The Surgery

7-40 Challenge | Round 4, Day 14


I used to think that when I finished writing something, I was done. The story was out. The work was complete. Move on to the next thing.

That was shortsighted and a little arrogant.


I’m sitting in a coffee shop tonight working on the editorial pass for my second novel. The bones are solid. The arcs are where they need to be. What I’m doing now is polish — adjusting the reader experience, tightening scenes, making sure the story feels cohesive from the first page to the last.

And I’m enjoying it. That’s the part I didn’t expect.


I used to dread editing. It felt like going backward. The creative rush was in the writing — getting the story out, discovering the characters, finding out what happened next. Editing felt like admitting the first version wasn’t good enough.

It wasn’t. And that’s not a failure. That’s how stories work.

The things we love in books — the moments that land perfectly, the detail in chapter two that pays off in chapter twenty, the line of dialogue that feels inevitable — those aren’t first-pass items. They’re the result of careful editorial surgery. Someone went back in and made the good parts great and cut the parts that were only there because the writer liked them.


Here’s what the surgery looks like today. I discovered I was being too on the nose — telling the reader what to think about events instead of trusting them to pick it up. The story elements are all staying. The structure is solid. But there’s a pattern running through the manuscript where I’m explaining what a scene means instead of letting the scene do its own work.

That’s the kind of thing you can’t see in the first draft. You’re too close. You’re too in love with making sure the reader gets it. The edit is where you learn to trust them.


The other thing that’s changed is the standard. A younger version of me would have been satisfied to just do a good job. Get it done, ship it, move on. I’m not that guy anymore. I want the work I put out to be the best I have — not perfect, but the best version I can make. I want the reader to smile, or think, or feel something they needed to feel. And I owe it to them to go back in and make sure I’ve given them that chance.

The first draft is where you create the story. The editing process is where you learn to trust your reader with it.

In Search of Soho People

7-40 Challenge | Round 4, Day 11


Malcolm Gladwell opens The Tipping Point with the story of Hush Puppies. A dying shoe brand — almost pulled from production — that exploded into a national trend because a handful of kids in Soho started wearing them. The company didn’t cause it. They nearly killed the brand. The tipping point happened because the right people found the product in the right place at the right time, and it spread from there.

I need to find my Soho people.


I have a five-star review on Amazon from a guy I went to high school with. We haven’t spoken in almost thirty years. He found my book off a single Facebook post, read it, and left a review comparing it to Brandon Sanderson and Robert Jordan. He said he put everything else down to read it. He wants the sequel.

One Facebook post. One reader. Thirty years of silence, and the book broke through it.

He’s not the only one out there. I know that. The problem has never been the product. Every person who’s read Phase Defiant has told me they couldn’t put it down. The problem is that almost nobody knows it exists.

I have a how-the-heck-do-I-get-this-in-front-of-people problem.


Gladwell’s point isn’t that Hush Puppies were great shoes. It’s that tipping points have structure. They don’t happen by accident — they happen because conditions are right. The right people, wearing the right thing, in the right neighborhood, at the right time.

I’m a storyteller who wrote a book. I don’t know where my ideal readers gather. I just know the book is good, and the few people who’ve found it agree.

So this week, I’m not trying to sell to everyone. I’m looking for my Soho — the small group of readers who will grab this book and not be able to shut up about it. I don’t need a million of them. I need a few in the right place.

I’ve spent five months building things I believe in. Now I have to learn how things spread.

No More Excuses

Ten days ago I signed up for an AI music tool called Suno. On a whim, I uploaded some songs I’d written over the years — lyrics, melodies, composition notes — and let it arrange them into full productions.

What came back stopped me cold. Not because the AI was impressive. Because my stuff was good.

I’ve been writing songs since 1994. I sat down at a piano my sophomore year of high school and taught myself to play by plunking keys until something recognizable came out. I got my first guitar Christmas of 1997, hated picks, grew calluses on my thumb and index finger from strumming bare-handed. I never really learned other people’s music. I wanted to write my own.

For thirty-two years, the gap between what I heard in my head and what I could produce with my hands was wide enough to park every excuse I ever made inside it. I didn’t have the production budget. I didn’t have the studio. I didn’t have the band. The songs stayed in notebooks and rough recordings, and I told myself someday.

