Steven Pressfield
👤 PersonPodcast Appearances
For years when I was struggling and could never get it together, I realized that at one point that I was just thinking like an amateur.
Well, you know, if you go back to the ancient Greeks, right?
Every, the Iliad or the Odyssey or any of those other great works always start with an invocation of the muse, right?
Homer writes, you know, goddess, you know, tell the story, you know, and basically the
the artist is stepping or taking his ego out of the picture and saying, I'm not the one that's going to tell you this story about ancient Troy.
The goddess will tell through me.
So they're sort of asking, you know, help me, show me, you know, that kind of thing.
And I had a mentor, you know, Rob, we were talking about that earlier, a guy named Paul Rink.
He's like, can I get into the weeds on this thing, Andrew?
Please, please.
And...
He sort of introduced me to this concept.
This was like the first time I tried to write a book.
I was like 27 or something like that.
And well, I actually tried and failed before, but it was the first time I ever finished one.
And I used to have breakfast every morning.
This was in Carmel Valley, not so far from where you grew up.
And with my friend Paul Rink, who was maybe 30 years older than me.
He was an established writer.
He knew John Steinbeck, knew Henry Miller from Big Sur.
And he told me about the muses, the Greek goddesses, the nine sisters, whose job it was to inspire artists, right?
The classic image of the muse is Beethoven at the piano and a kind of a shadowy female figure is kind of whispering in his ear, you know, bringing him da-da-da-dum, right?
And so he wrote out for me, my friend Paul,
the invocation of the muse from, he typed it out on his Remington manual typewriter, the invocation of the muse from the Odyssey, from Homer's Odyssey, translation by T.E.
Lawrence.
And I've kept that, it burned up in the fire, lost it in the fire, but I've kept that for like 50 years.
And every morning before I sit down to work, I say that prayer and
you know, out loud and in full earnest, you know, God has helped me.
And I'm absolutely a believer in that, you know, that ideas come from another place.
And it's our job, and I don't think it's just subconscious.
It's our job to open the pipeline and get out of the way.
Yeah, it was a sad thing to lose that, you know.
But, you know, it's in my head, you know.
How long is it?
It was on one page, double spaced.
I would say it takes, to recite it, it takes maybe 90 seconds.
I'll call up just the opening of it because the middle part is Homer sort of describing the whole story of the Odyssey.
But it starts like this.
It goes, Oh, divine poesie.
Goddess, daughter of Zeus, sustain for me this song of the various-minded man, meaning Odysseus.
And then he kind of goes on to talk about da-da-da-da.
And at the end it says, make this tale live for us in all its many bearings, O muse.
Which I think is a great, you know, make it live, make it come alive in all its many bearings.
And so, you know, that's a...
Thanks to my friend, Paul.
That's been a thing that's been with me for 40 years.
It's in the War of Art, actually.
I wrote this out in the War of Art.
I think it's on page 114 or 115.
Yeah.
Now that's not to say when I first started many, many moons ago that I didn't have a lot of that sort of stuff, but I have, I don't know whether just over the years, um, um, I'm absolutely a believer in, you know, like diving straight into the pool.
You know, I don't sit there for one second, you know, wondering what I'm going to do.
I just plunge right in and, uh,
You know, thank goodness somehow I've learned how to do it.
And I just focus full tilt on it.
So, yeah, I don't have those thoughts at all.
Maybe an hour.
And then I'll take a little bit of a break.
I love to do laundry.
That's my big thing.
I'll put in the laundry at the start, you know, and the load will be done.
Then I can put it into the dryer.
I take a little break and then I come back and start again for another hour.
I enjoy the sort of the ritual of it and the craziness of it, you know?
That's what I hate.
I don't want to do that at all.
It almost never comes up, the inner critic.
Again, it used to.
You know, used to all the time.
It was a terrible struggle I had for years.
You know, you sit down and you think, well, is Hemingway, would Hemingway write this sentence, you know, right?
Or, you know, what will the New York Times think when I write, you know?
But eventually over time you learn you just can't deal with that bullshit.
You know, it drives you insane.
You know, so no, I don't let that inner critic come in, you know.
And I'm definitely a believer, you know,
At the end of the day, I never read what I wrote, and I never look back on it the next day.
I believe in multiple – somebody taught me this one time, that think in multiple drafts.
A professional shows up every day.
This was Jack Epps, the writer of – the original writer of Top Gun.
I was working for him on a movie project.
And he said, always think in multiple drafts.
And you can only fix so much in one draft.
You can only fix one thing in one draft.
So I usually will think of...
And I start a book, maybe 13, 14, 15 drafts.
