On occasional Wednesdays, I offer tips for adulthood.

I’ve been meaning to read Marianne Cantwell’s Be a Free Range Human ever since a colleague recommended it to me right before I left my last job. There’s something undeniably seductive about the subtitle of this book – Escape the 9-5, Create a Life You Love, and Still Pay the Bills. And given that at the time, I was still working for the BBC – which, for all its many delights – is still a ginormous corporation, the title really spoke to me.

Fast forward two years and I’m in a very different place. As I sped through the first 3/4 of Cantwell’s book, I realized I’d already put into place most of her excellent advice for how to figure out what you really want to do with your life. So I focused mainly on the last part of her book, which is all about launching your own business and making a decent living from it.

I’m so glad that I did. Although I’ve learned a lot from my own foray into entrepreneurship over the past year and a half, there is always more to learn. Continuing to educate yourself, as Cantwell reminds us towards the end of the book, is the single best investment you can make in your career. So here are five takeaways for those who’d like to deepen your “free range” career:

a. Ditch the Business Plan. Once you’ve figured out what you’d like to do with your life, you may be tempted to spend loads of time crafting a business plan. Don’t. One of Cantwell’s counter-intuitive pieces of advice is that you will benefit far more from just getting out there and doing whatever it is you want to try, rather than endlessly fine-tuning your idea. I learned this the hard way. Once I’d decided to launch my communications consultancy, I went and took a one-day course on “How to Craft a Business Plan” at a local university. I then spent at least a month editing it feverishly and shopping it around to various friends. It’s not that there wasn’t any value in doing that, but the best advice I got during that period was from a friend who read my concept note and suggested I put it down and go deliver a few workshops. He was right. Less than a year later, I’d considerably broadened my repertoire of workshops and had a much clearer sense of what I could – and could not – offer. Moral of this story: don’t get trapped in paralysis of analysis.

b. Ditch the fancy website. Another early mistake I made was thinking I needed to have a fancy website *before* I went public with my business idea. How would I ever demonstrate my value as a communicator if my website wasn’t pitch perfect? Thank goodness I didn’t have enough money to do that a year ago, because it turns out I didn’t need it. As Cantwell notes, a lot of people get so caught up in having the big, shiny things that they forget to just get out there and invest in getting clients. Right now, most of my work comes from repeat business and referrals from people I’ve worked with who liked what they saw and tell their friends and colleagues. Turns out, they don’t seem to care what my website looks like. They care if I’m actually any good at what I do. The website can wait. Building my reputation – and income stream – can’t. Ditto branding. Right now, my consulting business doesn’t have a name. Nor did Cantwell’s when she started. Free Range Humans came later. Someday I would like to have a kick-ass website, one that unites my blog with my professional website, all under the RealDelia brand. But that’s not my priority right now.

c. Figure out your free-range style. Another piece of advice that really hit home was Cantwell’s suggestion to figure out your “free range” style before designing your business development strategy. Given the number of personality tests I’ve taken over the years, I didn’t think I needed another typology. Again, I was wrong. Cantwell lays out three different free-range styles: the attractor, the connector and the trusted person. Attractors bring in clients and income through their brand or name. They are all about making their story, products or ideas visible. I’m a connector. This means that I typically win business through personal connections. I tap into those relationships to go out and create new ones. Trusted advisors, in contrast, tend to be more introverted in their style and win clients through expertise, qualifications and quiet interactions. All three styles work. The trick is to figure out which is the most natural fit for you.

d. Figure out what makes you stand out. Cantwell calls this your 1% difference. The best way to differentiate yourself from competitors isn’t by scanning the field and figuring out how you can tweak their offer. Instead, you need to start with yourself and determine what makes you distinct. For Cantwell, it’s her smile. Time and again, clients tell her that they are drawn to her smile. For me, it’s my energy.  I also have a PhD, which gives me a huge advantage over others competing for work in the higher education sector. So figure out what makes you special and how you can capitalize on it to win over clients.

e. Change your mindset for sales. Sales is a vital part of any business. Most of us hate doing it because it makes us feel sleazy. Cantwell has great advice for those of us who think of “sales” as a four-letter word. Her advice is that instead of “selling your soul,” that you “sell from your soul.” If you love what you do (which is a pre-requisite for a free range career) and can’t wait to get started, try selling that enthusiasm, rather  than trying to convince someone to buy something. She encourages you to consider how you’d describe your product or service if it were someone else’s product and you knew a friend would really benefit from it. When you believe in and love what you do, it doesn’t feel like selling. It begins to feel more authentic.

