As I write this, it's late morning on Sunday, January 8, and I have spent an entire week living my new schedule.

It looks something like this:

5:45 a.m.: Wake up, shower, tend to the dog, have some juice.

6:15 a.m.: Head downstairs to my office and begin writing.

7:30-7:45 a.m.: Head upstairs for breakfast.

8:30 a.m.: Start the rest of my workday.

The rest of my workday is the part I've been waiting on. If this post is up and you're reading it, I've at last begun it.

I started working in a way that supports me when I was 18 years old, which means I've been at it for a long, long time. Most of that work has tied into a life of letters: I was a newspaper reporter before I was an editor, then I was a newspaper editor and a novelist, then I was a novelist and a freelance editor/graphic designer, then I was a novelist, freelance editor/graphic designer and pipeline inspection specialist (the latter being the wild card in my working life), then I was a digital journalist, a novelist, a freelance editor/graphic designer and a pipeline inspection specialist, then I dropped that last bit through no choice of my own.

As of today, I am an analyst/content specialist with a data research group that advises financial services on how to evolve digitally. And a novelist. And a freelance editor/graphic designer (although I'll be much choosier about my projects now). This new job, which I'm entirely stoked to begin, came about in a way that's reminiscent of how I've always found the most sustaining work I've done: a connection, an unforeseen opportunity, a perhaps surprising love of the work, and away we go. I've gotten to know folks at my new job over a series of years, working with them on a freelance basis first and now as a full-timer. Job changes, by their nature, can be stressful and uncertain. The way this came together mitigates some of that. I feel fortunate.

And I'm just entirely grateful to have the opportunity, at this juncture of my life, to plant myself in something new and learn new skills while also applying the old ones in new ways. In the broad view, what I've always done is tell stories (pipelining, perhaps, notwithstanding, although have you met Max Wendt?).

​Here I go again.

So, before I go off on a burst of happiness, I should do this: In the interest of consistency and intellectual rigor, I must adhere to my basic sense that happiness, as an emotional state of being, is highly overrated. It's too reliant on current circumstance to be trustworthy, and the factors that spur it—good news, fortuitous coincidences, pure serendipity, and the like—are too transient to be relied upon. My aim in saying this isn't to knock happiness—if you have it, brother or sister, be thankful for it and keep it as long as you're able—so much as it is to cast a vote for its more durable cousin, fulfillment. If you're fulfilled in where you are, whom you're with, what you're doing, where you're headed, you have something to hold tight to when the transience of happiness is with you and when it's against you. That's my theory, anyway.

That said, I'm pretty (burbly-happy curse word) happy these days. Let me count the reasons ...

I'm just back from Big Sky, about three hours from where I live. The board of the Big Sky Community Library chose And It Will Be a Beautiful Life as the community read (One Book Big Sky) for the fall. Tuesday night was sort of the capstone of the event. I drove out, had a wonderful chat with folks who read the book, spent the night, and came home.

​It was a soul restorer in all the best ways. When writers and writers gather, it can be a lovely thing (see below), but it can also be a release of the pent-up frustration that only writers know and thus are in position to help each other through. When readers and writers gather, it's straight-up love. How lucky was I to spend an evening with a bunch of people who read my book, read it closely, had such interesting things to say about it, and wanted to come talk with me? The luckiest. No doubt about it.

I rode those good feelings all the way home. The drive from Big Sky to Bozeman is one of the most visually arresting things you can see anywhere in these United States, so there's that, and believe me, I drank it in (figuratively). I made stops at libraries in Bozeman, Livingston, Big Timber, and Columbus, planting seeds for more days and nights like the one I'd just enjoyed. Here's hoping.

I think I'm only just now getting my considerable arms around how emotionally bereft the pandemic has left me (and so many other people, judging from what I'm reading and what I'm hearing). Honestly, I thought being chased inside and away from gatherings was a small blessing amid a horrible event, but it wasn't that at all. Now that I can see and meet the people I want to see and meet—while still being careful, of course—I'm realizing how much I craved it.

​Just in these past few weeks, I've gotten to hang in Butte, Missoula (thank you, Gwen Florio and Malcolm Brooks), Livingston (thank you, Amy Zanoni and Maggie Anderson), Bozeman (thank you, Betsy Gaines Quammen and Kryssa Marie Bowman), and Big Sky. I've had the fellowship of brilliant writers and thinkers, genuinely good people, and people who lovingly tend to the cultural life writ large. Man. I've needed that so much. So much. Happy? Yeah, I'm happy. But grateful most of all.

