𝑇ℎ𝑒 𝐸𝑑𝑖𝑡ℎ 𝑊ℎ𝑎𝑟𝑡𝑜𝑛 𝑀𝑢𝑟𝑑𝑒𝑟𝑠 Giveaway

In my breakout mystery The Edith Wharton Murders, two rival Wharton societies are brought together in one conference–and murder results. I got the idea at a Wharton conference.

Nobody was killed there, but I think a lot of people had their pride wounded.  One of the keynote speakers subtly dissed the attendees for paying so much attention to Wharton (!) when there was another writer this professor considered more important. The keynote speaker went on to praise this lesser-known writer.

That was before smart phones, so nobody was able to look the writer up while the keynote address went on. I’ll always remember how that moment typified the jockeying for position that goes on in academia 24/7. But that’s the mild stuff.  Professors undermine their rivals’ reputations with gossip and hostile journal essays, poach each other’s graduate students, launch Twitter campaigns to get them removed from programs or even fired.

Of course it’s all much more entertaining in a mystery if you have actual corpses.

My college mentor, a Wharton bibliographer, was at the conference, and so I wrote her into the book as a best friend and relative of my sleuth Nick Hoffman. He’s been given the thankless task of bringing two warring factions in the Edith Wharton field together and thinks of them as no better than gangbangers with advanced degrees.   I invented snark of all kinds, inspired by stories people across the country had told me about Ivory Tower insanity, and motives for murder were easy to come by.

St. Martin’s Press published the book and I met with the editor who was in love with the whole idea at my favorite café near Lincoln Center. I was in New York for the American production of Tom Stoppard‘s stunning play Arcadia. I’d seen the original production in London a few years before, so the night was filled with glamour and excitement for me, and all of that comes back whenever I think about the book.

The mystery earned me my first review in the New York Times and it was a rave: a writer’s dream come true.  I will never forget how thrilled I was when my agent faxed the review to me.  One of the coolest things I heard about the book’s reception out in the world was that it wasn’t just showing up on mystery shelves at bookstores, it was also being shelved alongside books of Edith Wharton herself.

The Edith Wharton Murders is out now with a fourth publisher and a fun new cover (its fourth!). You can find a review and a book giveaway at the following website: https://www.krlnews.com/2020/09/the-edith-wharton-murders-by-lev-raphael.html

An Amazing Rave Review Thrust Me Into the Spotlight

The New York Times ruled in my family when I was growing up in Manhattan.  My mother especially loved the Sunday Magazine articles, my brother relished the daily puzzles, and I enjoyed reading book reviews and features about authors.

I wanted to be an author myself as early as second grade, when I started writing short stories.  And of course, I wanted to have a book of mine reviewed in the Times, someday because I thought that would be the ultimate sign I had made it.

Well, years later, I was heartbroken when I heard from a writer friend that he had heard my first book of short stories was going to be reviewed there.  I waited and waited, but nothing happened.  Then I published a biography and study of Edith Wharton’s fiction.  No review.  Two strikes.

At that point, I was discouraged enough to think I would never be reviewed in the Times.  I should have taken hope from lines Russian poet Joseph Brodsky wrote:

But, as know, precisely at the moment/when our despair is deepest, fresh winds stir.

One Monday, I got a call from my agent that my second mystery had just gotten a rave review from Marilyn Stasio, the most important mystery reviewer in the country.  My agent’s assistant faxed it to me and as I read the review, I actually jumped up and down for joy.  Friends started contacting me, my editor was thrilled as was my publisher, and I started hearing reports that the book wasn’t just being shelves in Mystery and Gay Literature sections in bookstores, but sometimes in Fiction right next to Edith Wharton.  And face out, which makes a big difference when it comes to sales.

The review offered great pull-quotes like this one:  “Killing is too kind for the vindictive scholars in Lev Raphael’s maliciously funny campus mystery.”  And because it was in the New York Times, publishers would use various parts of the review on  mysteries I’d write after that one.  Likewise, many people introducing me at events where I’ve done talks and readings have referred to the review.  It’s a kind of touchstone, even though I’ve gotten many more good ones in other newspapers and magazines since then.   The Times is that impressive.