Ten days ago, someday showed up. Here’s what it sounds like:

By My Side

Hearing those arrangements — hearing my melodies orchestrated, my lyrics set against drums and bass and layers I never could have built alone — I realized something I’d been circling for a while. The creative instinct was always right. The ideas were always there. What was missing wasn’t talent or vision. It was the bridge between the idea and the finished product. And that bridge exists now.

I wrote a novel last year on my iPhone. Voice to text, thumbs, and an AI editing partner. Over a hundred thousand words down to sixty thousand after I went through it with a machete. It’s on Amazon. I made it. It’s mine. And I wrote it in a way that would have been impossible five years ago.

I’m writing songs. I’m writing novels. I’m creating things that would have been impossible five years ago with the tools I had then. And I’m doing it from my phone, my living room, and my lunch break.

Years ago, I joined an online community built around Seth Godin’s Tribes. I was trying to develop my thinking, contribute ideas about customer service and business. A woman jumped on one of my posts and tore me apart. Told me I was crazy, that I was enabling people, that I was an idiot. I never logged on again. I let one person’s pushback silence me entirely.

That version of me doesn’t get to make decisions anymore.

The excuses are gone. The tools are here. The only variable left is me.

The Lie

Somewhere around age eighteen, most of us were told to pick. Pick a major. Pick a career. Pick a direction. And the unspoken rule underneath all of it was that whatever you picked, that was it. That was your life. You chose wrong? Tough. You chose right but lost interest? Too bad. The conveyor belt only moves in one direction.

That’s the lie.

I bought it. Most of my generation did. I picked a plan at eighteen, and by the time I was halfway through college, I knew it was wrong. It took me until I was twenty-nine to actually do something about it. Eleven years of knowing and not acting, because somewhere in the back of my head, a voice kept saying you already chose.

Those eleven years weren’t wasted — I learned things along the way that I still carry. But they were heavy. There’s a specific kind of exhaustion that comes from building something you already know isn’t yours. You show up. You do the work. You get decent at it. And the whole time, there’s a low hum underneath everything telling you this isn’t it. You ignore it because the system told you that you already picked, and picking again means you failed the first time.

Nobody ever told me to pick one thing and drop the rest. If they had, I’d have told them to bug off. But nobody had to say it out loud. The system said it for them. The degree structure said it. The career ladder said it. The question every adult asks every eighteen-year-old — “so what are you going to do with your life?” — said it. As if the answer is supposed to be one sentence long and permanent.

Here’s what actually happened after I finally let go of the plan: I fell into data management and discovered I was good at it. I picked up a guitar and wrote songs. I started telling stories and eventually published a novel. None of it was the plan at eighteen. All of it built on what came before.

Variety isn’t the enemy of mastery. It’s the raw material for it. The more things you learn, the more connections you can make between them — and those connections are where the real value lives.

You were not meant to be one thing.

Passion Is Not a North Star

I just finished Cal Newport’s So Good They Can’t Ignore You. His thesis is that passion follows mastery — you don’t find your dream job by following your heart, you build it by getting so good at something valuable that opportunities find you. He profiles people who spent years developing rare skills before the work they were meant to do finally revealed itself.

I think he’s right. But I think there’s a layer underneath his argument that he doesn’t quite name.

Passion comes and goes.

Take marriage. My wife and I love each other deeply. I’ll be with her as long as my wedding vows stipulate, because that’s my wife, and I love her. Do we always feel swelling passion for each other? No. That doesn’t mean we feel the opposite. It just means passion is a feeling. And feelings move. We can’t spend every day just being passionate about each other. We have to get groceries. Cook meals. Take care of the house. Go to work. Raise our children. And the passion that runs in and through all of that is what makes it rich.

I think work is the same way. We find things we have an aptitude for. We get good at them. Some days we’re fired up about it. Other days we grind through it because it needs to be done. I’ve been in data management for twenty years. I didn’t get genuinely good at it until maybe 2021, when I was handed a project and told to get it finished and make it work. I had to crawl back into every design decision, review every technical document, and make sure what was written in the code was what we were actually delivering. When we went live, I felt proud. I didn’t realize until years later how impressive what we’d built actually was, given how scattered things were when we started.

That wasn’t passion that got me through that project. It was dedication. The passion came later, when I could see what the work had built.

Months into this challenge, the grind hasn’t made me more passionate. It’s made things clearer. I can see where the skills I’ve built are converging. I can feel the intersection getting closer. And I know — because marriage taught me this, and work confirmed it — that passion isn’t the thing that gets you there. Dedication is. Passion is just what you feel when you look up and realize you’ve arrived.