a professor droned on endlessly, repeating what was on his elaborate, dull PowerPoint. I’ve seen this happen in the academic world myself, and it shows a profound lack of respect for the audience. What could be more boring and alienating?

But that kind of approach isn’t limited to academics. I’ve attended too many author readings and presentations where the writers seem to have no sense of their audience. No sense that the event isn’t just about them, it’s about making a connection, about reaching and moving the people in whatever the venue, whether it’s a bookstore, a library, a theater, or a hall.

I’ve seen authors reading from their books in a low, dreary monotone, barely glancing up at the audience. I was at one event like that where a writer friend next to me fell quietly asleep and woke up full of questions because she’d missed some crucial passages.  She asked me as softly as possible: “What accident? Who was driving? Who was the girl in the ditch?” The answers didn’t really matter because the author kept on in his sleep-inducing mode.  That was one writer who not only had no audience awareness, he had never bothered learning something basic: how to project his voice.

I’ve also seen writers allotted fifteen minutes in a panel presentation go way over their time limit and be totally oblivious to the rising tension and anxiety of the other panelists.  These time hogs clearly hadn’t rehearsed at home what they were going to read and timed it.  And then gone one important step further: cut the piece by a few minutes so that just in case they slowed down during the actual event, they would stay within their scheduled time slot.  By going over, they were treating their fellow authors with unconscious disdain.

And I’ve seen writers make cringe-worthy comments that set the audience on edge.  “I wasn’t sure what I was going to read tonight.”  Really?  You’re the professional, you should be sure.  “This next part always makes me cry.”  If that’s true, then don’t read it, because if you don’t cry people will be wondering why not, and if you do cry it’ll interrupt the flow and likely be embarrassing.  And aren’t we the ones who are supposed to be moved, not you?  “The reviewers hated this, but I love it.”  Sorry, but a reading isn’t the time for unloading snark.

Author readings and talks are performances.  They demand planning and thoughtful consideration.  Anything else is cheating the audience, it’s taking listeners for granted, and not treating them with the respect they deserve.  Too bad not enough authors realize that.  Instead, they come to their events minimally prepared, as if all they have to do is show up, be themselves, and wait for the applause.

Lev Raphael is the author of 25 books in many genres included a guide to the writing life: Writer’s Block is Bunk.