The last seven or eight will be really small, you know, really slight changes.
But I won't look back on the day's work.
So I figure on the next draft, then I'll read it fresh and it'll look a million times much more clear sense.
Is this any good?
Because if you do it when it's too fresh, you start to drive yourself crazy.
You start to, you know, perfectionism, another form of resistance comes in.
So, yeah, that's my process.
I know a lot of other people don't do it that way, but that's the way I do it.
When the day is done.
The bell rings.
The office is closed.
That's it.
I turn off my mind and just let the muse take care of it overnight.
And I try not to worry about it at all.
All I ask myself, I know I'm getting into the weeds here, really, Andrew.
At the end of a day's session, all I ask myself is, did I put in the time and did I work as hard as I can?
Quality will take care of itself later in the next draft, the next draft after that.
But I'd never judge it, you know, and it took a long, long time to get to that place to learn that, you know, because I would drive myself insane for years and years judging along the way.
I used to be able to write for four hours.
Now I can only write for about two.
What I tell myself, and I think it's true, is I can do in two hours now what I used to do in four.
But I stop when I start making mistakes.
When I start...
having typos and things like that, then it's kind of like a workout at the gym.
You know, when you've reached the end, you know, I'm just going to hurt myself if I do another set, you know, um, point of diminishing returns.
So when I get tired, I stop and I don't question it at all.
I don't say, I don't make myself feel bad about, Oh, you can get another 10 minutes.
Um, like Steinbeck used to say that, um,
pressing forward at the end of a long day to get just a little bit more is the falsest kind of economy because you pay for it the next day.
Hemingway used to say he always stopped when he knew what was coming next in the story, which I also believe in that too because that will help you in that hairy first moment when you're sitting down because at least you know, oh, okay, this is what's going to happen.
A professional stays on the job.
Yeah, exactly.
No.
Let's just interrupt for a second.
They call it resistance training, which is exactly what we're talking about for art.
Yeah.
But please continue.
No.
But like we were talking about, if an idea comes to me, then I grab my phone and I dictate that.
And let me say one thing here for anybody that's listening to this and would want to be writers, aspiring writers.
So I'm a full time writer.
I don't have another job.
I don't have to do anything.
But yet I can only get two hours of time basically in the day.
So if you guys have a full time job and kids and a family and a wife or spouse, whatever, if you can squeeze out a couple of hours a day, you're doing you're on the same level with me.
Same level with a full-time writer so that it is possible to have a full-time job and still do your artistic thing to a full tilt version.
It is.
I think it's really important.
And when life was more predictable for me, I would always do it.
But like since the fires and other things like that, sometimes I have to shift time frames around and be ready to do that, you know.
I have a good friend, Jack Carr, the thriller writer who did The Terminal List.
And he's a master of writing in airplanes and writing at Starbucks because he's always traveling and doing all kinds of stuff and just finding the time.
All day or the equivalent of all day.
God bless him.
I don't know how he does it.
And he is incredibly productive.
I don't know if I could do that.
Maybe I will shift from writing from 11 to 1 to writing from 1 to 3, but that's about the most variance I can put into it.
Not at all.
No.
Both of those.
I mean, my phone is there maybe to dictate a note or something like that.
But otherwise, no, absolutely not.
And yeah, I can't even imagine that.
Music?
Uh, I'm very aware of, of the reader in the sense of, um,
Let's say it's a scene that I'm writing, and I know certain things have to happen in this scene.
Character A has to do something, character B, da-da-da-da.
And so I'm trying to put that down, but I'm thinking...
Is the reader understanding?
Have I got this in the right order for them?
Am I boring them?
Did I say that two pages ago and now I'm repeating myself?
But I'm not having a conversation.
I'm just trying to make it as easy and as interesting and as fun as I can for the reader.
And I'm always trying to make sure that I'm leading them.
I'm seducing them.
I'm trying to reel them in, you know, and not bore them, you know.
By the end of this chapter or scene, I want the reader to be thinking, oh, I can't wait to turn the page and see what happens next.
No, I never even thought about it as a kid.
No, I mean, just like anybody else would.
But no, I was never like a, you know, a storyteller or anything.
I was not a kid that wanted to be a writer.
I never thought about it at all.
I mean, my first job was in advertising in New York City.
Right out of college.
Yeah.
Yeah.
But I guess at the time I thought, oh, I'd love to write a commercial that people said, oh, that was great.
It was so funny.
I love that thing.
So that sort of got me kind of a little bit started into the idea of storytelling.
And then I had a boss.
His name was Ed Hannibal.
