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.

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.

 

 

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.

Guest Post: Writing is Cheaper than Therapy

I’m not one of those authors who grew up dreaming of becoming a novelist. The urge to write came upon me much later in life during a time of great personal stress. We all deal with stress in different ways. Some people run marathons, others run to therapy, and still others run to the mall for retail therapy. None of these were options for me at the time.

After years of a mandatory daily mile run around the high school track during gym class—a task which had to be accomplished in under ten minutes—I’ll only run to escape a killer hot on my heels. Otherwise, forget it! As for therapy, retail or otherwise, one of the factors causing me stress at the time was financial. We were eating macaroni and cheese casseroles most nights to stretch the food budget. No way could I afford a new pair of socks, let alone a shrink.

So I began to write, and before I knew it, I’d written a 50,000-word romance. Losing myself in my characters enabled me to escape my own problems, if only for a little while. I probably could have accomplished this by journaling, but as a teenager, I had discovered my mother was reading my diary. Once your deepest personal thoughts have been violated in this manner, you become reluctant to risk repeat exposure.

The crisis that had caused me to first start writing eventually passed, but I discovered writing fiction was so cathartic that I’ve never stopped. Ten years, many rewrites, and an additional 50,000 words later, my first foray into fiction became the second book I sold, and I’ve continued to write. Twenty-four years after typing that first sentence, I’ve now published sixteen adult novels, with a seventeenth in the works, and four novellas in mystery, romance, romantic suspense, and women’s fiction. Every book has a little of me in at least one of the characters but which characters and what traits remain my secret—with one exception.

In my Anastasia Pollack Crafting mystery series, Anastasia’s communist mother-in-law Lucille is patterned after my own communist mother-in-law. Anastasia’s reactions to her often mirror my own thoughts and actions from back when my mother-in-law was alive. Although I have to admit, Anastasia often handles these situations far better than I did at the time. In my defense, though, I’m only human. Anastasia is my better angel, personifying the woman I wish I were. That’s the beauty of fiction. We can recreate ourselves through our characters.

USA Today bestselling and award-winning author Lois Winston’s latest book is Drop Dead Ornaments. She also writes under the pen name Emma Carlyle.  Check out her websites at www.loiswinston.com and
www.anastasiapollack.blogspot.com.  You can connect with her on Twitter and sign up for her newsletter here.

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.

The Poisonous World of American Universities

Essays, stories, and books of mine have been taught at colleges and universities around the country, so I’ve been invited to speak at many different institutions over the years, from Ivy League schools to community colleges.

They’ve all had something in common. Invariably, a faculty member will take me aside during my time there and tell me about somebody wildly eccentric or even out-of-control in their department. Or about a scandal, a schism, some long-simmering vendetta. And I think to myself, “You can’t make this stuff up…”

There was a professor who told me she had to quit serving on hiring committees because a senior professor announced that he didn’t like a candidate because “He smells.” Nobody else had noticed anything (not that it should have mattered) but they yielded to the professor’s seniority. Another related the story of a professor who unexpectedly and savagely attacked his own student at the student’s doctoral defense just to undermine a rival professor on the committee who liked his student. Crazy, right?

I’ve heard of people with barely any publications get tenure through favoritism and then when they achieved their ultimate goal of becoming administrators, they become petty, smiling dictators over faculty with far more experience and reputation. There’s constant infighting, piss-poor collegiality—but worst of all, the sad stories of contemptuous professors who treat their students like dirt. And lately, of course, stories of sexual harassment and abuse have darkened the picture.

I love teaching and come from a family of teachers. I left academia after over a decade of teaching because I wanted to write full-time, and my editor at St. Martin’s Press encouraged me to start a mystery series set in that environment. Outsiders slam academia for not being “the real world,” but I disagree 100%.

At times it’s far too real and so are many of its denizens: petty, vain, hypocritical, self-righteous, power-hungry, wildly egotistical, obsessed with stats (perceived or real).

I set my series at the fictional State University of Michigan in “Michiganapolis” somewhere in mid-Michigan. Outsiders can make great observers and sleuths, so my sleuth Nick Hoffman is primarily a composition teacher there. That’s made him low man on the totem pole in his Department of English, American Studies, and Rhetoric—especially since he enjoys teaching this basic course. He’s even more of an outsider because he’s published something useful, a bibliography of Edith Wharton, as opposed to a recondite work of criticism only a few dozen people might read or understand. On top of all that, he’s from the East Coast, he’s Jewish in a mostly Gentile department, and he’s out.

Seven years ago, I was recruited to teach creative writing at Michigan State University when the chair of the English Department realized I’d published more books than the entire creative writing faculty put together. I’ve had amazing students to work with, known a few friendly colleagues, and most importantly, I was able to pass on the terrific mentoring I got in college. But in my years at MSU I’ve heard more stories of mistreatment, poisonous arrogance, and basic cruelty on campus and from friends teaching across the country. It’s all material, of course–but it shouldn’t have to be.

Lev Raphael teaches creative writing online at writewithoutborders.com.  He’s the author of 26 books in a wide range of genres including the just-published State University of Murder.

Research is One of the Best Parts of Writing!

There are a lot of things I didn’t learn about writing as a career in my MFA program.  One of them is how enjoyable and even exciting researching a book can be.  And I don’t just mean tracking things down online or spending time in an archive.  I mean talking to experts.

