Authors

Why I Write Queer Crime Fiction

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I never set out to write mysteries, queer 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 secured an ex-lover a job in the English department where he’s the writer-in-residence.  His partner Nick is outraged and then a bit crazed when Stefan invites the ex to dinner.  It was comic but also focused on the struggles of being a couple years before marriage equality changed the landscape.

My first editor at St. Martin’s Press was very taken by the story, only he said that 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, my editor 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 university and they’re happy together, but the unexpected keeps intruding into their lives thanks to the murderous academics they work with. I’ve continued 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 arguing 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 loved reading more recent mysteries and thrillers which I discussed on a regular basis with my best friend. Reading so much crime fiction made me determined to avoid one thing: sleuths who don’t get changed by what happens to them. In far too many books in that genre, the protagonist discovers a body and then goes off for breakfast at Denny’s as if nothing’s happened.

Nick ages in the series and is definitely changed by the deaths he encounters. His relationship with Stefan develops, too. Depicting a loving queer 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 could have imagined.  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.  And of course, the unexpected keeps happening to Nick and Stefan living in a bucolic college town that has a dark side.  Through all of it, however, their bond is never shaken.

Lev Raphael’s latest mystery is Department of Death, which Publishers Weekly called “immensely enjoyable.” He mentors writers, edits manuscripts, and teaches writing workshops online at writewithoutborders.com.

(fingerprint image by Kurious at Pixabay)

 

Michigan Notable Book Awards Ignore LGBTQ Books

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Every year since 2004, the Library of Michigan has publicized as many as 20 Notable Michigan books “reflective of Michigan’s diverse ethnic, historical, literary, and cultural experience.”

But that diversity has a huge gap. No book with LGBTQ content has ever been among the books annually celebrated and publicized statewide. That fact was confirmed to me by one of the judges, who had no explanation. This judge did note that the award once went to a gay writer, but there was no gay content to the book: “So that doesn’t really count, does it?”

The awards program actually stretches all the way back to 1991 under different names. It sponsors statewide author tours for the winning authors, so it’s a big deal. The Detroit Free Press describes what it means to be a winner:

While there’s no cash award that comes with making the list, there is a real economic reward for writers and publishers in terms of increased sales. Emily Nowak, marketing and sales manager at Wayne State University Press, said appearing on the list can lift sales by several hundred copies. For regional titles with small press runs of between 1,000 and 3,000 copies, that’s a significant boost and could push a title into a second printing. Many Michigan libraries often buy multiple copies of books that appear on the list.

And then of course there’s the free publicity, which is priceless, and the invitations to speak that an award generates, and the prestige.

But evidently since 1991 there hasn’t been a single book with LGBTQ content published by a Michigan press or written by a Michigan author living here or elsewhere worthy of recognition.

Think about it: No notable LGBT books by talented queer Michigan authors in almost thirty years that the judges thought deserved being honored. Not one. The Library of Michigan’s web site claims that the awards “help build a culture of reading here in Michigan.” Perhaps so, but that culture being built is limited in its diversity.

Isn’t it time for the sponsors and judges of the Michigan Notable Books to stop ignoring LGBTQ books?


Lev Raphael is the author of 27 books in genres from memoir to mystery. Publishers Weekly called his latest campus mystery Department of Death “immensely enjoyable.”

(Image by Sammy-Williams on Pixabay)

Warning to Writers: Don’t Diss Your Peers

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“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?

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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

CC BY-NC-ND 2.0

The Edith Wharton Murders Giveaway

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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

Viral Quotes That Mark Twain Never Said

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The Internet is awash in bogus quotations and Mark Twain is a favorite “source.”

Here’s one that’s all over Facebook, and the first time I read it was early in the morning, spoiling an excellent cup of coffee: “Sometimes I wonder whether the world is being run by smart people who are putting us on or by imbeciles who really mean it.”

My warning bells went off immediately because the whole thing sounded too contemporary, especially “putting us on.” Not that Twain couldn’t be scathing about politicians. In A Tramp Abroad he wrote, “An honest man in politics shines more there than he would elsewhere.”