And he wrote a book kind of at home and it became a hit.
A professional, as I said this before, does not take success or failure personally.
You know, and it was called Chocolate Days, Popsicle Weeks.
And he quit to become like a novelist.
And so I thought, well, shit, why don't I do that?
Andrew, it's a pleasure to be here.
You know, so that was what sort of started me into it.
You know, being completely naive and totally stupid, you know, and having no idea of what I was doing.
We're former neighbors, you know, so we've been talking about this for a while.
But I met a lot of nice people and I learned a lot of stuff in that, you know.
It's great to be here.
You said that was in New York City?
It was in New York City.
In fact, if I can, if I can hide one of my books, it's a small follow-up to the War of Art calls, nobody wants to read your shit.
And it kind of, a lot of it is about what you learn in advertising because nobody wants to read your ads or listen to your commercials or anything like that.
And so one thing you learn in that business is
to make it so good or so interesting, so intriguing that people will overcome their hatred of having to listen to your stupid Preparation H commercial.
So that was, anyway, that was what got me started, but I was never a storyteller as a kid, no.
I mean, I know that young people today, there's a tremendous amount of pressure on people to find their passion, you know, and follow their passion and so on and so forth.
And I know for me, I would, as a young person, I would go, what the fuck is that?
I don't know what it is that I want to do, you know.
I'm lost.
I'm just, you know, struggling.
But I do think that we are all born young.
with some sort of a, at least one, a kind of a calling of some kind.
And it may not be the arts, you know, it may be helping other people through some kind of a nonprofit or something, or like what you're doing, Andrew, you know, where you're bringing neuroscience and the scientific, you know, to personal development, so on and so forth.
I think we do all have some sort of calling.
And like, we know it.
Like if we could somehow put somebody in here and say, I'll give you three seconds.
Tell me what you should be supposed to be doing.
It will pop into somebody's head.
You know, they go, oh, you know, I knew, I know I've always wanted to do, to be a motorcycle, whatever, you know?
So.
But then that sort of whisper urge to do this thing is immediately countered by this force of resistance, you know, because it's trying to stop us.
It's the devil.
It's trying to stop us from being our true selves and becoming self-realized, self-actualized or whatever.
So resistance will immediately say to us, like if you were to say, oh, I want to have a podcast and I want to talk about, you know, science, da, da, da, immediately resistance would say,
Who are you, Andrew, to do this thing?
I mean, you're a professor, you know, at Stanford.
You know, we don't have any experience doing this.
Not to mention it's been done a million times by other people.
They've done it a thousand times better than you.
Nobody's going to give a shit.
You're going to put this out or you're going to embarrass yourself.
You had a certain level of prestige at Stanford.
Now you're an idiot.
You know, it's going to be that voice.
Yeah.
And the true part here, the really kind of interesting part is a lot of times those voices will be the voices closest to us, our spouse, our father, you know, because, well, I can get into that.
I'll get into that if we want to continue.
But in any event, so that voice of resistance will come up.
In addition, resistance will try to distract us.
You know, it'll try to make us procrastinate.
It'll try to make us yield to perfectionism where we noodle over one sentence, you know, for three days, you know.
Or fear, all of the other things will stop us.
So many people live their entire lives and never enact their real calling, you know.
But we were talking about the more important to the growth of your soul.
That was what we started with this, right?
So that calling, whatever it is, to be a writer, a filmmaker, whatever it is, if we don't do that in our life, that energy doesn't go away.
it becomes, it goes into a more malignant channel, right?
And it shows itself in maybe an addiction, alcoholism, cruelty to others, abuse of others, abuse of ourselves, porn, you name it, any of the sort of vices that people have, because that
original, creative, divine energy that really wants to be the odyssey or something like that, if we yield to our own resistance and don't evolve that, then bad things happen.
On the other hand, if we do follow that, we kind of open ourselves up to becoming who we really are.
And
You know, a lot of people in the podcasting and the human development or whatever they call it, personal development world, they sort of promise like some sort of nirvana is going to happen if you do X, Y, Z. But what I'm promising is a fuck of a lot of hard work that's probably never going to be rewarded.
But you'll be on the track that, you know, your soul was meant to be on.
And God bless you.
You can't ask for any more than that.
An amateur will, right?
I mean, there's validity to that, obviously.
I think what happens is that each person is dealing with their own resistance, their own calling that they know that they really should be doing.
And 99.999% of them are not doing it or are unconscious of it.
It's sort of a niggling thing, but they don't know about it.
So then when they see you, Andrew, starting your podcast, that's a reproach to them.
