Write Fabulous Gay Mysteries? Why The Hell Not!?

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 quote 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 fabulous amateur detectives.”

That’s when the Nick Hoffman series was born. He and Stefan teach at the same school, are happily partnered, 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 the academic setting is so ripe for satire.

I was already a fan of mysteries before I started. I grew up in a household filled with Agatha Christie books, and once my book publishing career took off, I was invited to review for the Detroit Free Press. I read lots of crime fiction and that made me determined to avoid one thing: sleuths who don’t get changed by what happens to them. In far too many mysteries and thrillers, the protagonist discovers a body and then goes off for breakfast at a diner as if nothing’s happened.

Years ago, when I first met Walter Mosley, we talked about ways to keep a series from becoming routine. 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 social 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 and mentors writers online at writewithoutborders.com.

Why I Can’t Find My Pants in Swedish (Hint: It’s the Pandemic)

Back when I was still teaching creative writing at Michigan State University, a senior colleague at Michigan State University’s English Department asked if I wanted to join him to start a summer abroad program in Sweden.  I didn’t hesitate.  I’d been watching Swedish movies and reading Swedish mysteries for years. 

The program was going to be housed at historic Lund University in the south of that country not far from Copenhagen, and I plunged into reading everything I could about the region, its culture, history, sites, and food.  More than that, I began studying Swedish, which would be my third foreign language after French and German. 

I fell in love with both the sound and sense of it.  Swedish has multiple stresses in it which makes it more musical than English and German; the grammar isn’t nearly as complicated as German; the spelling is much simpler.  Best of all for a beginner, in the present tense the verb form is identical in each position.  You can do a lot with just the present tense.

I immersed myself in all things Swedish and learned about Fika, their afternoon coffee break with something like a cinnamon bun, and better still, their concept of lagom: being contented with having just enough, which is so antithetical to the American hunger for more, more, more. 

I studied Swedish daily via Pimsleur or Babbel or Duolingo–to the point where a friend with Swedish relatives said my accent was really good.  “You sound like my uncle!”

Though I’d be teaching in English, and Sweden ranks very high in Europe for English language fluency, I wanted to be able to talk to Swedes when I traveled around the country in their own language.  I was busy, busy, busy.

On the academic front, I planned a creative writing course and a course in Swedish crime novels in translation.  We were fired up. But my colleague and I hit a massive roadblock.  Lund University insisted on having one of their professors do guest lectures at $1500 an hour and assigning us a student assistant for several thousand more.  Our budget couldn’t handle those expenses and they wouldn’t negotiate.   End of a dream.

When the pandemic hit and Michigan went into lock down, I found myself at loose ends and bored, since I wasn’t working on a book.  I looked around for ways to structure my time when everything seemed so uncertain, and Swedish seemed a natural choice.  Since March, I’ve been re-experiencing the joys and challenges of a language with some similarities to German but oh-so-many differences.  Like the articles tacked onto the ends of the nouns: Hus is Swedish for house, and the house is huset.

After breakfast very morning, I have a second cup of coffee and do 10-15 minutes of Swedish On Duoling and feel as calm as if I’m meditating.

When all this is over, I would still like to travel to the south of Sweden, which is beautiful and close to Copenhagen, and see the gorgeous old college town of Lund.  It’s apparently small enough to walk or bike across in less than half an hours. Lund is also close to where the Wallander mystery series was filmed as well as the larger cities of Gothenberg and Malmo. I’ve kept all my travel guides in the hope that it comes to pass.

My favorite Duolingo Swedish sentence is in the title of this blog: Jag kan inte hittar mina byxor.  I would love to have the occasion to use it there to see how people react.

Lev Raphael is the author of 26 books in many genres, most recently State University of Murder

 

Twitter photo credit: Jerker Andersson/imagebank.sweden.se

 

Should Writers Join A Critique Group Or Not?

Guest author: Betty Webb

Writers are an argumentative bunch, especially when it comes to the subject of critique groups.