OK, look, here's where I keep it honest: If my publisher had said, sorry, kid, but your manuscript stinks and I'd received a lot of hate mail and my dog was snubbing me, would I be Mr. Happy? I would not. This, of course, underscores my point about fulfillment vs. happiness. I work to a standard I set so I can know I've done my best regardless of what a gatekeeper says (or, at least, so I'll have the gumption to try again if I find the door closed). I try to approach the world with an open heart because I believe that's how we get past at least some of our divisions. I engage with my dog so he knows I'm his, and he's mine. That's fulfillment. The happiness of it comes and goes.

But I can't deny that I'm really, really enjoying every side of the work right now: The creation of it, when it's just me and an idea and the challenge of getting from here to there. The production of it, where I interact with the publisher I wanted to be with and who wants my work on his list. The carrying it to readers and interacting with them, which can be such an incredible validation of the work put in. The awards, both realized and potential (talk about transience). I'm as energized for all of it, the whole arc, as I've ever been.

In Missoula, while waiting to eat lunch, I happened upon a meeting with a well-regarded poet and fiction writer and a genuinely good human. I don't know him well, but I like him, and even so, in the worst of my do-I-want-this-anymore crisis a few years ago, I deleted him (and a whole lot of other writers) from my social contacts, in a clumsy, flailing attempt at ridding myself of reminders of an endeavor I wasn't sure I wanted anymore. So there I was in Missoula, nonexistent hat in hand, apologizing for something I'm sure he didn't even notice, telling him I was in a dark place. He was kind and compassionate, as I expected he would be. I still appreciate the grace. I hope, the next time I'm on the other side of that conversation, I extend it to someone who needs it.

I'd like to think I've learned something. Certainly, I appreciate that the want-to came back to me, and I'm going to nurture it as much as I can. But what happens when rejection arrives (as it surely will), or awards don't (ditto)?

I don't know. I'll try to remember now and then and remind myself that I can be in both places. Just not at the same time.

So I'm driving home from Big Sky and I'm talking on the phone—hands-free—with Elisa and I'm saying much of what I said above, only differently, and I'm telling her how energized I am, and I'm hearing how energized she is, and we come around to You, Me & Mr. Blue Sky. It's the novel—a romantic comedy that goes deeper, as Elisa's work does—she and I wrote together in 2018 and 2019. We released it ourselves ... and pretty much let it flop around out there. Our crises of confidence coincided. Those were hard, broken days. We had no energy for much of anything, and certainly not for getting out and trying to introduce a book to the world. We were too adrift in our personal lives to have the fire for the professional. Frankly, there were times I wasn't sure we'd make it.

But we did, and we have, and we're going to. Elisa is back, too, and she said, you know what, we should put a new jacket on that old novel we never really got behind. Freshen it up. It's a story of brightness and hope, and it has this dreary cover that doesn't fit it. Let's give it some love.

OK, she didn't say that exactly, but that was the gist.

And here it is, dressed to meet the readers we hoped it would meet.

Elisa didn't join me in Big Sky because our cat, Spatz, has been ailing. The most recent health issue was one that had a small sliver of hope for resolution and a rather wide, grim likelihood in terms of what we'd have to do. I had an appointment I had to keep, and Elisa decided to stay behind and tend to our girl.

And our girl, not for the first time, has proved resilient. Her issue has resolved itself—or, at the very least, has recessed into a place where she's her old self again for however long that lasts. She was a surprise when she came into our lives, and we've resolved to enjoy her for as long as we have her. That horizon, delightfully, has widened. We're thrilled.

​As Elisa is given to saying, she's our Rushmore, Max.

From time to time, on no fixed schedule, I drop a post into Facebook that starts like this:

A little [whatever day it is] craft talk, if you'll indulge me ...

I then hold forth on whatever's in my head, fixating on various aspects of the writing life (structure, pacing, idea management, etc.). I'm nobody's paragon of craft discipline, that much is certain. With regard to art, I am, for better or worse, a do-it type rather than a talk-about-it type. And because I didn't come from the academy or any kind of writing program—unless you count the immersive education of journalism—I'm not really comfortable with the conversations anyway. They too quickly expose the gaps I've papered over with intuition and practice.

But I do have my moments. This morning brought one of them. I talked about how an idea I got charged up about a few weeks ago stalled out on me fewer than 20,000 words in ... and how I resuscitated it.

Let's go deeper ...

The idea is the thing

Come October 1st, it will be six years of marriage and about seven and a half years of togetherness for Elisa and me, and let me tell you: That's long enough that most of the stories have been told, mine to her and hers to me.

We scooted away for an overnight trip to Great Falls this week. I had an event at Cassiopeia Books and an overdue acquaintance to make with owner Millie Whalen, and it was nice that Elisa and I could get away, just the two of us, for a little while.