And they say, well, if Andrew can do it, why can't I do it, you know?
And so then it becomes kind of malicious.
And I don't think it's deliberately malicious a lot of times.
But people will then try to undermine you and say – and under the guise of we're only looking out for you.
We don't want your children to be starving and in the street.
They will try to undermine you and stop you from doing it and make fun of you or ridicule you like –
The filmmaker David O. Russell, I don't know if you know who I'm talking about.
He did The Fighter with Mark Wahlberg.
I love that movie.
He did Silver Linings Playbook with Jennifer Lawrence and Bradley Cooper.
I did not see that one, but I did see The Fighter.
And Joy about the lady who invented the miracle mop, which was Jennifer Lawrence.
And all of these stories are about –
sabotage by the people closest to you, particularly your family.
Like in The Fighter, Mark Wahlberg is this boxer, right?
And he's got seven sisters, and he also has an older brother.
And they're like, and his mom is his manager, and she's like booking him fights where he's outweighed by 20 pounds and he gets massacred, you know?
And the story is, you know, he finally meets a girl who's like really supportive of him.
But anyway, it's a real theme that the people closest to us will try to.
They don't want us.
They're happy the way, you know, we like you, Andrew, the way you are.
You know, our son, we know he's working at Stanford.
He's doing his thing.
We don't want to see him.
It may be unconscious.
I'm not knocking your dad.
We don't want to see him suddenly burst out of the cocoon and become a butterfly and wing away from us, you know.
So they like you the way they are, you know, the way you are.
An amateur gets a bad review, bad response of this, and they just crap out.
Well, that's absolutely true.
And what I meant by that was that...
When we conceive an idea for something we want to do, a movie we want to make or a book we want to make, it's not like at all like what the fantasy was of, oh, I'm really charged up.
It's going to be great.
What happens is waves of what I call resistance with a capital R start coming off that keyboard or whatever it is to try to stop us from doing it, make us procrastinate, make us go to the beach, make us give in to distractions, so on and so forth.
You hit the nail on a lot of heads.
I don't want to do this anymore.
Yeah.
Yeah, I agree with you completely.
I don't think it's ever been harder.
It's like...
I always said that if you want to make a billion dollars, come up with some kind of product that feeds into people's natural resistance, like potato chips or social media or something.
And they did come up with a product, and it's called the internet.
It's called social media.
And you're right.
People make a lot of money off of that.
Because they—and I don't think they're even aware of what they're doing or aware of what they're tapping into, but they're just allowing people—
But the weird principle is, and this is why I always say, if you want to know which one of three or four projects that you should do, you should do the one you're most afraid of.
You or me who has a calling that we know we should be doing, they're allowing us to not do it, to be drawn over here for whatever reason.
And I think a lot of the anger and polarization in politics is about that today.
Because people can't face to sit down and do whatever they were born to do.
So it's much easier to hate the other person over here or get completely caught up in all that rabbit hole of all that sort of stuff.
Yeah.
To follow your calling is a really hard thing.
You know, it's not...
We were born to be, by evolution, to be tribal creatures, you know, through all those evolution.
And the opposite, the one thing that the tribe hates the most is somebody that goes his own way or her own way, right?
Follows their own thing and doesn't, you know, hew to what the tribe wants them to do.
So for us to do that as individuals...
It's a bitch, you know?
And it's usually like what you said, you sort of exploded out of you when you got... You have to almost reach a breaking point, you know?
Almost hit bottom in some kind of a sense before it just kind of explodes out of you.
Because we'll all resist that so much.
It's so scary.
A professional plays hurt.
Because that fear is a form of resistance with a capital R. And the more important a project is to your soul's evolution,
not to your commercial success, but to your own evolution as an artist, the more resistance you will feel to it.
So in other words, the thing that you really should be doing is going to be the hardest and is going to punch you in the face the hardest, which is why so many artists have such a hardcore professional attitude because they have to have it to be able to kind of stand up to that resistance that's trying to push them away from doing their project, whatever it is.
Yeah.
Mentors have been really important to me.
Very important.
In fact, I wrote a memoir called Government Cheese.
I don't know if you've heard about this one at all.
But the chapters are named after the various mentors that I've had.
And many, many of them.
And a lot of them are not in the writing world at all.
And like my friend Paul, he was in the writing world.
But...
You know, I had a boss at a trucking company that I worked for that was like a real mentor to me.
I picked fruit in Washington State, you know, as a migratory worker, you know, for a while.
Like if Kobe Bryant, Michael Jordan, if they've tweaked the hamstring, they're out there.
And I had a mentor there.
I never even knew his last name.