Image: [Semi] Free Range Chickens by woodleywonderworks via Flickr

On occasional Wednesdays, I offer tips for adulthood.

It’s been a while since I posted about a book in this series. But ever since I finished Tara Westover’s amazing memoir, Educated, I felt the need to talk about this book.

I was initially reluctant to dive into this international best-seller, fearful of all of the “hype.” Eventually, however, curiosity got the better of me. So when my husband started reading it for his book group this month, I grabbed it off his night stand and gobbled it down in practically one sitting.

Westover grew up poor on the edge of a mountain in rural Idaho to fundamentalist, “end of days” Mormon parents who denied her access to medical care and schooling. I grew up comfortably in a standard-issue, New York suburb, with all the trappings that go with it.

Still, there was so much in this memoir that resonated for me. When I mentioned it to a friend, she said that she thought it should be “required reading for all teenage girls.” I agree.

It should also be required reading for all grownups. Here’s why:

a. It’s about family. To say that this is a book about family is to state the obvious. Westover is the youngest of seven children, and the book is mostly about the distinct and often conflicting voices within that busy and combustible household. But the book is really about the pull that family exerts on you, even after you leave, and even – in her case – if staying means renouncing your self-hood. As the youngest child, Westover was freed up to be the risk-taker and the rebel (which in her case, amounted to leaving home to get “educated.”) As someone who left home at the age of 18 and now lives an ocean away, I could fully relate to the complex mix of regret, longing and empowerment that accompanies the decision to strike out on your own. Those feelings never fully leave you.

b. It’s about finding your own narrative. As Westover navigates the peripatetic journey that leads her towards, around and, ultimately, away from Idaho over the years, she gradually learns how to give voice to her own narrative about her upbringing. It is a narrative that is decidedly at odds with the accepted narrative most of her family maintains. I firmly believe that identifying your narrative about your family of origin is a key milestone of adulthood, right up there with learning to drive and paying your own rent for the first time. I still remember vividly the first time I felt able to articulate my take on my childhood to my mother. I was about 37. My world view didn’t square at all with her memory of events, but then again, it shouldn’t. We’re all different people who experience family in our unique ways. For me, anyway, one of the major benefits of therapy is finally crafting your own narrative and making it your truth.

c. It’s about mental illness. One of the central conflicts Westover outlines in this book is the fight between modern medicine (practiced by “outsiders,” even others within their Mormon faith) and the homeopathy her family practices at home. Within her family’s medical belief system, there is no vocabulary for mental illness. When I was growing up in the 1970s, something similar prevailed:  mental illness was simply not discussed. There’s been a sea change in our cultural relationship to mental illness in the intervening years. But Westover provides a frank and chilling account of what it’s like to live in a family where mental illness goes un-diagnosed and untreated.

d.  It’s about domestic violence. Without spoiling any of the plot, suffice to say that there is a lot of violence within Westover’s turbulent childhood. Some of that stems from the nature of the family’s principal livelihood, which is running a junk yard. Some of that stems from said mental illness. The need for a child to feel safe and secure is continually invoked by social workers and policy makers alike as the number one condition for sound emotional development. But you don’t have to have been subjected to routine physical violence as a child to appreciate what it’s like to grow up in a family where you don’t feel safe. As Westover comments somewhere in the book, she gradually comes to realize that the people who were meant to protect her from violence (her parents) couldn’t – or simply wouldn’t. Lack of such security generates a permanent scar and is a breeding ground for life-long anxiety.

e. It’s about how we define home. One of the main characters in this book is the mountain in Idaho – she refers to it as  “Princess” – next to which Westover grows up. Despite whatever is going on between her and her family at any point in time, that mountain is a cherished friend:  a reassurance – and perhaps a reminder – of some of the positive aspects of her childhood. When I go back to my home town in New Jersey, as I have on occasion over the years even though my parents moved away right after I left college, I feel the same way. What resonates most for me aren’t the scattered friends who still live there. It’s the physical surroundings: the blaze of American flags hanging from nearly every doorway…the greasy pizza parlor where I ate lunch with my high school boyfriend…the town pool where I spent many a summer swimming with my siblings, waiting for the one day per summer when my mother would agree to buy us popsicles from the Ice Cream Van. You don’t have to identify with where you came from to feel a form of love for it.