On the trip home, one of those untold stories spilled out ...

Great Falls is where a lot of my family lore resides—my father, born in Conrad, grew up around there, and he and my mother married there long before I showed up—but it's not somewhere I often go. In nearly sixteen years of living in Montana, I've been only a handful of times, far less often than I've been to Missoula or Bozeman or Livingston or Helena or, heck, Miles City or Glendive.

But in 1992, I almost moved there. That's the story that had gone untold.

Now, when I say "almost," some qualifiers are in order. I wanted to move to Great Falls (or thought I did). The sports editor at the Great Falls Tribune at the time, a wonderful guy named George Geise, wanted me to move to Great Falls. The man who could make it happen, a senior-level editor at the paper I'd just as soon not name (but whose name I've never forgotten), made it clear I wouldn't be welcome there.

The reason: I didn't have a college degree, and he didn't think I was qualified for the job without one. (I still don't have a sheepskin, but that's another story.)

Now, let's be clear: This guy was flat-out wrong. I could handle the job I'd applied for (sports copy editor/page designer). I was handling it at a paper of similar size in Texarkana, Texas, and I would go on to handle it at progressively larger, more prestigious papers. I would, in time, become well-decorated and well-traveled. I would lead workshops in editing. I would direct a large sports department at a large West Coast newspaper. 

I would ... but I hadn't yet. Not in 1992. Then, I was a 22-year-old kid with some talent and, in fairness to the Executive Who Shall Not Be Named, some cockiness that was a bit out of proportion to the skills I'd honed to that point. And that imbalance, I think, would have been a perfectly valid reason for him to say, "Sorry, kid, not going to happen here."

But that's not what he said. He fixated on the degree I didn't have. I didn't get the job. George Geise was disappointed. So was I. There was personal history to unearth in Great Falls, and I was already well in love with Montana, an affair that goes on and on. I thought I was missing out on something important.

So, stuck for a while longer at a job in Texarkana I no longer wanted*, I made a resolution, one that has stuck for 30 years:

No way was a guy like that going to be right about me.

I made sure of it.

*—In Texarkana, the single most appalling moment of my journalism career, now more than three decades old, happened. When Magic Johnson rejoined the NBA after his HIV-positive diagnosis, I played the story big on the front page of the sports section (as did just about every paper in America). The next day, a copy of the page was in my mailbox, the story circled in red pen, along with a note from an executive at the paper: "Magic Johnson is an immoral HIV carrier, and none of our readers care about him." I should have quit on the spot. It's to my eternal chagrin that I did not. I did, however, start looking for a new job immediately.

Now ...

Did I miss out on something by not finding my way to Great Falls in 1992? Well, yes. Something. But not everything, and not the most important things.

I didn't make it to Montana and stick here until 2006, when I was 36. Within a couple of years, I was writing books, something I'd have not even attempted 14 years earlier. By the time I got here, I'd already dug into the personal history that was faintly compelling me in my early 20s. I'd found my grandfather and closed an open question. I'd begun to talk to my dad about his life and his memories, so I could find ways to get closer to him. In subsequent years, I'd help, in whatever meager way I could, to put ghosts to rest.

​The headstone pictured below on my grandmother's grave (in Great Falls) went in just 15-plus years ago, well after her death, as my father began to forgive her for the ways she'd wronged him, a thawing of feelings that came about because he and I started digging in the hard soil of his past.

I just—and when I say just, I mean less than an hour ago—finished constructing and printing out the interior print file for Elisa's forthcoming novel, All of You. I'm proud for so many reasons: that she's written another banger, that she's making tangible progress toward getting it out there, that I am able to use a skill I've developed to help her. Elisa believes in this novel, and she's reached a juncture in her career where putting it out herself and realizing her own vision for it is of paramount importance to her.

And that gets at why I'm most proud: A year ago, she wasn't sure she'd ever be here again. Three years ago, I wasn't sure I would be. Much of the joy of writing and publishing and connecting had been sucked out of it, for both of us, for similar and divergent reasons. And, listen, if you can't find the joy, there's not much reason to keep going. The difficulties are too numerous, the frustrations too pitched, the dead ends too abrupt in the best of circumstances. Joy, and its cousins purpose and determination, helps carry you through all of that.

I won't speak to how Elisa lost joy and found it again; that's her story to tell in her way.

But I can speak to my own journey ...

Facebook is a scourge, mostly. But it's also a scourge with features that aren't easily replaceable through other means. I can't call up my nieces and nephews on the daily and ask what's going on their lives—I mean, I could, but they'd quickly tire of it, and I'm just not constituted to operate that way—but I can see every important turn on Facebook. I can be conversant about what they're doing. I can feel connected to them.