He was a fellow fruit picker, you know, a former Marine who was at the Chosin Reservoir in Korea.
I'm sure nobody listening to this knows what that is.
But it was like an amazing horror show of heroism in any way.
It was a work ethic in both cases.
In the one, again, I'll sort of get a little into the weeds here a little bit.
Please, please.
I was I had gone to a tractor trailer driving school and I got hired to work for this company in North Carolina.
And I was, you know, a beginner.
And I really I fucked up big time one time.
I dropped a trailer with like three hundred thousand dollars worth of, you know, industrial equipment in it.
And and.
And my boss, his name was Hugh Reeves, took me out to this hot dog place called Amos and Andy's in Durham, North Carolina.
And he sat me down and he said, son, I don't know what internal drama you're going through.
I know you're going through something.
But let me tell you this, while you're working for me,
You're a professional, and your job is to deliver a load.
And I don't care what happens between A and B, you got to do that.
You know, and I was like, well, you know, and I knew he was just absolutely right.
And I thought, man, I got to get my shit together here.
You know, I can't.
And so that obviously stuck with me forever.
And my friend John from Seattle in the fruit picking world was, again, I'm going to do a longer story than probably needs to be here.
In the fruit picking world, at least when I was doing this, most of the work was done by fruit tramps, by guys that were riding the rails from the old days.
And one of the phrases that they used was pulling the pin.
Have you ever heard this thing?
And what pulling the pin meant was quitting.
Too soon.
Like pulling the pin came from railroad.
If you want to uncouple one car from another, the trainman would pull a heavy steel pin and the cars would uncouple.
So like you would wake up one day in a bunkhouse six weeks into a season and so-and-so would be gone.
He'd say, oh, you know, what happened to Andrew?
Oh, he pulled the pin.
So at the time that I was there, I was trying for the first time to finish a book.
And I had run out of money, and this is why I was working to get the money.
And I realized that in my life, I had pulled the pin on everything that I'd ever done, on my marriage, on this, that, the other.
And this friend of mine, John...
Would I wanted to quit before the season ended, you know, and he would not let me do it.
You know, he sort of just had he just took me under his wing.
And so that was another thing which is drilled into my head in the sense of.
Am I going to finish this project?
Fuck yeah, I'd rather die.
I will die before I'll give up on this project.
And it was all because of him.
So those are two mentors that weren't writing mentors, but that I used there.
Those lessons stuck with me forever.
And I will say one thing, too, for anybody that's struggling with finishing anything,
Once I did finish that book, which I did, I've never had any trouble finishing anything ever again, whereas it was my bête noire for years.
I would fumble on the goal line, you know.
Resistance, former resistance.
Yeah.
Here's an analogy that I use sometimes, Andrew, and you may have heard me say this before.
I think about if you can imagine a tree in the middle of a sunny meadow.
I think that it's another great question.
I mean...
It's so easy to, as a writer, to noodle all day with one paragraph, you know, and of course it's obviously, you know, resistance is watching and laughing at you.
You know, oh man, look at this poor idiot.
I've gotten him to completely blow the day on this one thing.
So that sort of perfectionism is a form of resistance and really has to be avoided at all costs.
On the other hand, you do want to produce something that's really good, you know, and not... But, you know, like Seth Godin says, when it's, you know, ship it, right?
When it's ready to go, you know, there comes a time when you know, I'm just noodling with this because I'm afraid of the response.
As soon as the tree appears, a shadow is going to appear.
Is this going to fail?
Is it going to fizzle?
Is it going to crash and burn?
So I don't want to ship it out right now.
I had a friend, I tell this story, who had...
written this deeply personal novel about salvaging a ship.
He had been in the merchant marine and, you know, I mean, what a great metaphor that was.
And I read it.
It was in its mailing box back in the days when you typed it out on a typewriter, ready to go to his agent.
And he couldn't make himself send it off, you know.
And the shadow is going to be... The tree is your dream, whatever it is, right?
And the sad part of the story is my friend died.
And so that was, I don't know whether that was perfectionism or just fear of being judged in the real world.
So it's a real vice, perfectionism, and to be guarded against at all costs, I think.
But when a thing is ready to go, let it go.
I'd like to talk about death.
A book, a movie, whatever.
Because I've never read it.
And the shadow is the resistance you're going to feel.
And they're directly proportionate to each other.
The bigger the tree, the bigger the shadow.
So when you feel that shadow...
They'll die before they'll be taken off the court.
You feel that massive reason, oh, I want to quit.
I don't want to, I'm not good enough to do this, et cetera, et cetera.
Yeah, definitely.
