Warning to Writers: Don’t Diss Your Peers

“Writers should not attack their peers.”

That’s what a famous author I deeply admired told me near the start of my career, and what he meant was personal attacks.  He’d made that mistake and it launched a feud that lasted years. 

I’ve been careful in my career not say much in public when fans ask me what I think about fellow authors if they’re not my favorite writers. If I do express an opinion, I keep the comments to something technical. So I might focus on their most recent book and say I wasn’t convinced by the point of view if that’s one of the problems I saw, of course.  I don’t make things up.

Even after a reading at a reception or a restaurant when things are more relaxed, I’m cautious, because whatever you say may travel much further than you expect and end up making you look bad. And what you say can end up on Twitter in seconds.  That’s what my mentor was trying to explain to me well before social media created firestorms.  He regretted disparaging another author personally because it made him look bad and they became enemies.

I saw something similar happen in my own career, though without the feud. A celebrated American author I’d never met and who had never insulted me in the U.S. apparently decided to mock me personally in an interview in a foreign magazine when he was on tour in Europe. He didn’t know the freelancer he was talking to was an acquaintance of mine who reported the incident in detail, with some scathing comments about the author who should have known better.

Feuds come and go in American fiction, and some of them raise questions of literary taste, commercial vs. literary fiction, sexism among reviewers, but what about rudeness and bad taste?  Jonathan Franzen has been a lightning rod because critics have praised him so highly.  Is that his fault? Best-selling author Jodi Picoult has dismissed him as nothing but a “literary darling,” ditto Jennifer Weiner who’s done so while publicly reveled in her wealth and mocking those at The New York Times who’ve ignored her as balding (a “hairist” remark if ever there was one). Whatever the legitimacy of their complaints, should authors be engaging in this kind of snark?   I guess the mockery had an impact because Weiner eventually became a contributing opinion writer at the Times….

But authors let loose on reviewers too.  Franzen himself has outdone them when he attacked Michiko Kakutani a few years ago after she panned his last book, calling her “the stupidest person in New York.” And Alice Hoffman attacked the Boston Globe reviewer who gave her novel a mixed review, actually asking her followers on Twitter to call this reviewer and express their outrage. None of this makes authors look good, no matter who the target is.

A writer friend of mine was once banging out a rebuke to a reviewer when his wife came up behind him and read what was on his Mac screen. “Do you want to be respected for your work,” she asked, “or have people think you’re an asshole?”

It’s a question every author should consider when getting ready to light into a peer.  It’s one thing to talk about the work, another to diss the writer.

Lev Raphael’s 27th book is the mystery Department of Death which Publishers Weekly called “immensely enjoyable” in a starred review.

(free image from Pixabay)

When Did Writing Become a Damned War?

 

Lately I’ve been feeling like writing is a bloody battlefield — not for me, but for tens of thousands of writers across the Internet.

I’m talking about writers who seem frantic or depressed because they’re not writing fast enough every single day, as if they should be queen bees in a hive squeezing out their quota of eggs and the hive might collapse if they didn’t keep producing.

I read cries for help on social media from writers begging someone, anyone, to offer ways they can write more than 500 words a day, as if 500 words a day isn’t enough. And then I read jaunty, triumphant posts on those same platform from writers bragging about writing several thousand words a day.   

The writing world in America is infected with its own special virus. The sensible suggestion that beginning writers should try to write something daily to get themselves in the habit has seemingly become interpreted as a diktat for all writers all the time. What we write doesn’t matter, it’s how much we write every single day, as if our careers — no, our lives — depended on it. As if we’re the American war machine in 1943 determined to churn out more tanks, planes, and guns than Nazi Germany because the fate of the world is at stake.

I was mentored as a writer in a time when quality not quantity was the standard and I’m happy that’s the case, because yesterday I probably wrote fewer than a hundred words. But they were crucial words because they completely re-shaped the first chapter of the sequel I’m writing to my dark novella The Vampyre of Gotham set in 1910 Gilded Age New York.

I hadn’t written anything at all for a few days before that: I was just puzzling over what needed to be done before I was ready to return to my PC. If I don’t write anything more this week, that’s fine because what I did was exactly what was necessary for the new book to move forward. And I know, anyway, that I’m writing subconsciously now that I worked out the kink in my story line.  Writing happens to writers all the time, everywhere: we don’t need tablets, laptops, pens or pencils. 

And we don’t need to be driven by false quotas or to feel shame because somebody, somewhere is writing a short story every week (or maybe two!) and some weeks we can barely manage to piece together a decent metaphor.

There’s nothing wrong with having a daily goal if that works for you as a writer, but why should you feel crazed because you don’t reach that daily goal — what’s the sense in that? Why have we let the word count bully us and make us feel like miserable?

Lev Raphael is the author of 26 books in genres from memoir to mystery and his fiction and creative nonfiction has been taught on college campuses across the country.  With twenty years of teaching experience, he now offers mentoring, tailored workshops, and editing at writewithoutborders.com.

