What I Didn’t Say

In January of this year I used an AI tool to help me edit my novel. The chapter that came back wasn’t mine.

Same characters, different scene. Events I hadn’t written, in a book I’d already spent a hundred and five thousand words on. I got about halfway down the page before I stopped and said out loud, what the heck is this?

I’d asked for everything I could think of. Check the voice for consistency. Tell me if I’ve dropped a plot thread. Fix the grammar, look at the pacing. Everything you’d want from an editor, and I thought I could name all of it.

What I never said was don’t change the story.

I asked it why afterward. It told me my instructions left room and it had filled the room. Which is a fair description of what happened — I’d written a job posting with no scope, and something with no other context to work from took the widest reasonable reading of it.

I’ve known for a while that the gap was mine. What took longer was working out why it was there.


I’ve never worked with an editor.

Not once. Everything I’ve ever written I’ve edited myself, the long way, reading until my eyes slid off the page. So when I finally handed a chapter to something outside my own head, I was specifying a job I had never in my life watched anyone do.

I knew editing existed. I could name the tasks — anybody who’s read a book about writing can name the tasks. What I couldn’t name was the line. Where this sentence is weak ends and this scene should be different begins.

That line isn’t in any book about craft. It’s the kind of thing you absorb sitting across a desk from somebody in your first year, and after that nobody says it out loud again, because everyone in the room already knows it.

So I listed the parts I could see and left silent every part I’d never had to think about, which turned out to be all the boundaries.

You can’t put a fence around a field you’ve never stood in.


What I built afterward was a standard set of instructions I’ve used on every chapter since. Read for these things. Tell me what you find before you touch anything. Suggestions first, not revisions.

And the one that actually mattered: when you do revise, revise my words — I want it to still be materially mine when it comes back.

I’d never have thought to write that sentence if I’d worked with an editor even once. It would have been assumed. It’s assumed by every writer and every editor who has ever sat in a room together, and I had to lose a chapter to arrive at it from scratch.

The chapters started coming back the way I’d wanted them the first time. My sentences, tightened. My scene, still mine.


Twenty years of writing and I’d never once had to define what an editor does, because I’d always been both people. The handoff happened somewhere inside my own head, and nothing that happens in there ever needs saying.

So the instructions weren’t really for the machine.

They were the first honest description I’ve ever written of a job I’ve been doing to myself, alone, since I was in my twenties.

He Fell Forward

I  started a project at the beginning of this year called Bible Pictures 365. I started making the pictures so I’d actually read the Bible.

That was the whole design. I’ve got a plan that takes you through the entire thing in a year, and I know myself well enough to know that a plan alone doesn’t do it. So I gave myself a job: one image per chapter, every chapter, posted. Miss the reading and there’s nothing to post, and the empty slot is the accountability.

It also solved something else. I wanted to see it. Not a painting somebody made in 1840 with everyone dressed like Europeans, but a guess at what the room actually looked like. Dirt, heat, the right kind of bread.

And I wanted it to reach somebody. That part was in the plan too — I’ve had a number in my head all year, a thousand people, and this was one of the ways I meant to get there. Two accounts started from zero, posting into the dark and hoping.


What I didn’t plan for was being graded.

Early on I did David and Goliath. Stone hits the giant in the head, giant goes down. In my version he falls backward, which is what you’d expect and what looks right on a screen.

The text says he fell on his face.

I have gotten, conservatively, twenty comments about it. Probably more. People still find that one and tell me.

The first few stung a little. Then I understood what I was actually looking at. Twenty people knew that verse well enough to notice the direction a man falls in a sentence most people skim. They didn’t scroll past a nice picture. They checked it against scripture and found it wanting, and then cared enough to say so.

That’s the whole thing working. I set out to build accountability for myself and accidentally handed it to a few thousand strangers.


The messages come from everywhere. Corrections, mostly kind. Questions about how I make them. People telling me a specific image landed on them in a way they wanted me to know about.

Somebody once asked me to make one on request. It’s the scene where an enemy commander runs from a battle, hides in a woman’s tent, falls asleep exhausted, and she drives a tent peg through his temple. That’s in there. That’s in the Bible.

I got it to where you understand exactly what happened and it’s still fit for a phone screen. I’m oddly proud of that one.


Judges gave me more trouble than I expected, and not the parts people assume.

What sat with me was how fast it repeats. Sodom gets destroyed, and not many pages later the same wickedness turns up in a town belonging to Benjamin, and it ends with a woman cut into pieces and sent across the country as a message. The tribes nearly wipe Benjamin off the map over it.