Similarly, there's nothing quite like Facebook's Memories feature to remind you of the way things once were. Sometimes, it brings into sharp relief just how different your current circumstances are. Elisa and I get this a lot, especially this time of year, which synchs up with the first summer of our courtship—The Magical Summer of 2015, as we like to call it. And so we sit at the breakfast table, older, paunchier, scuffling harder to pay bills, not knowing when or where our next vacation will be, and we sigh contentedly at the memories of a time when royalties were flush, there were no jobs to go to, and we could just disappear without worrying where the next check was coming from. And we say "gee, wouldn't it be nice to experience that again?" and we agree that it would be, but we're not really thinking about how much richer life has become in other ways, lost as we are in the haze of memory. We're not thinking about the house we bought together, the pets we love, the history we're building. We're thinking about being financially carefree and unbound by anything other than our imaginations.

They're pretty sweet, those memories ...

If you've read the past several paragraphs and thought, OK, great, Craig, but that was a bunch of sentimental claptrap about life and leisure and I'm here for the struggle with art, let me say this: I find it impossible to separate the two. Those memories from 2015 beguile us, in part, because of what fell out from there: Love and marriage and commitment, yes, but also struggle. We both wrote and published books we loved and believed in, same as we had before, only those subsequent books weren't commercially successful in the same way their predecessors had been. We fought against ourselves to recapture what we thought we'd lost, not really having any idea what it was or why it had seemingly gone sour. We got dumped by our publisher, and while it would be nice to be above it, to greet such news with an attitude of "their loss," the simple fact is that the losses felt very much like ours. It felt like rejection, because it was rejection. It hurt because we are humans, and we bleed when we're cut.

However ...

It's important to know that, even as you build yourself up as special, you're not. Rejection isn't your burden alone; everybody grapples with it. A change in trajectory isn't singular failure that's on you; that's life and what happens sometimes when you have the audacity to live it.

It took a while to come out of that depressive trough. It took a while to find a new footing. It took a while to want to get in there and slug it out again.

For me, the breakthrough came when I realized that my happiest place was inside the work, where it was just me and the stories I'm trying to tell, where the measure of progress is keeping faith with what I'm attempting to do by showing up, every day, and doing a little bit more to realize it. When I rediscovered that, the rest began falling in. The publishing partner with whom I want to bring these stories out, who believes in the work the same way I do. The reconnection with a sense of fulfillment (not necessarily happiness, which is more transient and thus, honestly, less valuable to me). Exterior validations of the work.

But always, always, it's the work.

I see that in Elisa now, the spark she has rediscovered with this new book. She's fully into her own joyousness, and you can take it from someone who's seen this from her before and worried when it went away for a while:

Look out. She's got this.

Here we are, nearly halfway through 2022, and I've only just caught up to reconciling something that happened in late 2021. (I suspect this is either because I'm slow on the uptake or because I just hadn't taken the time to lean into my feelings and sort them out. Maybe even both!) At any rate, at the end of the year, the company for which I'd done some occasional pipeline inspection work for the past several years folded up its U.S. operations. Just like that, I was out of a gig.

First, the important stuff: It wasn't more than a trickle of an income stream, so it's not like I was jobless or under the threat of imminent financial disaster. It wasn't and never had been a career, so I wasn't grappling with the loss of self. The point being, it wasn't a massive blow to the bottom line or self-identity.

And yet ...

It was a blow, undeniably. I felt the absence, and I felt a little unmoored by the fact that I didn't have any work trips coming up. I found myself thinking inordinately about the places I would commonly go on these work trips—Buffalo, N.Y., and Chelsea, Mich., and Michigan's Upper Peninsula, and the far reaches of Minnesota and Wisconsin. My thoughts would drift to Minot, N.D., where I'd gone for my first such job, way back in 2015.

And then it occurred to me: What I'm really missing here is that liberating sense of being gone. I'm 52 years old, and I've never lost that urge toward motion, travel, getting in the car and going, any direction will do. I like hotels and corner restaurants. I like people watching in places where I don't know anyone. I like seeing what's over the next horizon, even if I've seen it before. By now, I surely most know that it's incurable.

So I told my understanding wife that I needed to go, and I packed up the dog and a week's worth of clothes, and I went. The idea was to go to Minot and, from there, launch revisits of a few pipeline routes that emanate from there. The Minot part was easy enough. The rest, though, went against my expectations.