And that, perhaps, is the greatest lesson of all that I took away from this book.

Image: Family Ties by Paladin27 via Flickr

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I was scrolling through my list of podcasts the other day – listening to podcasts being my latest hobby – when I came across a New Yorker podcast devoted to the late author Philip Roth.

Roth was a very controversial author, and not everybody’s “cuppa” (as my mother is wont to say). While I haven’t liked everything of his that I’ve read, I count American Pastoral among the most awe-inspiring books I’ve ever encountered. (My husband, who has read each and every one of Roth’s books, says When She Was Good is his all-time favorite.)

So I came to this podcast mostly to see if I would learn something about the recently deceased  author that I didn’t already know.

I did. But it was not what I expected. I expected a celebration of Roth by some of his contemporaries and a reflection on his contribution to the canon. There was that, to be sure.

At one point in the podcast, Radio Hour host and New Yorker Editor-in-Chief David Remnick asked Roth a question we should perhaps all ask ourselves as we get older: “What did age give you?”

Initially, Roth answers that age gave him “Patience. Patience to stay with your frustration. The confidence that if you just stay with it, you’ll master it.”  But then he goes on: “Over the years, what you develop is… patience with your own crap. And a belief in your own crap. That if you just stay with it, it will get better.”

Roth is talking about writing, of course. And in many ways he is merely re-stating what writer Anne Lamott famously described as one of two secrets of being a writer:  shitty first drafts. As a writer and writing coach, I wholeheartedly agree. You need to learn how to live with the utter rubbish you put down on the page and believe that somehow, with time, as you work on it a bit more, you will transform it into something better.

But Roth’s insight about what he has learned through time and experience is also applicable to life itself.  As someone who only recently  – 30 years in – figured out what I wanted to do with my life, I’ve often berated myself for not having sorted all of this out much earlier.

But applying Roth’s observation to my own professional journey, I now see that the entire process – every wrong turn, every partial fit  – was all part of learning how to be patient with the “crap.” By which I mean, learning to endure the series of “rough drafts” (read: jobs) that ultimately merged and metamorphosed into my current calling. Which I love.

As the man says, it’s all about trusting the evolutionary and organic process of self-knowledge and self-improvement, being willing to take risks, and then…waiting. (Could I possibly transform this into a pithy strap line to go above my desk, she wonders?)

And with that profound reflection, I wish you all a happy new year.

Image:  Roth photo by Bibliotechque Municipale de Beaune via Flickr

If, like me, you are a veteran of several book clubs, you will know two things:

1. The best books to discuss are the ones that provoke heated disagreement and

2. The best book groups are the ones where people come from different walks of life.

And so I was not disappointed when a group of inter-disciplinary scholars at the Oxford Institute of Population Ageing  – where I am currently a visiting fellow – sat down to discuss Atul Gawande’s Being Mortal: Illness, Medicine and What Matters in the End.

For those who’ve not read Gawande’s best-seller, Being Mortal is a book about how people age – and die – in 21st century America. Gawande comes to this topic as a surgeon who treats people with terminal illness, a journalist chronicling the nature of elderly care the the United States, and the son of a father who died of cancer and had to help manage his father’s end-of life care. (You can read his impressive and multi-faceted bio here. Among other things, he delivered BBC Radio 4’s  prestigious Reith Lectures on the future of medicine in 2014 here in the UK.)

What surprised me most about our discussion was that none of us could agree on what this book was really about.

Read the rest of this post over at the Oxford Institute for Population Ageing…

Image: Checking in with a Patient by Myfuture.com via Flickr

Note: I originally published this post several years ago on this blog. But when I recently re-watched Brideshead Revisited with my son, I realized that my feelings hadn’t changed so I am sharing it with you again:

Every so often you read a book or watch a film that you need to put down or look away from because it cuts too close to the bone.