I couldn’t make an image for most of that, and I didn’t try. But I read it, which was the point. Every generation in that book thinks it’s different from the last one and none of them are.

Job was harder in a quieter way. You know from the start he didn’t do anything wrong — you’re told, the reader gets to see the ledger. Then you sit there for thirty-some chapters while his friends explain his sin to him. And Job holds up, and holds up, and then eventually gets a little too big for his britches and God has to take him apart.

The part I keep coming back to isn’t the suffering. It’s that his friends were the first ones to throw him under the bus.


Eight months in, I’ve changed almost nothing about how I do it.

Same format. Generate the scene, put music behind it, post it with the verse. It started as a six-second video because that’s what the app gave me, then it became ten seconds because that’s what the app gave me. Every choice in the process was made once, at the beginning, mostly by whatever was available that week.

I want to be honest about what that is and isn’t. It isn’t boredom. I still like doing it, most nights it takes me twenty or thirty minutes, and I’m not white-knuckling anything.

It’s that nothing has broken. The posts land a few hundred views, occasionally a thousand, and the number has been about the same for a long time. Which is exactly the condition where you don’t change anything — nothing hurts enough to make you.

If I started tomorrow I’d probably put myself on camera. Read the verse out loud, say what it did to me that morning. I’ve never once done that on those accounts. I don’t have a good reason.


I’m into August now. Still going.

When the year ends I don’t think I’ll shut it down — maybe it becomes one picture a day instead of one per chapter, whatever actually hit me that morning. I haven’t decided.

What I do know is that some man in another country is going to open his phone, look at a picture of Goliath, and check which way he fell.

The Song Came Out Wrong

I set out to write an angry song.

The idea was a defiance anthem. When hard weather comes for you, you’ve got two options — you can be a candle the wind puts out, or you can be the thing the wind feeds until it’s a firestorm nobody can stop. That was the whole concept, and I had the sound in my head before I had the words. Gritty. Driving. Distorted guitars low in the mix, something with dirt on it.

That is not what came out.

The lyrics were exactly what I wanted. The music underneath them landed somewhere around 2000s pop-rock — clean, bright, more anthemic than mean. Radio, not garage.

My first instinct was that I’d failed at it. I sat with it a while longer and realized it was better than what I’d been aiming for. Defiant words over bright music does something that defiant words over angry music can’t: the anger is already in the lyrics, and doubling it just makes it heavy. Putting them over something bright made the defiance sound like it was winning.

I never would have arrived at that on purpose. I arrived at it by missing.


I’m doing a version of the same thing right now with a book.

It’s a 1920s mob story. Fedoras, tommy guns, a city being carved up. It’s also, structurally, the Book of Esther.

If you’d asked me why before I started, I couldn’t have told you. It just felt right, which is not a defensible answer. It took getting into the actual writing to see the reason: the bones are identical. A woman with a hidden identity, in proximity to a man with absolute power, who has to decide whether saying the true thing out loud is worth what it will cost her. That’s Esther and it’s also every good mob story ever told, and the fact that one has a palace and the other has a speakeasy is a costume decision.

The collision only works because of what’s underneath it. Throw two random things together and you usually get oil and water — they sit there, refusing to mix, and you’ve wasted an afternoon. What makes an unlikely pairing land is when the same human problem is already running under both of them and you’re the one who noticed.

That’s not invention. It’s recognition.


Here’s what I’ve come to think the actual opposite of creating is.

It isn’t failure. Failure is fine; failure is a song that came out pop instead of rock and turned out to be right. The opposite of creating is segmenting — keeping the parts of your life in separate rooms and never letting them meet.

Work in one drawer. Faith in another. The thing you love in a third, opened on weekends if there’s time. Nobody who lives that way fails at anything. They just never find out what any of it would have become in contact with the rest.

I did that for twenty years. Data work here, music there, church over in its own compartment, writing as a thing I’d get to eventually. Every one of those drawers was full and none of them knew about each other. The most useful thing that’s happened to me recently is that they started leaking into each other, and it turns out I’d been carrying the raw material for all of it the entire time.


The first thing the Bible tells you about God is that He makes something. Before you learn anything else about Him, you watch Him create. A few verses later you’re told you were made in His image.

I take that literally in the practical sense. Not that everyone’s supposed to be an artist — that’s the small version of the word, and it’s the version that lets most people opt out. But that the impulse to look at what’s in front of you and imagine it arranged differently is part of the equipment, standard issue, not a gift handed to a lucky few.