The Edith Wharton Murders has recently been re-published with a gorgeous new cover, a foreward by noted author Gregory Ashe, and an introduction the publisher asked me to write.  Seeing it reborn brings back the thrill of being a new author having his biggest dream come true.

Lev Raphael is the author of 26 books in genres from memoir to mystery.  His work has been translated into 15 languages, and Special Collections at Michigan State University’s Library archives his literary papers.

 

Hot Sex, Violence, and Devastating LA Fires

Get ready for a rough and extremely raunchy ride: Terrill Lankford’s Shooters is a propulsive, hypnotic, sexually explicit, blistering exposé of the American hunger for more, more, more.  A hunger that leaves people empty inside, desperate for meaning–no matter how gilded their cage might be.

This thriller has the sheen and danger of that classic cult film The Eyes of Laura Mars, which it cleverly echoes.

Arrogant Nick Gardner’s the same kind of fashion photographer as Faye Dunaway’s character, creating advertising photos that simmer with violence and eroticism.  But he’s much rougher around the edges.  Highly promiscuous, Nick is the kind of guy who’d “rather have sex with a complete stranger than kiss a friend with meaning.” 

He’s a self-confessed “asshole” who loves showing off his mad driving skills in his Lamborghini and the ultra-hot women who want to ride along.  Think of him as a  foul-mouthed Gatsby with a dark past and an even murkier future. 

Nick has made it big in his field, but he’s keenly aware of how fragile success can be in a city littered with failures.  Musing about all the people who linger in Los Angeles even though their dreams have died, he thinks:

“The city is like a terrible drug.  Addictive in the worst way.  Everyone hates it, yet most of them stay no matter what the cost.  Some manage to leave, only to return a year or so later.  Very few have the intestinal fortitude to kick the insanity for good and live elsewhere.  The dream is always there, a brass ring only inches outside their reach.”

There you have a perfect diagnosis of  our cultural sickness, more than fitting for our dark times in 2020.

The book opens with the threat of wildfires engulfing parts of the city and that threat hovers over everyone and everything until it explodes.  It couldn’t be more emblematic of the fire inside Nick and everyone he meets.  They’re all burning for something: drugs, sex, thrills, money, success, fame.  Some will be destroyed.

Feeling blocked one day at work, Nick hits a party he shouldn’t attend and leaves with a hot blonde coke fiend he should never have even talked to–but of course he can’t resist.  Their orgiastic, drug-crazed night ends badly and Nick ends up traveling down some surprisingly mean streets to solve a crime he’s the prime suspect for.

Following his violent stint as an amateur private investigator, we learn about his unsavory past in a town filled with ugly secrets.  Some of them are not for the easily shocked.  Nick is an anti-hero whose trajectory in the novel is always down, and justice is served in unexpected ways.

In all my years reviewing crime fiction for The Detroit Free Press, this is one of the only thrillers I’ve wanted to re-read on a regular basis.  It never fails to blow me away, which is why I’m thrilled to have been asked to write the afterward to the Kindle edition.   The writing is fierce, brutal,  unrelenting–and unforgettable.

Lev Raphael is the author of 26 books in genres from memoir to mystery, including the recent State University of Murder.

 

Knife: Image by PublicDomainPictures from Pixabay

Fire: Image by Николай Егошин from Pixabay

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.

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

 

Review: Singapore Sapphire is Classic Crime Fiction

Memoirs can be difficult to write, and in Sir Oswald Newbold’s case in 1910 Singapore, writing a memoir turns deadly.  As befits a classic mystery, he’s found dead in the first chapter, and the hunt is on to track down the murderer and find out what Newbold could have written that guaranteed his savage murder.

Newbold retired in Singapore to escape England’s “miserable weather and miserable people.”  What secrets was he going to reveal in his book?  Whom would he expose, and why?

Taking the field to find out the truth are dashing Inspector Robert Curran and intrepid Harriet Gordon, a stenographer and typist who has left England under a cloud. Gordon has suffered deep personal loss and abuse.  Part of the enjoyment in this mystery is watching her rise above her grief to find new meaning in life.  We also experience the difficulties and beauties of living in a tropical climate mainly through her eyes, and the vision is never less than fascinating.