So it was for me the other night when my husband and I finally finished watching the 1981 British television adaptation of Evelyn Waugh’s novel, Brideshead Revisited, an 11 episode meditation on privilege, family, religion and sexuality, all set in England between the Wars.

Most people – even those who haven’t read the book or seen the series – use “Brideshead” as shorthand for the flamboyant excesses of the British aristocracy on its last legs. And make no mistake, there’s no shortage of champagne flutes, dinner jackets and preposterously polite banter. In short, it’s the kind of thing that Americans tend to lap up. (See: Upstairs, Downstairs, Gosford Park and most recently, Downton Abbey.)

Read the rest of this post over at Thrive…

Image: Castle Howard, Yorkshire by Nick Garrod via Flickr

On occasional Wednesdays, I offer tips for adulthood. (Whoops! It’s a Thursday! Sorry, folks!)

I rarely re-read books. That’s partly a space thing  – I live in a small house – and and partly that there’s just too damn much out there I want to read to bother going back.

But this past week I’ve had the very odd experience of not just re-reading a book, but doing so immediately after putting it down. The book in question is Julia Cameron’s The Artist Way, a best-selling self-help book designed to help you unblock your creativity.  Doing this three-month course has been one of the big projects I’ve tackled since being laid off from my job. And the reason I re-read it is that the very last task Cameron assigns her readers when they’ve completed their 12 weeks is to go back and re-read the book, before doing anything else.

It’s an amazing book and has been a transformative experience for me both creatively and personally (more on that another time). And yet, I was still skeptical, and considered whether I should ignore this task altogether. But I trust Cameron, so I gave it a shot.

Here are five things that really made sense to me only when I re-read the book for a second time:

a. Morning Pages Matter. These are the three pages of hand-written writing you do every day when you wake up. They are *the* most important element of the creative recovery. I was very open to this idea when she suggested it, but I thought it would serve merely as a way to dump all the anxiety out of my head that had accrued overnight while I was sleeping, so that I could put that aside before I started writing. (It does.) I never imagined the morning pages would also serve my writing directly . Since starting to journal first thing every morning, ideas have emerged that have been directly channeled into blog posts, personal essays, fiction and my book project itself. When I went back through the book and also re-read my morning pages, I could trace this evolution very clearly.

b. The Artist’s Date is a Date. The other pillar of Cameron’s exercises is a weekly (or more) “artist’s date” – what she describes as “a block of time set aside to nurture your creative consciousness.” It took me about four weeks until I realized that I’d gotten this concept entirely wrong. I thought the Artist’s Date was just about setting aside time to execute a creative project (e.g. writing). So I keep giving myself a pat on the back when I spent some time writing every day. “Heh,” I thought. “I’m doing an artist’s date every day – this is easy!” But that’s *not* what the Artist’s Date is. It’s about going out and doing something fun to fuel your creativity, not your creative project itself. So going for a walk and collecting leaves counts. Grabbing your guitar and singing a tune counts. I started taking an improvisation acting course – that’s my main artist’s date these days. I’m so glad I figured this out!

c. Affirmations: External vs. Internal. To jump-start the creative recovery process, Cameron suggests that you make a list of “affirmations”- i.e., specific pieces of praise you’ve gotten from other people that will make you feel more confident about undergoing your journey of creative self-discovery. My big realization when I read the book through for a second time was that while all of my affirmations when I started the course were external – i.e,. a letter of gratitude from a colleague, an inspiring comment from a reader of my blog – by the end of the course they were largely internal – i.e., me telling myself something positive about my writing/myself. Cameron never says that’s supposed to happen, but I am very happy that it did.

d. Images help imagine you into your future self. Cameron also advocates compiling an ongoing collection of images of things you like and/or signify your future self as a way to remind you about the tangible things that contribute to your creative happiness. At first, I was dubious. I’m not a terribly visual person and I didn’t feel like taking time out of my day to hunt for images of a typewriter on Google. But I did it (I’m an upholder, after all!), and soon I found myself making a list of images I wanted to collect – like making jewelry and reading on beaches and other aspects of the “ideal life” I’m composing for myself – and adding to that folder from time to time. Re-reading the book reminded me of my initial (misguided) reluctance to do the image homework.