I was having breakfast in New York a couple of years ago with a friend of mine who's exactly my age, you know.
That's a good sign.
And I asked him, I said, Nick, how often do you think about your own mortality?
And he said, every fucking minute of every fucking day, you know.
And then it says that the tree, your dream, is really big.
Yeah.
So...
I don't know if I go that far, but I'm definitely aware of it.
You know, like Robert Redford died two days ago, right, in his sleep.
You know, to me, it was like an immortal guy that was going to live forever.
On the other hand, I have another friend who actually died a couple of years ago.
It was one of my bosses in advertising named Phil Slott, great, smart guy.
And he said one time to me –
that people tell you that life is short, but really life is long.
And like thinking about you, Andrew, that you're 50 years old, you've got another 50 years ahead of you, you know, so that one has to think, you know, it can be also a form of resistance.
And so you got to do it.
Like for me at my age to think, well, I'm only going to be around a few more years.
I might as well fuck off or, you know, I don't have to work that hard, you know, but no, because I might be around for another 20 years or more.
That's not the, you don't want to take a little tree.
That's a career.
I could write 15 books.
I could make who knows what.
Certainly, I have to.
which is part of why I go to the gym, you know, to think of, I don't want to start thinking that I'm on the way down or I haven't got, you know, life is long.
You want to take the big tree.
It's longer than we think.
And we have in the sense of it's opportunity to do stuff, but it's also an obligation to do stuff, to keep evolving, so on and so forth.
On another sort of side of, I don't know if this was, this will be confessional for me.
I know when I was a kid, our family was sort of like the black sheep of our bigger family.
Like everybody, all of my uncles and stuff were all really successful.
And my dad was kind of struggling, you know?
And so it became...
A thing in my mind where I said, just looking ahead for how long you're going to live, I said, I'm going to show these motherfuckers that our family is not what they think they are, you know?
And so that's been a real driver for me, more so than any idea of mortality.
Even over those long years where I was getting nowhere, that to sort of honor my dad and that I was going to, you know,
Yeah, I was a reservist Marine infantryman.
Hang in there and do something.
Whereas an amateur, when he or she confronts adversity, will fold.
It certainly was not, you know, I'm only becoming aware of it now.
A tremendous amount.
I mean, if you think about Larry Bird and Magic Johnson,
You know, I think, you know, when I was going through boot camp and, you know, infantry training and stuff like that, I hated it.
You know, how they kind of made each other, you know, boom, boom, boom.
And now they're the best of friends.
Steve Jobs and Bill Gates early on.
Was that true?
Oh, yeah.
Yeah, I think so too.
You know, my trainer at the gym, T.R.
Goodman, he's trained a lot of professional athletes, particularly hockey players.
And a lot of them, he says, because he got to know them very well,
really had a chip on their shoulder about something or other, like, my dad, I'm going to show my fucking dad that I can do this thing, you know?
And it would drive them.
But, like you say, it becomes kind of toxic at some point.
You do have to sort of have that...
come to Jesus moment when you say, well, wait a minute, you know, let me get a handle on this and maybe a little forgiveness here or a little bit of empathy, a little of, you know, putting myself in the position of this person that I'm trying to show.
And I thought, I just can't wait till I get out of this and just be a regular civilian again.
Greg Norman's dad, you know, the golfer, you know, that there's so many people like that, that it does become toxic, but it's, like you say, it can produce great success because it drives people.
Yeah.
But as I've grown and lived through the artist's life of, you know, writing, you know, being in a room with your own demons for two or three years at a time, I've learned that kind of the virtues that you learn in the military...
It was quite embarrassing, yeah.
But was the movie that bad?
Oh, it was terrible.
Yeah, it was really terrible.
No, that was even worse.
It was King Kong Lives, one of the worst movies ever.
And I remember that I wrote this with a partner, Ron Shusett, who was one of the guys who originally did the first Alien.
The thing where the alien bursts out of the guy's chest,
That was his, along with the whole face hugger thing.
That was his, too.
So he was like a really legendary guy, particularly in science fiction.
And I was kind of his junior partner.
And we did this movie for Dino DeLaRentis on a contract.
And when we were done, we thought, this is great.
This is how crazy we were.
And we invited all of our friends to the screening or something.
And when it was over, it was like death talk.
Deathly silence, you know, and I was telling you before we did this thing today, the Review and Daily Variety said, Ronald Shusett and Steven Pressfield, we hope these are not their real names for their parents' sake.
So that was definitely a bad moment.
From my point of view, it was the first time I got a movie made that I was involved with at all.