The cast of minor characters is as colorful as those you find in Christie’s Death on the Nile and Evil Under the Sun.  Like Christie, Stuart makes them all vivid and unique.

The author also has a terrific eye for detail.  Because she’s lived in southeast Asia and her father served there in the British army, Stuart can evoke last-century’s Singapore with great skill.  She makes you feel the heavy humidity and lashing rain, you smell the frangipani and mangroves, you can see the glorious heavy blooms of Bougainvillea.  This Singapore is truly “a place of extremes.”

But Stuart doesn’t just paint scenes to perfection, she honestly portrays a colonial society with its prejudices and blind spots.  It’s matched by an  England where women were denied the right to vote and suffragists in prison were tortured by being force fed during hunger strikes.  Bringing those two worlds together is part of what makes Singapore Sapphire so compelling.

Mysteries are sometimes derided as “escape fiction” or “escapist,” but all literature, from Tolstoy to P.D. James, helps you escape your own life and time to travel somewhere fascinating.  If it’s well executed, of course.

With just the right touch of romance, Stuart has written the ideal mystery for armchair travelers and for fans of the genre in its classic form.  Her heroine is bright, resourceful, compassionate; her hero a sterling and indomitable character; the villains are as devious as they should be.  But nobody is a caricature or paper thin.

Singapore Sapphire is clever, well-paced, complex, and deeply moving.  It has everything needed to make a splendid TV movie or even a miniseries.  This is a book to revel in for its local color and its crafty plotting.  No doubt there’ll be more Harriet Gordon adventures, and she’s a welcome addition to the current roster of sharp-eyed amateur sleuths.

Lev Raphael teaches creative writing online at writewithoutborders.com.  The former crime fiction reviewer for the Detroit Free Press, he’s the author of nine mysteries and fifteen other books in many genres.

 

Writer’s Memoir: After 26 Books, I’m Still Learning How To Write

I’m a highly visual person and I think I got my training early, growing up in New York, a paradise of museums.  From elementary school onward, my parents took me on repeated trips to the Guggenheim, the Museum of Modern Art, and the Metropolitan.

My very first exposure to genius was when the Met bought Rembrandt’s “Aristotle Contemplating the Bust of Homer” for an unheard-of sum.  I recall being very little and actually crawling through the crowds on my hands and knees so I that could get to the front.  The moody, evocative painting was breathtaking, an entrance to a brand new world.

But that’s what I felt in every museum, whether it was discovering Braque at MOMA, Kandinsky at the Guggenheim, or Monet at the Met.  I didn’t have words for my experience, but looking back, I know that time after time, I felt elevated, transported, and hungry.  I wanted to see more.

And I did, roaming gallery after gallery, and expanding my range to other museums like the Frick.  It was a world of magic, discovery, and promise.  I often felt like Henry James when he visited Rome the first time and wrote “I went reeling and moaning thro’ the streets, in a fever of enjoyment.”

I never imagined that I was going to be a painter, but from second grade on, I felt destined to turn the world into words the way these masters turned the world into experiences on canvas.  Each one was a doorway to wonderment and a world that was waiting for me in Europe.

Sculpture appealed to me, too, whether Greek and Roman glories at the Met or Brancusi’s stark, eloquent experiments in texture and form at MOMA and elsewhere.  Years later I would be moved to tears by a whole exhibition of Brancusi’s sculptures at the Tate Modern when I wandered through the near-empty galleries.  Like a character in Brideshead Revisited, I felt that I was “drowning in honey.”

When I started publishing fiction after years after creative writing classes and completing an MFA in Creative Writing, I was keen to paint with words, to describe what people and places looked like.  Sounds and aromas were secondary, not that it stopped me from writing many books and winning prizes, doing book tours here and abroad, finding my work being taught at universities, and even selling my literary papers and correspondence to a university library.

But in recent years, certain writers who appeal to more than the visual have captured me and taught me to be a better writer because they create an environment that’s also aural and olfactory.  Martin Cruz Smith does this in his crime novels set in Russia that expose corruption and bloated bureaucracy, the chaos observed by his cynical hero Akady Renko.  C.S. Harris also creates a mesmerizing landscape that is multi-dimensional in her Regency mystery series which often explores the wealth and privilege of the period’s upper crust.