e. Creativity and God. Cameron is very religious and she makes this very clear from the get-go, even though she doesn’t force you to buy into the concept. If you’re more comfortable talking about a “creative force,” so be it – all of her advice still applies. I’m deeply ambivalent about religion and so initially the whole God thing didn’t work for me. I was actually worried early on that it might put me off the whole process. But I hung in there and discovered that not only did Cameron’s vision of God work for me – (she likes to think of God as a generous, supportive force rather than a punitive, miserly one), I realized that sorting this out was absolutely fundamental to the creative catharsis I subsequently underwent.

If you’re thinking of a holiday gift for someone and you sense they may have an artist trapped deep inside them, I’d urge you to get them this book.

Happy Thanksgiving to my American readers!

Image: Journaling by Seth Barber via Flickr

From time to time, I make recommendations about books on this blog which I think speak to some aspect of being a grown up .

Today’s pick is Alisyn Camerota’s Amanda Wakes Up, a fictional account of a journalist who gets a big career break when she’s promoted to be an anchor on television news, only to discover that her dream job isn’t all it’s cracked up to be.

It’s a fun and funny whirlwind account of what it’s really like to work in TV news – leg bronzer and all – written by a consummate insider. (Camerota is a co-host of CNN’s New Day and previously worked at Fox News for many years. She is also – for the record – a friend of mine and while that is definitely why I bought the book, it is definitely not why I’m reviewing it.)

So why talk about this book on a blog about adulthood? Because in addition to treating the themes of news-as-entertainment, sexism in the workplace and office romance, the book also hits on a powerful challenge that we all face as we grow older: how to question our own political biases.

In the story, the title character Amanda is at times obliged by her bosses at the mythical FAIR news – whose motto: “True and Equal” may ring true (and equal?) – to go easy on some of her guests, instead of adopting a harder-hitting tone. She feels that this is beneath her dignity as a journalist and also threatens to make her look like a mouthpiece for a maverick political outsider who is taking voters by storm with his bold, if not always accurate, relationship to the truth during an election season. (Imagine!)

At other times, however, her job also forces her to talk to people on the other side of the political divide and to take their concerns seriously. She comes to appreciate that while she may appear to have nothing in common with gun rights supporters  in New Hampshire, for example, she really likes them as people and in talking to them, is able to appreciate them as more than just a cliché. Meanwhile, others around her – including her boyfriend – carry on living in their bubbles, as most of us do, because they aren’t forced to ever step outside of them.

The book reminded me of a period in my own life when I was working as a journalist for an online political magazine and both of my editors were openly pro-life, as were several of my colleagues. I think it was the first time that I’d been around that many pro-lifers in my adult life. I wrote the occasional piece about abortion and abortion rights for this outlet, and I always felt that I got a lot more push back on those stories than on other things that I wrote.

Initially, this frustrated me. How can they question that? I would think to myself, assuming that my take on the facts was not only correct, but manifest. But it wasn’t, to them anyway. And in giving those pieces a lot more scrutiny, my editors forced me to acknowledge how my own political biases were coloring my writing about those issues. Ultimately, I came to be really grateful that they’d put me through my paces because it enabled me to see things that I assumed were obvious (and were, to me) but which weren’t necessarily so for many others. And that, in turn, made me a better journalist.

While a plea to engage seriously with “the other” politically may sound like fairly well-trodden ground, it’s amazing how rarely it happens these days. Atul Gawande wrote a powerful piece in The New Yorker recently in which he recounts his conversations with regular Joes and Janes from his Ohio hometown about healthcare. He realizes how – despite appearing to be miles apart politically – all of these people are really fairly close to one another when it comes to their fundamental views about healthcare. And so, presumably, are the rest of us, if we could ever just sit down and have that conversation.

None of which is to say that you need to move to the political center in order to be a grown up. But particularly in today’s hyper-polarized political arena, it wouldn’t hurt to dip in and out of there now and again, if for no other reason than to check your own assumptions.

Image: Shaking Hands by Geralt via Pixabay

If you’ve ever thought about writing a book, the very first thing anyone will tell you is to figure out which “shelf” it will sit on in a bookstore. It’s not enough to simply have a topic, or even an angle into a topic. You need to know who’s going to buy this book. Because book publishing, like anything else, is a business and the key to a successful business is knowing your market.