So I had to say, and a friend of mine, my friend Tony Keppelman, took me aside and said, you know, you're in the arena, man.
You're taking the blows, but you're out there doing it.
And he was absolutely right.
So in the end, I turned out to be very grateful to that, and I still am grateful to it.
But it certainly was a terrible review and kept you humble.
No.
It was, like, too painful to even think about.
Yeah.
Oh, not since when it came out, which was, like, 1980-something or other.
are the same virtues that you have to call upon to live that war of art, the war inside your head.
Yeah.
What was the budget for the movie?
A lot.
It was a big budget.
Yeah.
I don't know what it was then, but it was a big budget.
Yeah.
In the millions.
Oh, yeah.
Yeah.
A lot of special effects.
I mean, you know, a King Kong movie, you had to—yeah.
Wild.
Yeah.
So that was terrible.
But I'm definitely a believer that the ideal is to not listen to anything that anybody says about what you did and to judge it only yourself, you know.
And if you can, I think it's good to get a sort of an objective cross section.
You know, some things go out there and they sink without a trace.
Some things people really love.
But the bottom line is, like Paul Rink said to me, start the next one today.
Because it's a lifelong, like we were saying, it's for the love of the game.
It's a lifelong practice.
And a professional does not take success or failure personally, but keeps on going and does the next one and the next one and the next one.
You know, the virtues of stubbornness, of the willing embracing of adversity, of patience, of selflessness, of courage, because it's about fear.
And so, yeah, it's influenced me tremendously.
Yeah.
I don't analyze it because I don't know if you can ever even figure it out.
And also so much of it has to do with in any thing that you put out with timing.
Are people, you know, is this, you know, ready the moment?
You know, how much does it get?
Did it get promoted?
Did it get, you know, did people even know it existed?
There's so many factors that are above and beyond whether it was actually good.
Oh, it's too cold out.
And I found sort of to my amazement as I started writing fiction that I was drawn to themes of war.
And I think you can only.
You can only ask, did you do your best?
Did you leave it all on the floor?
And if you did, then that's all you can ask.
But again, for me, it's a lifelong practice.
And I'm going to do this till they take me out, you know.
And whatever the next one is, I'll do that.
No, I'm not going to pull the pin.
It's either The War of Art or Gates of Fire.
Okay.
What book came after that?
But on – let me say on both of them, it took years, years for that – for either of them to reach any kind of level.
even though I've never actually been in a war.
Neither of them were overnight successes.
There wasn't any –
Any of that fanfare, nothing, really.
Finally, like maybe eight or 10 years later, you realize, oh, you know, this thing is percolating along pretty good.
So that's a whole different sort of, there wasn't that much dopamine coming in to me on that.
I've got the flu, that kind of thing.
That's probably a good thing.
Yeah, I think so.
But it's the inner war that interests me, the metaphor of war.
So, yeah, a lot.
It meant a lot.
I'm human.
But definitely the ideal.
is to really move beyond that.
It sounds like a very Zen sort of story.
The pastor would say,
Sweep the corner.
Yeah.
I mean, I certainly don't believe in it at all.
I think it's a seductive thing that's only going to pull you in the wrong direction, you know?
Yeah.
Third party validation as my partner, Sean Coyne, my business partner, Sean Coyne, which I have to give him credit before we forget the title, The War of Art was not my title.
It was Sean Coyne's title.
He handed that to you.
He gave me that title.
Yeah.
We published the book together.
His little company published it.
But that was his title.
So God bless him.
Yeah, they do.
Titles matter.
Eat, pray, love.
How does that... It doesn't get better than that.
Yeah.
Yeah, it is.
It's a great one.
At the end, but I find that they're really hard.
You know, and a lot of times other people have titled stuff for me or I've, you know, it's really hard to come up with a great one.
Yeah.
I don't know what the secret is at all.
I get there at quarter to 5.
If it's sometimes it pops out along the way.
Yeah, I don't know.
You're coming in, I'm going home.
Certainly in my experience, yes.
And I was talking to a friend of mine who's a bodybuilder.
And he was talking, he was just saying to me the other day, he said, I don't believe in balance, you know, the work-life balance, you know.
And I'm kind of that way too, you know, that...
If you want, I mean, I take my hat off tremendously to Kobe Bryant for being such a family man.
Obviously loved his kids, loved his wife, but yet was obsessed with basketball, you know, to the nth degree.
Somehow he did it and able even to go beyond that, you know, and be helpful to people and so forth.
But I do think that at some point, you know, if you're going to pursue your calling, whatever it is,
You got to pursue it with both feet.
And so that might lead to an unbalanced life.