Here's a glimpse (material stolen from a subsequent Facebook post):

I had to work the evening of getaway day, and long gone are the days when I can drive for eight hours and work for another eight, so we stayed that night in Sidney, Montana, another dot on the map rich with memories.

Again, borrowing from Facebook:

Facebook, I've noted before, isn't good for much, but it's damn near essential for a few things: easy keeping up with far-flung friends and relatives, recipes, irritating others with your daily Wordle grid, cat memes, birthday greetings (the most heartwarming day of the year, every year), etc.

Increasingly, I'm finding value in the stored-up daily memories, especially the things I don't remember writing or don't remember the impetus for writing. Today (April 18) served up this kick to the hippocampus:

My newspaper career started in October 1988, when Jim Fuquay gave me a job as a part-time correspondent at the Fort Worth Star-Telegram.

It ended in August 2013, when I left my job as night city editor at the Billings Gazette.

In between, I worked at nine newspapers in six states. Some jobs I took for the adventure (Peninsula Clarion, Kenai, Alaska, age 21). Some I took for money (Dayton Daily News, 1994). I almost always regretted those, by the way. Some I took for escape (Anchorage Daily News, 1995, to get away from Dayton). Some I took because I knew they'd make me better (San Jose Mercury News, 1998). One I took to correct a mistake (San Jose Mercury News, 2000, after bouncing to both San Antonio and Olympia, Wash., earlier that year).

Twice I accepted jobs and then backed out before I was due to report (particular apologies to the Lewiston (Maine) Sun Journal).

I took different jobs for different reasons. Sometimes those reasons panned out and sometimes they didn't.
But most of the time, what I was really looking for in a new job was some new version of me. I never found that. Not once.

It feels good to finally admit this.

Let's unpack this, shall we?

Elisa and I were talking about this the other day, having reached an age at which there's plenty in the rearview to examine and second-guess and (we hope) plenty of road ahead to consider other pathways: If we had it to do again, would we make different career choices? What might we have done instead?

​Because those ponderings inevitably run up against the butterfly effect, we ended up in a predictable place: Nope. We're good.

But it remains an interesting thought experiment, if only for the clarity you find about the choices you did make. I ran toward print journalism—and stayed there a good long time—because it made good use of my particular talents and because it was, in my narrow sense of the word, a daily adventure. Within the strictures of daily newspaper production—you have to gather the stories and stats and pictures, you have to edit the material, you have to design the pages upon which it all rests—were wide variables in what you dealt with daily. The news was always different. The pages began, every day, as blank canvases. I loved that.

What I traded for that was significant, though: Friends in other lines of work made more money, enjoyed greater security and stability, had evenings and weekends free, etc. These are not insignificant things.

Who I was and my stance with regard to work, especially in my 20s, are so entirely removed from who I am now that I have to strain to remember that guy. I know that his entire definition of self was wound up in being a journalist, that he went to bed thinking about it and woke up each morning with it on his mind, that he bounced up to the world with that shingle around his neck. I lived to work, and I sought out any chance I had to work extra hours, to get plum assignments, to make myself as close to indispensable as I could (an illusion, of course, but one I willingly bought in those years).

It's what I didn't do that taunts me now. I didn't fall in love in those years; how could I, when the aggrandizement of Craig the Journalist was front and center among my priorities? I get at that idea in the Facebook memory above: In all my wandering around, looking for some new version of me, I carried my old self into each new situation (wherever you go, there you are). I didn't learn to play the guitar or take a judo class or write a novel.

​Until, you know, I wrote a novel.

When I was trying to emerge from brokenness and impending divorce in 2014-15, I spent a lot of time with a counselor (highly recommended) and with my nose in reading material aimed at my mental/emotional state (e.g., King Warrior Magician Lover) and my soul (The Rag and Bone Shop of the Heart). I wanted to understand what was happening to me, why it had happened, the parts for which I had responsibility (many) and the parts I had to let go (also many).

I also read a lot of shorter pieces, some with resonance and some without. Two that stick out, years after the fact, were written by Mark Manson. I recommend these highly, whatever your situation:

Fuck Yes or No: "Since you’re now freeing up so much time and energy from people you’re not that into, and people who are not that into you, you now find yourself perpetually in interactions where people’s intentions are clear and enthusiastic. Sweet!"

The Guide to Strong Relationship Boundaries: "People with poor boundaries typically come in two flavors: those who take too much responsibility for the emotions/actions of others and those who expect others to take too much responsibility for their own emotions/actions."

I hear what you're saying. Craig, you're saying, this is great, but you're talking about personal relationships now, and you were talking about work, and I'm confused.