I knew all of this, of course. Over the years, I’ve been in enough writing groups and consumed enough resources devoted to the art and science of getting published that I knew that were I someday to approach an agent with an idea for a book, I’d need to be able to provide a cogent answer to this question.

And then someday arrived and I wasn’t quite sure how I wanted to answer it.

Let me back up. I’ve been working for several months on a book about…drumroll please…swimming and adulthood. After more than 25 years as a “casual runner” – someone who ran three times a week to stay fit – my body was telling me that that I could no longer run. The reasons why I needed to stop running aren’t all that interesting. (Well, OK, something called Piriformis Syndrome, if you must know…) But the upshot was that, on the advice of my doctor, I began – somewhat reluctantly – to swim.

This obviously not an entirely new topic for me. This blog’s strapline – “Finding Yourself In Adulthood” – is all about conceptualizing adulthood as a journey, not a destination. But whereas the blog tackles topics ranging from work and parenting to therapy and the arts in a much more general way, the daily act of swimming enabled me to analyse these subjects through a single prism. In essence, swimming serves as a metaphor through which to explore what it means to be a grown up in the contemporary age.

But even after I started writing this book, I still struggled with where it fit on the proverbial bookshelf. Was it an extended meditation on swimming itself, Like Leanne Shapton’s Swimming Studies?  Was it a sports memoir a la Gerald Marzaroti’s Late to the Ball about picking up a new skill (tennis) in midlife? Was it a humorous, loosely themed take on daily life, modelled on David Sedaris or Sandra Tsing Loh?  Or a was it a collection of more serious essays like Meghan Daum’s The Unspeakable?

On alternate days it felt a bit like all of these.

It didn’t help that when I showed my précis (2 page overview) of the book to a few friends I got very different advice. One friend thought that it needed to be funnier, more like my daily status updates which I post on Facebook recounting the cast of characters I run into at my local swimming pool. Another friend thought that it should be a novel. Someone else advised me to convert it into an inspirational journey, the sort of Eat, Pray, Love of swimming.

Instead of writing the book, I began to obsess about genre.

And then, one day, at the tail end of a dinner party while chatting about this problem with a friend, I had my Eureka moment. My friend is a novelist who has written several novels in the Lad Lit genre and is on the cusp of becoming a sensation with his latest work-in-progress, which has already been snatched up by a major New York imprint. (He’s also sold the film rights. As he put it so beautifully, “Who knew that becoming an overnight success took so long?”)

After I regaled him with all of my anxieties about what the book could and should be, he looked at me and simply said: “Write the book that only you could write.”

It wasn’t rocket science. Nor was some dark, heretofore unknown secret of the publishing world. But for me, it was sort of like that age-old adage: “When the student is ready, the teacher appears.” And just like that, I immediately felt better.

Because I realised in that moment that I actually *had* been writing the book that only I could write all along. While it had elements of several different styles, at the end of the day the book I was writing was essentially a self-help book, albeit one very much rooted in my own experience. (I’ve since learned that there is a name for this sub-genre – self-help memoir or prescriptive memoir. Thank you, Jane Friedman.)

For me, my friend’s throwaway line (heartfelt, to be sure, even if infused with a few glasses of red wine), was clarifying: I need to stop obsessing over what other people think my book is meant to be. That comes later. For now, the book is already what I need it to be: a place to bring my voice and my insights to a topic I’ve long been passionate about with a fresh angle.

In a year where my new year’s resolution was to embrace authenticity, that feels pretty good.

Image: Bookshelves by Hernán Poo-Camaño via Flickr

On occasional Wednesdays, I offer tips for adulthood.

I’ve never been much for self-help books.

As a general rule, I don’t read a lot of non-fiction. And for a long time I think I was a bit of a snob where self-help books were concerned, thinking they were somehow low brow.

I was wrong. In the past few months, I’ve had occasion to read a couple of self-help books that have had a profound impact on how I want to move forward with my life. And in reflecting back, I realize that there have been a few others along the way that also left their mark.