In a league all its own is Janet Fitch’s best seller White Oleander about Astrid, a young girl coming of age despite the vengeful, seductive madness of her brilliant, demanding, poet mother.  Sent to jail for murder, her mother is the unhappy touchstone in Astrid’s life as she bounces from one foster home to another, learning harsh lessons about life, memory, and herself.  Her Norwegian name can either refer to strength or beauty, and both are qualities she discovers in herself through harrowing circumstances.

Fitch’s story-telling is powerful because it’s rooted in emotion and the senses, woven through with striking similes and metaphors:

By April, the desert had already sucked spring from the air like blotting paper.

I wanted to tell her not to entertain despair like this.  Despair wasn’t a guest, you didn’t play its favorite music,  find it a comfortable chair.  Despair was the enemy.

So much going on in Kandinsky, it was like the frames were having trouble keeping the pictures inside.

The pearls weren’t really white, there were a warm oyster beige, with little knots between them so if they broke, you only lost one.  I wished my life could be like that, knotted up so that even if something broke, the whole thing wouldn’t come apart.

Of course Astrid doesn’t get her wish as her life gets broken apart again and again, breaking the reader’s heart because she feels so deeply and is so alone.  That last quotation is a perfect example of Fitch’s gift for taking an object and making it become deeply personal, emblematic of a character’s turmoil.

I was so caught up in the beauty of the writing and the fierceness of the author’s vision, I didn’t want it to end, but I also knew that it would inspire me to make my own books live and breathe more fully than before.

Lev Raphael is the author of State University of Murder and two dozen other books in many genres. He offers creative writing workshops, editing, and mentoring online at writewithoutorders.com.

Fine Summer Dining in Chicago’s Loop

On my first trip to France, I spent a week in the Loire Valley based at a chateau hotel whose restaurant had a Michelin star. Everything was impeccable and the first night, when the owner asked how I liked my meal, I surprised myself by responding “J’ai tombé en extase” (I’m in ecstasy). It’s a line I must have read in one of my many French classes over the years and suddenly remembered.

Well, I felt like that this past weekend dining out on Catalan tapas at Mercat a la Planxa on South Michigan Avenue, a few blocks down from the Art Institute, on the second floor of the Blackstone Hotel. The setting couldn’t be more different: it’s a large, high-ceilinged crescent-shaped room with mosaic tiles on the wall above the kitchen which match the room’s decor of browns and orange.  You step down into the dining area and feel that you’re both cozy and on stage. The food was appropriately theatrical in presentation and dramatic in taste.

I sampled figs wrapped in bacon; cannelloni filled with short ribs, foie gras, and truffle béchamel; potatoes with salsa and chili oil; and several more. All of them were mouth-wateringly delicious, and my server wisely suggested I go with an Albariño, a sturdy, dry white wine I’d had once before at a local tasting dinner in Michigan. My dessert was an outrageous crème brullée topped with a scoop of pistachio ice cream and there were Marcona almonds in the mix. It was chewy, sweet, and salty.

I was on a mini-vacation after having written three chapters of a new mystery faster than I expected, and this felt like a fitting reward for hard work, and inspiration to keep going.

There was more fine dining ahead. The next afternoon I had lunch with old friends at Terzo Piano at the top of the new wing of the Art Institute. It’s a cool, clean space of white and grey which in a way matches the elaborate stonework of the Gilded Age buildings you can see on Michigan Avenue. It’s like an aerie.

The menu was small and select and while waiting for my friends I feasted on goat cheese fritters which were so good I made sure to save some for them–though the temptation not to was strong. When my friends arrived, two of us ordered crispy eggplant with a cashew dressing. It was very subtle, the presentation and service lovely, eye-catching.   I had just seen the Institute’s sublime Manet exhibition of late portraits and still lifes and felt that I had entered a painting myself, perhaps a David Hockney.

The restaurants were unique in style and cuisine, and each offered a celebration of fine food beautifully and lovingly prepared.

Lev Raphael loves to travel and he’s the author of 26 books in genres from memoir to mystery, most recently State University of Murder.  He teaches creative writing online at writewithoutborders.com.

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.