Guest post, Sara Schaff: The Age of Success

My first book came out in the fall, which still feels miraculous to me. The stories took years to write and years to find a home for. Holding the actual book in my hands for the first time, I felt moved by the lovely cover and by the physical presence of words I had labored over in my thirties—which, by then, were almost over.

Next month I’m turning 40, a number that used to seem distant and possible to avoid. As my stepfather likes to remind me, when he turned 40, I made a giant banner that read “Over the Hill” and hung it on the wall as a snide happy birthday greeting. (I was thirteen at the time and probably more concerned with the fact that he was my stepfather than I was with his age, but whatever, he’s right: 40 looked ancient.) Alice Munro was 37 when she published her first book. Toni Morrison was 39. George Eliot 40. As a beginning writer I’d read the bios of brilliant, “late-blooming” writers and feel inspired. But also terrified: I couldn’t imagine waiting that long to find literary success.

When I began graduate school in creative writing almost a decade ago, I considered it reasonable to assume that my two years there would soon lead to the vision I had of “success”, which included not just a published book but tenure-track job and “a viable writing career.” To some of the twenty-somethings in my program, I probably already seemed old at thirty, but forty still seemed so far away. Of course I would publish a book before I was anywhere near forty!

One thing I couldn’t have known is how in my thirties the whole nature of time would change. Days and years used to feel full and incremental and possible to keep track of. Starting in grad school everything began to hurtle past.

Yet somehow the writing continued slowly. Mostly while I was working full time. And though sometimes the slow writing was painful, often it was the opposite: every word I made time for reinforced for me the joy of making art. Every sentence contained the promise of a magic trick—plucking something from my head and making it live on the page.

I’d like to believe that writing while working made me a better writer—or at least a writer who can usually find a few minutes to write, because sometimes that’s all there is. In grad school, I adored listening to professional writers talk about their schedules: the coffee in the hand, the butt in the chair for the hours of 8-to 5, or 9-2 while the kids are at school. It felt like a dreamy formula: caffeine + hours + story = bestselling/award-winning novel. For the majority of us who are working office jobs, or teaching, or taking care of tiny children, that kind of schedule is a luxury, not a mathematical proof.

Sometimes you have to write at work in secret. (I did some of my happiest writing in an office cubicle.) Sometimes you write only while the kid is sleeping or doesn’t realize you’ve slipped upstairs for some writing time but is about to realize it, so better write that sentence real damn quick. Sometimes you have to write late at night when the house is a mess. Sometimes early in the morning. (But never at 4am. Writers who get up that early are masochists and no wonder: they’re totally sleep-deprived!) If you want be a successful writer and you’re neither independently wealthy nor supported by a large advance for your Great American Novel, be flexible. Be kind to yourself. But don’t forget to write.

For me, the idea of success continues to be a moving target. I’ll never win any award for youthful brilliance. Probably not even for brilliance of the “over the hill” variety. My forties might slip by faster even than my thirties. But throughout the next decade I’ll be writing—ten minutes here, an hour there. My second book will come together slowly, and sometimes I will doubt whether it will come together at all. Every minute and every word along the way will be a small gift to myself. And, eventually, I hope to someone else.

Sara Schaff

Sara Schaff is the author of Say Something Nice About Me (Augury Books, 2016), and her writing has appeared in Joyland, Literary Hub, Southern Humanities Review, Hobart, and elsewhere. She teaches fiction, creative nonfiction, and playwriting at St. Lawrence University. Find links to her work at saraschaff.com.

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