Some writers advise newbies – but only newbies – to join a critique group, while other writers say never, never, not ever. Since my own critique group – the Sheridan Street Irregulars — just celebrated its 30-year anniversary, I’m definitely on the pro-group side. But with caution.

I had my first experience with critique groups around 35 years ago when living in New York and had just begun writing seriously. That group, which I’d learned about from a library flier, met monthly in a converted barn in Westchester County. We were all writing poetry, and we drank a lot. I’m not sure how much the group helped to hone my work (or my liver), but we sure had fun.

The second experience came about shortly after I’d moved to the Phoenix, AZ area. In that group, all genres were welcome, and the only rule was that alcohol wasn’t allowed. Ironically, I left that group after a fistfight broke out between a sober Western writer and a sober sci-fi writer after one of them had received a particularly nasty critique from the other.

At that point, I’d already had some of my poetry published in a literary magazine, seen one satirical novel published, had one play produced, and was writing three humor columns a week for newspaper syndication. Technically, I was no longer a newbie, but I still felt the need for other eyes on my work, so I spent a few months checking out more groups. Some I found too rigid, some too lax, and some were merely excuses for sitting around, drinking and discussing lofty views on “lit-er-a-ture.”

Disappointed with the local offerings, I decided to start my own critique group. The first thing I did was to take a hard look at the problems others groups had run into. To avoid them, I typed up a long list of rules, one of the rules being, “Never respond to the criticism of your work. Just say ‘Thank you,’ and move on.” Now, we all know that writers hate rules, but what was the alternative? Hurt feelings, fist fights and long, defensive monologues from inebriated writers who felt their manuscripts were being unfairly judged? (If you want to see the whole list, email me at webbscottsdale@aol.com and I’ll send you a copy.)

Then, in a daring move, I put an ad in the local newspaper, headlined WRITERS CRITIQUE GROUP FORMING.  As could be expected, the first meeting was a large one, and it was a mess. Just about everyone broke the rules I had passed out. And some people, miffed by others’ critiques of their work, simply got up and stalked out, leaving a few obscenities in their wake. But a core group remained.

And we persevered. Thirty years after that messy first meeting, I’ve retired from my full-time job as a journalist, retired from my part-time job as a creative writing adjunct at the local college, retired from writing my column for Mystery Scene Magazine, and seen 18 of my novels published. But I still value the Sheridan Street Irregular’s opinions of my works-in-progress. Because of the group – we’re all traditionally-published novelists now – my number of drafts on any given project has dwindled from 17 to four. The “Streeters” catch all my plot holes and are ever-alert for unwieldy phrasing. But the most help that I get from the group is the  reminder that Ernest Hemingway said “The first draft of anything is shit.”

Betty Webb is the author of the best-selling Lena Jones mysteries and the humorous Gunn Zoo mysteries. Before writing mysteries, she spent 20 years as a journalist, interviewing everyone from U.S. presidents to moon-walking astronauts, Nobel Prize-winners, and polygamy runaways. 

Advice For Writers: 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.

Writer’s Memoir: 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.

Why Teaching Creative Writing Online Rocks

I come from a family of teachers and one of the great joys of my life has been teaching creative writing, which I’ve done at various universities.  I was mentored by a brilliant creative writing teacher in college and she’s always been with me when I read and discussed students’ writing.  Her goal was always to help students deepen what they wrote, find what needed to be strengthened, and improve what they already did well.

Writing workshops are very demanding.  You have to stay focused as you shift from one person’s story or essay to the next, keep things lively and entertaining, make comments that encourage your students, weave together what people are saying and writing, and make useful, salient points.

The venues I’ve taught in haven’t always been ideal.  Rooms can be too warm or too cold, too small, or just plain off-putting.  And fluorescent lights are terrible, especially after a few hours. Being given a creative writing class with twenty-five students (or even thirty) is more than just a challenge.  It’s cruel to the students, a sign of cynicism on the part of a university which cares more about money than pedagogy. Highly-paid administrators don’t seem to understand that this kind of class is far more intimate than most, and that students need much more feedback than they do in other kinds of classes.