While I haven’t read nearly as much Twain as Eliot, I know The Gilded Age well, having read James, Howells, Wharton, and other novelists of that period extensively. I also researched it for a few years to write my own Gilded Age novel, Rosedale in Love: The House of Mirth Revisited.

The quote doesn’t  show up anywhere as legitimately Twain’s, but it is definitely viral.

Then there’s this beauty:

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Twain never said it, and it leads the list of the ten most famous bogus Twain quotes.

Why would anyone with half a brain or an ear for the English language think this could be by Mark Twain? It has no wit, no style, no soul. It’s all about mechanics and could have been written by a team putting together an instruction manual.

The Web is flooded with sites where Twain supposedly gives this banal advice, and because Twain supposedly said it, that means wow, it’s important, take note!

Twain is often picked as the avatar of what Oscar Wilde called “more than usually revolting sentimentality,” like this classic:

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Could anyone who’s read Twain or even read about Twain possibly think he’d say something this smarmy and illogical? And if so, how?

It’s as incongruously Twain’s as this other quotation that’s run amok across the Internet, spread by people eager to associate any thought at all with some distinguished American author, preferably dead:

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Yes, unbeknownst to most Twain scholars and fans, the great satirist really wanted to write greeting cards….

The maudlin violets quote has been been sadly mis-attributed to Twain for some decades with the help of the Dear Abby advice column. More recently, it got the imprimatur on NPR of self-improvement guru Dr. Wayne W. Dyer (W for Wikiquote?).

You’d think that someone looked up to for enlightenment by tens of millions of people might want to get his facts straight. All he’d have to do was consult Google to see the quote show up as problematic right away.

If you want to check a Twain quote yourself, it’s very easy.  One resource is Snopes, which has its own Twain page.   And there’s Barbara Schmidt’s web site TwainQuotes.com where you get the real man, not a fake reeking of  Victorian sentimentality or bogus can-d0 spirit.

Lev Raphael is the author of Rosedale in Love and 25 other books in genres from memoir to mystery.

 

Literary Agents Haven’t Helped Me

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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.

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.

Diversity Takes a Hit at MSU’s English Department

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In 2011 I returned from a successful book tour in Germany where some of my audiences had been college students and I found myself missing the classroom intensely. Three days later, I received an email from the chairman of Michigan State University’s English Department asking if I’d consider teaching there.

Of course I said yes. When we met for coffee, I told him about the serendipity. He said that he’d reached out to me because I had published more books than the entire creative writing faculty put together and I had unique experience in publishing that the academic writers didn’t.

I remembered the department’s home in Morrill Hall fondly–it was where I did my PhD–a 19th century building that was down-at-heels but spacious and full of character.

(Lansing City Pulse photo)

I was only back there again for a semester before we moved to offices in another building on campus. These offices were cramped and utterly soulless. The conference room was brightened for me, however, by large framed posters of writers featured in the Library of America series. There are hundreds of books put out by this nonprofit organization whose aim is “to celebrate the words that have shaped America” and their publications cover several centuries of American writers of all kinds: poets, essayists, novelists, playwrights, historians.

The framed posters in that conference room happened to be of a diverse group of writers who had all inspired me in my career as an author and teacher: James Baldwin, Gertrude Stein, Willa Cather, Richard Wright, William Faulkner, Zora Neale Hurston, Mark Twain.

(Los Angeles Times photo)

Baldwin, for example, changed my life when I discovered Another Country in high school because that bestselling novel spoke openly about sexuality and race in the 1960s the way that none of my assigned readings did, and in prose that was sometimes breathtaking. I’ve since read it novel many times, always finding new wisdom.

“I think you’ve got to be truthful about the life you have. Otherwise, there’s no possibility of achieving the life you want.”
― James Baldwin, Another Country

The conference room itself was grim and shabby around the edges. But the posters reminded me of the joy of seeing the world through completely different eyes, the fascination of watching students discover new viewpoints and revel in or wrestle with them, and how powerful authors motivated me as an author myself to keep working at my craft.