No, no, I'm still talking about work. This is the point. In the extreme emotional duress of a divorce—a traumatic thing I do not recommend, unless, of course, it's the thing that will skirt an even bigger trauma—and with the help of a well-trained, compassionate human and the collected wisdom of learned thinkers, I began to unlock some problems I'd dragged into every area of my life: my interpersonal relationships and my relationship with work.

This hard process of dredging up changed me. Better personal boundaries also meant better work boundaries. I'm no less good at what I do—in fact, I'd argue that I'm much, much better than I've ever been—but no longer am I defined entirely by a magazine spread that I've designed, or a report I've edited, or a chapter I've written. What I do is also who I am, but it's not the entirety of the picture.

It was written mostly as a joke, but like any good joke, there's truth inside it. In the sidebar on this blog, I define myself this way:

​Craig Lancaster is an author, an editor, a publication designer, a layabout, a largely frustrated Dallas Mavericks fan, an eater of breakfast, a dreamer of dreams, a husband, a brother, a son, an uncle. And most of all, a man who values a T-shirt.

I can live with that.

In some significant ways, what's happening now in the American workforce—this thing they're calling the Great Resignation—is a manifestation of an assertion of boundaries. We've been through a lot: social tumult, a deadly pandemic, a rebalancing and cross-pollination of work lives and home lives. People are reconsidering what they value, how they want to toil, whom they want to toil for, and what price they're willing to accept for those vast swaths of their finite lives. Good. It's healthy in the long run, even if it's upsetting to the status quo in the shorter term.

The last time I moved—packed up my life and my car and my expectations--for a job was more than 20 years ago, when I left Olympia, Wash., to return to San Jose, a place I never should have left in the first place. I can't imagine doing it again, although one of the benefits of growing older is learning that one really shouldn't say never.

My point is that although I plan to strap on the work boots for a good long time—I like to work, a fact that was clear even 30 years ago, if badly applied--where I am and who I am and how I'll share those parts of me need more than just a job. I need a multidimensional identity, too, and at last I have one. That's what I was missing in all those moves cited in the Facebook post above.

The last time I recast how I define myself professionally occurred when I wrote and published that first book and I figured I could finally call myself a novelist instead of just a guy who wished he had one inside him that he could extract. That was nice, too, but it's not everything. Without the laying about and eating breakfast and doting on my nieces and nephews and being a son and a brother and worrying about the Dallas Mavericks and spinning through this life with my wife, in fact, it wouldn't mean much at all.

Hello, 2022 ... and all of you here to see it. It's been a trip, huh?

Just before Christmas, in a final furious week of drafting, I finished the first pass at a new novel, which I'm calling Dreaming Northward. It is, as I expected given the brisk pace of my finishing kick, both a fully satisfying arc and a manuscript that needs a lot (A LOT) of work. That's how these things go, at least for me. I write them to see I can get from here to there, then I spend a lot of time cogitating on what I've done, then I rewrite to more fully expose the story I think I'm trying to tell, then I revise, revise, revise to really hone whatever it is that I have. (Followed, of course, by even more editing if—knock wood—the thing gets published, followed then by a beautiful, finished book that I immediately wish I could have another crack at.)

Anyway, I hope to share it with you ... sometime. Probably 2023. We'll see. A lot left to do.

I mention this because my friend Jeff Deck reminded me of something on Facebook today. Here are Jeff's words, which are much more eloquent than mine:

I'm Random Penguin House author Jeff Deck, and I have an important message for you today:

Getting published by a major house will not make you rich.

It will not pay your mortgage. It will not clear up your skin. It will not get rid of those love handles.

It will not make you a bunch of friends, nor will it get you laid. It will not make your distant parent say they're proud of you.

It won't relieve you of the onus (and cost) of marketing your book yourself, either.

What it will do is get your book into physical bookstores. And potentially improve your chances of getting a second book traditionally published. But mostly it's the distribution thing.

Many people fix their eye — and their hopes, and their self-validation — on getting published by a major house. My wish for you is to recognize the value in your work no matter how it ends up being published, whether via the Big Five (Big Four?), a mid-size or small press, or self-publishing.

Recognize the value in it BEFORE it's published, too. The work you put into your story is real. The time you spent improving your own skills along the way should be recognized, and celebrated.

Goals are important for motivation. But you are "worthy" *right now*. And you will continue to be worthy every step of the way.

Writing is a long journey, even (especially) after publication. No matter which publishing route you choose. Belief in your own value — and a daily celebration of your own work and words — will sustain you along the way.

Every word is absolutely true, by the way. I often tell folks that they should celebrate having done the work as much as they celebrate anything that flows from that work. Sometimes, they think I'm bullshitting them. I'm not. The work is sustaining. The rest is ... the rest.