Photo credit:madamepsychosis

Literary Agents Haven’t Helped Me

Huffington Post once reported that a British literary agent got sentenced to prison for cheating gullible, fame-seeking clients out of their money. His clients thought movie deals were in the works with big Hollywood names — and who doesn’t want to be famous as well as rich?

I’ve never been cheated by an agent, but remember in Moonstruck how Vincent Gardenia warns Cher not to go through with a second marriage? He tells her, “Your mother and I were married fifty-two years and nobody died. You were married, what, two years, and somebody’s dead. Don’t get married again, Loretta. It don’t work out for you.”

Well, that’s been my story with literary agents. All of them.  It don’t work out for me.

One agent was funny and charming and we had great chats, but my career only moved a bit forward over several years because an editor I admired approached me to switch publishers.  So I brought her the deal.

Another agent made me feel like I was caught up in a bad romance, never responding to my queries or telling me who was seeing my book. It turned out that she was busy sleeping with her most famous client.  A third agent screwed up a book deal in major ways and a fourth offered me great advice for revising a book, but despite my doubts took it to New York in the middle of a stock market meltdown when panicky editors weren’t buying anything.  Even though I had asked her to wait.

A fifth agent kept sending a mystery of mine to editors who didn’t like the genre, and then she left the business. After we signed, another agent relocated to Japan and I wasn’t convinced a Skype relationship would work out despite her saying she would come to the U.S. once a year. Then there was the agent who turned weird on me and another client who was a friend, spreading rumors about the other writer for reasons that are mysterious at best.  That agent was fired by her agency.

I started my career at a time when the conventional wisdom was that you couldn’t even have a career without an agent. And without an agent, you weren’t really a serious writer. But experience has proven something different and the publishing world has completely changed since then. Most of my books have been un-agented and they’ve done as well as or better than the ones agents represented.  One of them has even sold about 300,000 copies and been translated into fifteen languages from Spanish to Thai.

When I told a novelist friend in New York about my bizarre agent history she assured me that my saga was pretty typical: “It’s just that most of us don’t want to talk about it because we’re too ashamed.”

Lev Raphael’s 26th book is about college professors behaving badly, very badly: State University of Murder.

(Image free courtesy of Pixabay)

4 Things Writers Should Know Before Doing Readings From Their Work

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

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

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

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

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

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

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

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

Lev Raphael is the author of twenty-six books in genres from memoir to mystery and mentors creative 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.

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.

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.

Re-reading My Favorite Authors Makes Me A Better Writer

When I’m on a book tour fans often ask me “What are you reading?”  I get the same question when I teach a creative writing workshop or master class like I just did at Oakland University, sponsored by Rochester Writers.  I’m often reading books that will inspire me to write and lately I’ve been-re-reading favorite authors like Martin Cruz Smith.  His novels set after the fall of the Soviet Union explore a country that’s just as cruel and dangerous, but one where oligarchs are becoming swollen with daring, arrogance, and billions in wealth.

In Three Stations there’s a gigantic contrast between diamond-studded luxury goods and homeless kids stealing whatever they can to survive in the heart of Moscow. Arkady Renko is a disgraced police investigator with a clear eye for what’s happening around him and a dedication to justice. Though he’s the son of a famous general and communist, he is truly an outsider because he won’t follow orders. I’m really glad I missed this one somehow as I worked through the series, because I found it really inspiring.

And for authors who struggle with writing good sex scenes, he dispatches one in a brilliant paragraph that could be a model for anyone. It inspired me in my stand-alone currently about 200 pages along which will be my 28th book.

I’m also re-reading luminous, thrilling mystery novels by C.S. Harris set in Regency England, starting with Why Kings Confess, one of my favorites in the series.  These books feature nobleman Sebastian St. Cyr who has access to all levels of society and is indefatigable in solving any crime that he comes across and intrigues him.  He’s a dashing figure with almost magically keen eyesight and hearing, and a man not remotely averse to challenging the rich and powerful.  Harris is brilliant at evoking the period through appealing to sight, sound, and smells–you can almost taste the acrid fog that’s so much a part of the era when coal was burned indiscriminately.  Who even thought of climate disruption back then?

The two authors are very different in setting, tone, and prose style.  Harris is more sensual, Cruz is more spare.  Cruz’s books ooze cynicism about old and new Russia’s corruption and greed, while Harris fields a sleuth who serves justice and believes it exists.  Both authors evoke their time and place with dazzling detail and tell fast-paced, gripping stories.

I learned years ago in my writing career that what could stimulate and inspire my work was a creative clash of voices and styles.  Reading these two different authors again right now has made me very productive: I wrote two chapters of my next mystery in under a week.  This method of reading different writers in succession might not work for everyone, and that’s something I tell all my writing students and workshop participants: find what works for you.  But whether you’re a writer or not, C.S. Harris and Martin Cruz Smith are authors you should add to your TBR pile.

Lev Raphael is the author of 26 books in many genres which you can find on Amazon, most recently State University of Murder and Let’s Get Criminal, newly released as an ebook.  He teaches online writing workshops 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.

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.