Which means the question was never whether I had it.

The question was what I was still keeping in separate drawers.

Ten Cents

In my mid-twenties I was the office manager at an insurance adjustment firm, which is a title that meant almost nothing. What I actually did was accounts receivable and accounts payable, and errands, and whatever anyone needed, and on some days taking care of the dog. Ten dollars an hour. The owner smoked cigars at his desk all day, which is its own story.

About eight or nine months in, I was standing at the coffee machine when he walked up and asked me when I’d last gotten a raise.

I hadn’t. I told him so, and I got quietly excited about it.

He said I should give myself ten cents an hour on the next check.

Here’s something about me: I like math. I do arithmetic in my head for fun. So I had it before he finished the sentence. A dime an hour is a dollar every ten hours. Four dollars a week. Sixteen dollars a month.

I said thank you.


I want to be careful, because this is where the story wants a villain and I don’t have one.

That man let me work through cancer treatment. Let me come in for half days and never took a dollar out of my check for it. He was eccentric and he was generous, and the two had nothing to do with each other.

He wasn’t underpaying me out of malice. He was paying what he thought the job was worth, and he was probably right about the job. The gap wasn’t between what he offered and what was fair. It was between what the job was worth and what I believed I was worth, and I had those two things welded together without ever deciding to.


By then I’d been carrying a complaint for about two years.

The church thing had ended. I’d spent almost a year on odd jobs before the insurance office. And I had a story that explained all of it, which I could deliver on request and frequently did.

The university, for handing me a degree that turned out to be worth nothing. The economy. The hiring managers who wouldn’t give me a chance — a whole category of faceless people, conveniently unreachable, reliably at fault.

My wife heard every version of it. She was two or three years into being married to me.

And I lived the way people live when they hold a story like that. The dread started Sunday afternoon, somewhere in the middle of the day, well before it needed to. Evenings and weekends were the real life. The other five days were the toll.


The dime is what broke it, and not for the reason you’d think.

The cigar smoke should have done it. Getting cussed out by clients, occasionally by coworkers, should have done it. The sheer flatness of the work should have done it. None of that shook me, because all of it fit the story. Every miserable thing that happened was more evidence for the case I was already making.

Ten cents didn’t fit. Ten cents was a number, and I couldn’t argue with a number. Somebody had assessed what I was contributing and priced it, and the price was a dime.

The complaint had no answer for that. The university didn’t set that number. Neither did the economy. It was a measurement of what I was actually doing, in that building, that year — and the only person who could change it was me.

That’s what it cost. Not the pay, the excuse. The day the story stopped working was the day I couldn’t hand the problem to anyone else, and I’ve never found a way to describe how much heavier that is at first.


So I went to work on it, badly at first and then less badly.

I got my insurance adjuster’s license while I was there. I found a mentor — a real one, someone I could describe the actual situation to, out loud, including the parts where I suspected I was the problem. He started showing me a version of myself I hadn’t been able to see. I read business books I only half understood, mostly to get familiar with a language nobody had ever taught me. Zig Ziglar was in the car.

And I had time, because a job that uses a tenth of you leaves the other nine-tenths sitting there. What had been dead space turned into something closer to an incubator. I learned accounts payable and receivable properly. I learned how insurance actually works, which I still use — I know how to protect my family because of that job, and I’m not being cute about that.

It also became very clear that nobody was standing between me and any of it. I had a library card. The internet existed. There was no gate and no keeper.


I stayed two more years after that. Three and a half total.

I left making about thirteen dollars an hour. Three dollars more than I started, which sounds like nothing and was nothing.

What actually got me out was a friend at another company who knew I was looking and asked for my resume. That’s the whole mechanism. Someone asked, at random, on a day I happened to be ready — and the readiness was the only part of it I controlled.

I aced that interview. I was professional and prepared, and I could speak the language, and none of that was true of the man who’d been standing at the coffee machine doing math in his head. That job turned into data management, which turned into the last twenty years.

I look back at that stretch now and I’m proud of him. That’s not a thing I say often about my younger self.

He never got the scapegoat back. I’ve never wanted it.

On The Second Floor

My second ministry job came with an office on the second floor, at the end of a hall, away from where the other offices were. The reasoning was practical — they didn’t want teenagers wandering through the suite where the grown-ups worked. So they put me and the teenagers up where we wouldn’t be in the way.

It was an interior room. No window. Not much bigger than a broom closet, and I’ve never been sure it hadn’t been one.