The rest

Received some lovely news yesterday. And It Will Be a Beautiful Life was the bestselling book for 2021 at my local independent bookstore, This House of Books. I'm grateful to the bookstore—where I'm a proud member-owner (it's a co-op)—for being such a wonderful supporter of not just my work but of the many, many fine regional writers who are doing such important work here. And I'm grateful to the folks, near and far, who bought a copy from THoB and kept the oxygen flowing to an independent bookstore. The cultural life in my town is much the richer for its presence.

If you'd like a signed copy of the book, THoB will be happy to fulfill that desire. Simply order online and mention in the comment field that you'd like it signed, and I'll hop into my trusty blue Toyota, drive downtown and sign it for you.

And, hey, if it's a paperback you want, I have good news:

The paperback version releases in May, and you can preorder through THoB (I'll be happy to sign those, too, once they come in), through your local independent bookseller (please!) or wherever you get books.

Dispatches from the staying-in-touch department ...

Will the pig run again?

I've written before about my occasional life in pipeline inspection — an association that inspired an entire novel — and had been looking forward to getting out there again in the spring, after the usual wintertime slowdown. Well, maybe, but also looking like probably not. The company for which I did work recently shuttered, and there's an industrywide slowdown, so I may be on the obsolescence end of progress (or regress).

I can't say I'm particularly heartbroken. Pipelines are a destructive, invasive way of delivering extractive sources of energy, and for the future of the planet, it's high time we develop alternatives that are well within our grasp but beyond our political will. On the other hand, there's a practical consideration: We already have the damn things, and we're using them. The job I did was essential to the safety end of matters. Let's hope that continues until we can pull those things out of the ground and return the land to those from whom it was stolen.

I will miss the travel to exotic (read: remote) locales and the chance to meet people in their natural habitat. But that can be enjoined in other ways, obviously.

Union strong

I recently did something I should have done a long, long time ago: I joined the Authors Guild.

So here's where I cop to self-interest: I began to consider the possibility earlier this year when, quite apart from any involvement from me, my former agency descended into founder-vs.-founder contretemps and my meager royalties from long-ago books started showing up late or not at all. My former agent, also caught in the crossfire as her old shop melted down, was a champion and an ardent defender of my rights, it should be pointed out, and she got my situation squared away, for which I'm eternally grateful. But it occurred to me—again, when my self-interest was compromised, an entirely human condition that I'm trying to rise above—that in this whole solitary business, you have to grab a little solidarity where you can get it and stand strong with those who do what you do.

I'm also reminded of something wise I once heard said by A.W. Gray, a well-regarded crime novelist but better known to me as the father of my boyhood best friend: "The people who need unions the most are those who don't have them."

The rustling around of some of my writer friends tells me November is coming, and that means National Novel Writing Month (NaNoWriMo). And sure as the swallows return to San Juan Capistrano, someone (or several someones) in my circles will openly disdain the whole exercise.

If I wished to be casually dismissive of someone's point of view—to suggest that they haven't legitimately arrived at their thinking—I could certainly do that, but I think not hearing each other has caused us enough problems. My own view is that a communal writing experience, in which thousands upon thousands of people set aside some time and try to create something, is very much a good thing. Perhaps the attendant expectations often get wacky—no, you're probably not going to write a finished novel in a month, and no, laying down 50,000 words and "winning" NaNoWriMo doesn't ensure publication, and no, the act of drafting is not what it's all about—but the expectations aren't the toil or the making of art. You want to spend November trying to pull a novel out of yourself? Bully! Do it!

I won't join you, though, for reasons I'll get into below. And my getting into them might just illuminate what a NaNoWriMo participant can expect from the experience. On the other hand, what do I know and who am I to say? Well ...

1. I've Been There and Done That

In 2008, prompted by my friend Jim Thomsen, I committed myself to a month of writing and had what has turned out to be a dream trip. I drafted my first novel, what eventually became 600 Hours of Edward, in those 30 days. (Actually, it was 25. No, no, wait, it was 17 on account of the off-days; see the breakdown below.)

This, a bit regretfully for me, has become a sort of boilerplate in any account of my subsequent fiction-writing career. It shows up in reviews, gets asked in interviews, etc.: Here's the guy who wrote his first novel in 25 days and got it published and it eventually became an international bestseller and it's just that easy!

It's not just that easy. I've written nine books since then, not a one of them as commercially successful as the first, all of them better pieces of writing (in my estimation), and I've come to view what happened in November 2008 as a one-off, a writing project never to be replicated by me in quite that way again. I had an idea, I gave in to the mania of writing it as quickly as I could because of the format, and I had the good fortune of writing something that has connected more broadly than anything I'd written before or am likely to write again.