Working on book after book, I’ve found how helpful experts can be, and how much they enjoy opening up about their fields of expertise.  One of the first was a county Medical Examiner I interviewed because my firts mystery had a body found in a river.  We talked about decomposition and a lot of other aspects of the situation, and went very deep (pun intended in our hour-long chat.

I’ve spoken with lawyers, cops, private investigators and have never found anyone unwilling to talk about what they do and love.  I tell them who I am and why I’ve contacted them and ask if they have time.  The majority of interviews get done in person, but once or twice I’ve had to work on the phone if the expert was an inconvenient distance away.

These interviews don’t just help ground my books in reality, whatever the genre, they also take me out of my own world into worlds I don’t know and find fascinating.

In my current novel-in-progress, music plays a role and so I’ve interviewed a cello played I know and a friend who’s played the piano for years, and a professor of piano at Michigan State University.  I have eight years of piano behind me, but don’t know much about repertoire and the kinds of issues professionals deal with and the talks have been fascinating.  I’ve also interviewed a fire chief and the head of an advertising agency.  Each one has been unfailingly generous with their time and of course will be acknowledged when the book comes out.

It may not take a village to write a book, but it definitely takes human resources who live in very different worlds than I do, and enjoy sharing their wisdom and experience.  Talking to them doesn’t just augment the reality of whatever book I’m working on, it almost always opens up new possibilities.  Better still, it breaks the isolation of writing a book, and that makes me very grateful.

Even if you’re shy, contacting the expert you want is easy via phone or email.  What’s most important is thinking out your questions in advance and being prepared for the book to go in a different direction or take on aspects you hand’t imagined, based on what you learn.  As Henry James advised a young writer: “Try to be one of those on whom nothing is lost.”

Lev Raphael teaches creative writing workshops online at writewithoutborders.com and is the author of 26 books in many genres including the forthcoming mystery State University of Murder.

7 Friends Every Writer Needs

Writing is a lonely profession and the people who best understand that loneliness, whether they’re introverted or extroverted, can make for terrific friends on your journey.  They deal with the same or similar issues as you do and you speak the same language.  Experiences that might seem outlandish to “outsiders” are part of an insider’s writing life. But what kinds of writers make for good professional friends no matter what stage your career is in?

–Look for writers who don’t focus on the ups and downs of the publishing world the way some people obsess about the stock market.  Writers who care more about their craft no matter what’s trendy can make solid friends.

–Writers who enjoy their success without bragging about it are good people to be around.  They value what they achieve and can model it for you. There’s nothing wrong with healthy enjoyment of doing well.

–Every career has its setbacks and disappointments.  Writers who can empathize with yours, perhaps share their own trials, and maybe even help you strategize what to do next are invaluable.  We can all use support when we’re down.

–We live in a numbers-crazy society and when a writer friend is more excited about what she’s writing than how many words or pages she’s churned out, the focus is where it can be most helpful and even inspiring.

–Mixing with writers who work in different genres can be invigorating and refreshing, even if you’re not reading each other’s work.  There are many things you share, but the differences in how and what you produce can be instructive when you talk shop.

–Experienced writers who manage to balance the business side of writing along with the craft itself can be great guides.  Likewise writers who know when to say no to a gig and why.  Saying no is a challenge even for best-selling authors.

Being connected to other writers is important because it helps you feel part of a community, gives you support and guidance, and even acts as a source of fun.  Writing is a crazy business—who better to enjoy it with than folks who understand that reality and enjoy it?

Lev Raphael is the prize-winning author of 25 books in a dozen different genres.  He teaches creative writing online at writewithoutborders.com.

 

Success For Writers Is Soooooo Unpredictable

Poor newbie writers. Everywhere they turn, someone’s telling them how to be successful. Go indie! Publish traditionally! The advocates of each path offer mind-numbing statistics to prove their points. It’s as frantic as those middle-of-the-night infomercials for exercise machines that will trim belly fat in only ten minute sessions, three times a week.

Of course, these machines are modeled for you by men and women with killer abs and minimal body fat. You and I will never look like that unless we give everything up and hire live-in trainers. And even then, as the coach said in Chariots of Fire, “You can’t put in what God left out.”

I’ve lost my patience with super-successful indie or traditionally-published authors telling the world to publish and promote your books the way they did because look how great things turned out for them. Each side reports the benefits of what they’ve done with certainty and conviction, and of course they’re either best-selling authors on the newspaper lists or best-selling authors on Amazon. Or both.

First-time authors sometimes publish big with a New York press, and sometimes they make it big going indie (and possibly go bigger switching to legacy publishing). It’s all a crap shoot.

Most authors will never reach the heights of these newly-minted experts, and not through any fault of their own. It doesn’t matter how hard you work, how good your book is, luck and timing are key ingredients that can’t be corralled. Books have their own karma. The right book at the right time published in the right way booms. We have no control over how our books succeed or fail, but we can control how good they are before they reach readers.

But nobody can predict it’s going to happen. And the authors who share their glorious experiences need to realize that though they may want to inspire and enlighten wannabes, at some level, they just make the rest of us drool or wish we’d listened to our parents and gone into something less unpredictable like Accounting.

The author of 25 books in many genres, Lev Raphael has taken his twenty years of university teaching online to offer unique, one-month creative writing workshops at writewithoutborders.com.