I decorated it. Spent real time on that. Got it set up the way I wanted, because I was going to be in there studying and praying and planning, doing all the things a person does when he’s twenty-two and has been handed the thing he asked God for.

I sat in that room for two years and I was lonely in a way I didn’t have words for at the time.


I came in hot. Ideas, energy, plans. I’d done two years as a music and youth pastor already and I was going to do this one well.

Those two years turned out to be exactly enough experience to be dangerous. Enough that I stopped thinking of myself as somebody who needed to be taught anything, and not nearly enough for what this job actually was. The gap showed up fastest in the places I wasn’t looking. I was barely older than the kids, which felt like an advantage right up until I needed to be an authority and had no idea how to become one. The adults were harder. The volunteers who’d been serving in that ministry for years saw the job as something we’d figure out together. I saw it as mine. They offered feedback and I heard interference.

I wasn’t lazy. I worked hard the entire time. I just worked hard at the parts I already knew how to do and quietly avoided the parts I didn’t, which is the most convincing way there is to be failing while feeling productive. It didn’t take long to be noticeable.

By the second year I knew. Not in words, but in the mornings — sitting up in that room, unmotivated and miserable, and aware it had started to affect the one relationship the whole job was supposed to be about.


When they finally called me in, the decision was the right one. I’ve never once argued with the outcome. Quit or be fired. I quit.

What I’ve turned over for twenty-five years is that it was the first conversation. Two years, and the first honest exchange about how it was going was the one that ended it.

I want to be careful here, because this is where a story like this usually goes looking for a villain, and I don’t have one to give you. I was not an easy person to help. I was headstrong, I was defensive, and I’d have bristled at half of what needed saying. The version of this where someone sits me down in month four is not a version where I make it easy on them.

But I’d have taken a directive. That’s the part I know for certain. I respected the chain of command enough that if someone had said here is what we actually need from you, here is what we’re seeing, here are the three things that have to change — I’d have gone and done it. Nobody ever had to guess whether I’d follow an instruction. They only had to give me one.

What I needed was a mentor. I could not have told you that at twenty-two. I didn’t have the word for it. I just had the loneliness, and the ideas, and the closet with no window, and no idea that what I was missing was a person who’d already been where I was.


Years later I ended up in corporate data work, and I picked up the word fungible. It means interchangeable. One unit is any other unit. You don’t repair a fungible item — you replace it, because nothing about the individual one is worth preserving.

I’ve spent two decades arguing the opposite for a living. That the record has attributes. That identity is the thing you can’t reconstruct once you’ve lost it. That the expensive failures are almost never the loud ones; they’re the quiet ones where somebody decided a thing was generic when it wasn’t.

I don’t think I chose that work because of a room on the second floor. But I know exactly why the word lands on me the way it does.


We left and started attending somewhere else immediately. That part I’m glad about — we needed to be in a church instead of at one.

And then I sat in a pew and did nothing for years.

I didn’t volunteer. Didn’t sign up. Didn’t raise my hand for anything. We picked seats where we wouldn’t be noticed and we weren’t. If you’d asked me at the time I’d have said we were busy, or that we were resting, or that it was somebody else’s turn. What was actually true is that I’d learned it was safer to be no one in particular.

My desire to help people never changed. What changed was needing to get paid to practice my faith.


Here’s the part I only see clearly years later.

There was a man on that staff — the senior adults pastor, in his seventies and full of life, the kind of person who’d already survived everything I was in the middle of. I knew him. I liked him. I never once thought of him as someone I might learn from, because he worked with the old people and I worked with the kids and in my head those were different countries.

He’d wanted to take me under his wing. Wanted to, thought about it, and decided against it — because he didn’t believe I’d accept.

He was almost certainly right. Whatever version of that offer he was drafting in his head, I’d have heard it as a critique, thanked him, and kept walking. He read me accurately. That’s the thing that sits in my chest. He read me accurately and the accuracy is exactly what stopped him.

He died my first year there. His wife told me about it after he was gone.


So I ask.

It’s not complicated and it isn’t a program. When I can tell somebody’s struggling — at work, at church, a guy I know — I say the thing out loud. What’s going on. Tell me about it. What can I actually do. If they’ll let me, I tell them what I see, as kindly as I can manage, which is not always as kindly as I intend.

Some of them want it. Some of them look at me like I’ve asked to see their tax returns. I’ve stopped trying to predict which.

That’s the whole reason I say it out loud. A man once had the answer to my twenty-two-year-old problem and kept it to himself, and he had good reasons, and I never got to be the one who decided.