Teaching online changes all that for me.  I get to limit enrollment to a very manageable ten students.  That means everyone has truly significant feedback at every level via Track Changes, from style to structure and content.  The assignments don’t all come in at the same time, which creates a better rhythm for reading and responding.

I also don’t get distracted by people arriving late, forgetting to turn in their assignments or having printer trouble, or texting when they should be paying attention to their peers.  In effect, I’m doing an independent study with each participant, so they’re getting more help, advice, encouragement, and analysis for their writing than would be possible in a traditional workshop.

Best of all, I don’t have to worry about finding a parking space and I’m out of the toxic academic environment with overbearing administrators and unfriendly colleagues.  This is pure teaching, and tremendous fun.

Lev Raphael is the author of The Vampyre of Gotham and 24 other books in genres from memoir to mystery.  He teaches creative writing 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

 

 

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 I Write A Gay Mystery Series

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.

Guest Post: The One Thing You’re Missing When Evaluating Your Writing

One thing we writers must do is regularly seek feedback on our work. It’s the only way we can expect to improve.

The problem is, most of us go about it all wrong.

Let’s say Sandy creates a story and takes it to her writer’s group, submits it to a contest that offers critiques, or hires an editor. Her ultimate goal is to get feedback, but when she gets it, she focuses on only one part of it—the negative. Like most writers, she zeroes in on what she perceives to be her weaknesses, or on what she feels she did wrong.

Seemingly forgotten are all those comments describing what she did well.

This approach may make sense to you. After all, aren’t we supposed to work on our weak areas to improve as writers? Once we fix these, don’t we become publishable, potentially bestselling authors?

Logical, except it rarely works that way. Instead, what usually happens is you work for months or maybe years trying to fix what’s wrong, and odds are what you’ll have to show for it will be a slightly better story, but one that’s still not good enough to attract the eye of an agent or editor.

What happened? Your writing coach or group or editor or whoever it was said your dialogue was weak, and you needed to speed up the pacing. You worked on both and afterward “they” said it was better. So why didn’t you get the result you were hoping for?

Making a weakness less of a weakness is not enough to make you competitive in today’s market. Competition is too fierce.

Focusing mostly on your weaknesses results only in mediocrity. To succeed as a writer, you’ve got to find a way to be extraordinary.

Why Writers Must Identify and Focus on Their Strengths

Bestselling author Paul B. Brown wrote in Forbes, “You are far better off capitalizing on what you do best, instead of trying to offset your weakness. Making a weakness less of a weakness is simply not as good as being the best you possibly can be at something.”

I’m not saying you should ignore your weaknesses completely. When I first started writing novels, I hired an editor and got feedback that was really helpful. She pointed out my weaknesses, and I spent a good amount of time studying plot, story structure, conflict, and suspense.

It was time well spent as we all need to educate ourselves in the craft of writing. The problem was that I spent more time on those things than I did building my strengths, which slowed my progress considerably.

As long as you’re stuck in the “fixing your weaknesses” mindset, you’ll remain blind to the things you do really well—and that will keep you from reaching your highest potential.

Maybe you’re great at writing stories that make people think, or that keep them up at night. Maybe you’re an amazing world builder or mystery plot-weaver, or perhaps you have a special way of getting across a strong argument.

What are your strengths as a writer? You must discover the answer to that question, for only then can you start to build on those strengths and become the best writer you can be. For more information on how to use your strengths to build a noticeable author platform, check out Colleen’s new book, Writer Get Noticed! Get your free chapter here.

Colleen M. Story’s Writer Get Noticed! is a strengths-based guide to help writers break the spell of invisibility and discover unique author platforms that will draw readers their way. With over 20 years in the creative industry, Colleen is the founder of Writing and Wellness and Writer CEO. Her author website is colleenmstory.com and you can follow her on Twitter @colleen_m_story.