I'll take the win and say I've already played the game.

2. For Me, It's About Not Writing as Much as It is About Writing

NaNoWriMo's pitch to prospective participants is pretty irresistible: They say we all have a novel inside us. Commit yourself to finding out.

As far as it goes, a fine idea. And every November, people find their people, fellow writers who are trying to meet the challenge. There are supportive text exchanges and writing get-togethers and coffee klatches, and these are all wonderful things. Writing can be such a solitary, doubt-filled endeavor. NaNoWriMo brings community to the fore.

The thing is, writing novels has helped me learn to embrace the solitude. It's also made me realize that some of the best work I do happens when I'm not at the keyboard, pushing my word count ever higher. It's in the quiet consideration of things, reflecting on the characters and worlds I'm trying to create. It's in feeling the rhythm of the world around me and participating in it. It's in letting the well refill.

All of which is to say that ginning myself up for a writing dash in November is far less important to me than listening inward and doing the things I need to do to stay engaged with my work and with the larger life I have that supports it.

3. The Whole Word-Count Thing

OK, look, I get it: NaNoWriMo is selling "get that novel out," so there has to be an attendant metric by which you measure how successful you were in meeting the challenge.

Word count is just so lacking in so many ways because it puts the wrong objective forward. I can't speak for professional writers who disdain NaNoWriMo—by now, I should be on record as very much pro-the-spirit-of-NaNoWriMo-if-not-necessarily-the-way-it's-sometimes-applied. But many people who've spent a lifetime developing craft, absorbing rejection, trying again, getting better, breaking through will view word count as one of the least important things they do, far less vital than getting the arc right (which will, by its nature, produce the words), clarifying theme, achieving empathy, sharpening the prose, etc. That NaNoWriMo considers 50,000 words success can just feel a little thin when you know just how hard it is to write something worth publishing.

For what it's worth, here's how my word counts proceeded in 2008 (first number is the cumulative total, and the parenthetical is that day's work):

• Nov. 1, 2008: 5,763 (5,763)
• Nov. 2, 2008: Off
• Nov. 3, 2008: Off
• Nov. 4, 2008: 11,183 (5,420)
• Nov. 5, 2008: Off
• Nov. 6, 2008: 13,721 (2,538)
• Nov. 7, 2008: 16,963 (3,242)
• Nov. 8, 2008: 20,439 (3,476)
• Nov. 9, 2008: Off
• Nov. 10, 2008: 23,085 (2,646)
• Nov. 11, 2008: 27,293 (4,208)
• Nov. 12, 2008: 30,744 (3,451)
• Nov. 13, 2008: 34,558 (3,814)
• Nov. 14, 2008: 39,886 (5,328)
• Nov. 15, 2008: Off
• Nov. 16, 2008: Off
• Nov. 17, 2008: Off
• Nov. 18, 2008: 43,846 (3,960)
• Nov. 19, 2008: 51,811 (7,965)
• Nov. 20, 2008: 54,816 (3,005)
• Nov. 21, 2008: 60,837 (6,021)
• Nov. 22, 2008: 63,957 (3,120)
• Nov. 23, 2008: Off
• Nov. 24, 2008: 73,208 (9,251)
• Nov. 25, 2008: 79,175 (5,967)

I look at those totals now and feel sheepish that I felt compelled to keep the record and to commemorate it. Why? It wasn't the total that was driving me; it wasn't the prospect of "winning" NaNoWriMo so I'd have a cool pixelated badge I could post here 13 years later. I wrote like mad because I had inspiration on the hook, and having never written a novel previously, I didn't trust myself to let it come to me in a more moderated way. I cannot conceive of an 8,000-word writing day now. I'd probably collapse if I tried it.

But here's the truth: I'm no less excited about my current project than I was about the book that became 600 Hours. I just don't feel the need to sprint. Thus, NaNoWriMo's appeal is lessened.

4. So What To Do?

This ain't a hard question. Do NaNoWriMo, if that's what you're jazzed about doing. Don't if you're not.

Whatever the choice, I'd urge reconsideration of what success is, in literary terms. Success is writing that story, in whatever way you do it and in whatever time it requires. That's it. It's a singular success that stands alone from getting an agent, getting a publishing contract, seeing your story in print, selling a hundred gajillion copies. Success is doing the work. Period. Full stop.

My buddy Jonathan Evison, one of the most talented and generous writers I know, wrote some number of novels and buried them in his backyard long before he broke through to publication. They weren't wasted effort; indeed, Johnny would tell you that work was foundational to everything he does today.

​The man speaks the truth.