Returning to the classroom was exhilarating, and I felt as inspired by those writers as by my college mentor whose own teaching was witty, compassionate, and incisive.

I’m not at MSU anymore (I teach online at writewithoutborders.com), but I was still surprised and disappointed when several friends in the department recently told me that the Library of America posters were coming down. None of them could offer a compelling explanation. Or explain why when the removal was first announced at a faculty meeting, some professors were enthusiastic and practically cheered, as I was told.

That’s a very disturbing response at a time when universities around the country are focused on diversity and inclusion. More than half the writers in the group are Black, gay, lesbian or both. Why would anyone be happy to see them disappear? And why would the department want to symbolically cut itself off from a rich, diverse American literary heritage? What kind of message does that send to students and the university as a whole? What kind of statement does it make about the department’s priorities? And really, what on earth does anyone have against James Baldwin, one of America’s greatest post-World War II writers?

The department’s web site states that should the Internet ever collapse in some kind of apocalypse, books would still survive and “continue to galvanize readers.” I guess their authors won’t matter, though.

Lev Raphael is the author of 26 books in genres from memoir to mystery, most recently State University of Murder.  This piece originally appeared in the Lansing City Pulse.

Should Writers Join A Critique Group Or Not?

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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. 

Writer’s View: Celebrity Irish Author Tells Her Male Peers To “**** Off”

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That’s what The Daily Mail quotes superstar Irish novelist Marian Keyes as having recently said:

“I only read women. I know that men write books. But their lives are so limited. It’s such a small and narrow experience….Their literature just really can’t match anything written by a woman. I just think ‘**** off’.”

If you haven’t heard of her, she’s written thirteen novels, sold tens of millions of books, and seen her work translated into several dozen languages.

Her dismissal of male authors was seconded by journalist Suzanne Moore, who complained that woman authors aren’t taken seriously.  She also warned readers of The Guardian, where she made these comments, not to send her names of great male writers since she knew who they were because she’d had “an education.”

Those remarks made me think of my own education.

I was an English major in college.  Along with the usual male suspects we read Jane Austen, Anne Radcliffe, the Brontes, Mary Shelley, Emily Dickinson, Mrs. Gaskell, George Eliot, Edith Wharton, Kate Chopin, Virginia Woolf, and Charlotte Perkins Gilman. In graduate school along with Conrad, James, Kingsley Amis, Graham Greene, Alan Sillitoe, Anthony Powell, and Phillip Roth, we read Toni Morrison, Elizabeth Bowen, Iris Murdoch, Gertrude Stein, Doris Lessing, Susan Hill, Margaret Drabble, Jean Rhys, Muriel Spark.

But more importantly than all of that, on my own I’ve read dozens of women writers including Agatha Christie, Ann Tyler, Elizabeth Taylor, Rebecca West,  Anais Nin, Elizabeth Gaskell, Daphne du Maurier Olivia Manning, Ruth Rendell, Francine Prose, Anita Brookner, Elizabeth Braddon, Val McDermid, Stella Gibbons, Alison Lurie, Anzia Yezierska, Penelope Fitzgerald, Laurie R. King, C.S. Harris, Lori Rader-Day, Janet Fitch, Mona Simpson.

Those are the names of women authors that come most quickly to  mind.  I could add many more if I took the time to scan my library shelves.  Should I have to?  Gender has never mattered to me.  I’ve always looked for fine writing and compelling stories.  I often went on to read more by each author, sometimes hunting down everything in print if a first book hypnotized me.

Education isn’t a passive thing.  It’s not just waiting for books to be assigned to you, it’s seeking out books that you think might change the way you see the world or at the very least, open the doors to a new one.

Marian Keyes  admits that she reads an occasional book by a man, but she seems strangely limited herself to dismiss an entire gender’s writing so readily.  Since she’s famous already, I’m sure what she’s said will gain her even more fans, because inflammatory remarks like hers are crowd pleasers and bound to go viral.

There may well be caps, t-shirts, and all sorts of swag. She might even get her own talk show.  With no male guests if they’re authors, of course.  Because what could they possibly have to say when their lives are so impoverished of experience?

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