So today I’m going to share five self help books that changed my life – organized by theme – in the hope that one of these might motivate you to change some aspect of your life that you’re not entirely satisfied with either.

Before I begin, If I can offer one piece of (self-help) of on my own, it would be that you not “dabble” in these books. While it’s fine to start and stop and/or to read them alongside something else, be sure that you read each one start to finish, because each one has its own internal logic which builds, chapter by chapter.

Above all: do the exercises. They are there to force you to confront tough questions about yourself and you won’t progress if you don’t use these tools to identify your strengths – as well as whatever it is that’s holding you back.

Finally, be patient:  some of these books are deceptively short. You might spend an entire month on one page before moving on to the next chapter. That’s just fine.

To wit, five self-help books that changed my life:

1. Happiness. Gretchen Rubin’s happiness franchise needs no introduction. She has a popular blog, several books and a podcast, all geared towards how to be happier in life. Gretchen’s basic philosophy is that through better self-understanding, most of us can make even tiny changes in our daily life that would make us happier, regardless of our baseline. So it’s not necessarily about rushing out and buying a new espresso machine or embarking upon an extreme sport vacation. Rather, small things like figuring out if you’re a chronic under-buyer or over-buyer and shopping accordingly or adopting a personal motif to inspire your creativity can improve your mood on a daily basis. Personally, I found her advice about singing in the morning to work wonders.

2. Career Change. I’m a huge fan of one of the most well-known guides to career change ever written: What Color Is Your Parachute? by Richard N. Bolles. This book is so famous it has almost become a cliché. But when I left academia to go into journalism, I locked myself in a café several hours a day for several months and did nothing but follow this book’s script. The book’s basic premise is that to make a meaningful career change, you need to zero in on two variables: what you like and what you’re good at, and where these overlap (harder than it sounds). Six months later, I had a great job as a producer with Chicago Public Radio. I still recommend this book every time someone asks me if I have any advice on how to change careers without spending more than $15.

3. Creativity. I’m shouting to anyone who will listen about Elle Luna’s amazing The Crossroads of Should and Must: Find and Follow Your Passion. Like “Parachute,” this book is also partly about how to finding meaningful work and/or embark upon a career change. But it’s so much more. It’s about going to the very core of who you are and figuring out how to be authentic to that self – what Luna calls our “must.” It isn’t an easy or comfortable journey. (Try the “write your own obituary” exercise and you may well end up in tears.)  But the book is utterly inspiring because Luna believes so firmly that each of us really does have an amazing gift inside. We just need to figure out how to unlock that creativity and release it into the world. Bonus: because the author is a visual artist, the layout and design of this book are worth the shelf price in and of themselves.

4. Decluttering. Yeah, yeah I know. The whole decluttering thing is soooo…now. But Marie Kondo’s The Life Changing Magic of Tidying: A Simple, Effective Way to Banish Clutter Forever is another deceptively short and simple book that’s loaded with so much more. Kondo’s essential message is that most of us are living with untold amounts of clutter in our lives that simply doesn’t “spark joy.” Sure, as one of the friends I recommended this book to put it: “Your socks need to ‘relax’? Has it crossed your mind that this lady might be a teensy bit OCD?” (If you google her video on how to fold the perfect underwear drawer, you might find yourself agreeing…) But by the last chapter you will forgive her everything because what she’s really trying to do is to use tidying as a vehicle for achieving clarity in our lives (e.g., change careers/get a divorce/take up windsurfing/etc.) If we can get rid of all our excess stuff, and pare down to the things that we really love, we’ll not only see our lives more clearly, we’ll be happier and more relaxed.

5. Platforms. This one is for all you aspiring writers out there who think you have a book in you. I’m currently reading Christina Katz’ Get Known Before The Book Deal. It’s the second time I’ve read this book and I’m finding it much more useful this time around, possibly because I have a much clearer idea for a non-fiction book proposal now than I did when I picked this up several years ago and was vaguely thinking about writing a novel. This book is written for all those aspiring non-fiction writers who want to be an “expert” in something but haven’t yet created their platform. It shows you how to do this, step by step. I found the chapters on identifying your target audience to be particularly useful.

How about you. What self-help book would you recommend?

Image: Self Help Books by Angie via flickr.