I go to bed early, but that's just my own quirkiness.
But there are a lot of things that I've missed in life, including having kids.
But I don't regret it.
That's the nature of the game, I think.
I mean, I have an unbalanced life, but to me, it's what I've chosen.
This is...
An amateur worries about how they feel.
Like that great speech in The Godfather Part II where, is it Lee Strasberg who played...
the equivalent of Meyer, not Meyer Lansky, the real whatever, I forget his name was.
But he said he was talking about when— Hyman Roth.
Hyman Roth, Hyman Roth.
And he said he had this scene with Michael Corleone where he says, he talks about Mo Green, his protege that they grew up with.
Somebody put a bullet in his eye.
And I never asked who did it because I said to myself, this is the life we've chosen.
And that's how I look at it.
It's interesting.
Yeah.
Now we're paying the price.
Yeah.
That's a great question.
Going to the gym early, first thing for me, is a rehearsal for when I get home and I go sit at the keyboard and I actually have to face the resistance of working that day, right?
I have tried in my life various other endeavors, including love, marriage, a straight career, a blue collar career, always trying to find something that at the end of the day, I could lay my head on a pillow and have peace of mind.
And nothing worked until I found
you know, pursuing my craft.
That worked for me.
You know, I could, I could, at the end of the day, I felt, okay, I've earned my place on the planet doing this.
Whereas other things I would, at the end of the day, I would just be crazy, you know?
So I was sort of led to that.
It was like, thank God I found something, you know, that I can, you know, hang my hat on.
And over, that was a long time ago.
And over the course of those years, I sort of, from time to time, I asked myself, is this still working for you?
Or is this, are you, did you, you know, should you be evolving into something beyond this?
But it is still working for me.
And there is, I don't really have a bucket list of stuff, you know.
If somebody gave me a billion dollars, I'd just give it away, you know.
So, yeah, it just was, for me,
And again, it's not even like about peak success because I haven't had peak success at all.
You know, I've had enough success to pay the rent, which is good enough for me.
You know, I'm doing what I want to do and I don't have to do something else.
So it is for me, it's really a sort of pursuit of what I figure like I was put on the planet to do.
And it's always been a surprise, too.
book to book to book.
Each one is a surprise, which is another sort of weird, counterintuitive thing.
It isn't like, oh, could you do a five-year planning on this and this?
No.
If something comes, it presents itself, it comes in from the goddess, and there it is, and then you do it.
Like, oh, I don't feel like getting out of bed this morning.
So to me, the gym is about something that I don't want to do.
Yeah, I think so.
And a lot of them have- It's kind of disappointing, isn't it?
I hate to get up that early in the morning and get there.
Maybe an hour a day.
You know, I sort of, it's a vice, which I've got to definitely stop doing.
It's something that is going to hurt me.
But I will go like through Instagram and do that, you know, just kind of, as far as like communicating with people, very little, you know.
Like my email, I'm done with my email in like two minutes in the morning, you know.
Right?
We all know about that.
And it's something that I'm afraid of because, as you know, there are all kinds of ways you can hurt yourself and embarrass yourself and so on and so forth.
If we accept the idea of resistance with a capital R, that's our own internal tendency to sabotage ourselves when we try to set out to write our book or do our movie or follow our calling, whatever it is, then the question becomes, well, how do you overcome this thing?
What worked for me was the idea of turning pro.
For years when I was struggling and could never get it together, I realized that at one point that I was just thinking like an amateur.
And that if I could flip a switch in my mind and think like a professional, that I could overcome some of the things.
When I think of a great pro, I think of Kobe Bryant or Michael Jordan or Tom Brady or somebody like that.
And so like a professional, some of the characteristics of a professional as opposed to an amateur.
Mm-hmm.
A professional shows up every day.
A professional stays on the job all day or with the equivalent of all day.
I mean, a lot of us who have jobs are professionals in our jobs.
But having done that in the morning – so it's – I've got like –
But when we come home at night and we try to start our band or our fiddle band, we flame out on that because we can't sort of carry over that professional attitude.
A professional, as I said this before, does not take success or failure personally.
An amateur will, right?
An amateur gets a bad review, bad response of this, and they just crap out.
I don't want to do this anymore, right?
A professional plays hurt.
Like if Kobe Bryant, Michael Jordan, if they've tweaked the hamstring, they're out there.
They'll die before they'll be taken off the court.
Whereas an amateur, when he or she confronts adversity, will fold.
Oh, it's too cold out.
I've got the flu, that kind of thing.
Another thing, an amateur worries about how they feel.
Like, oh, I don't feel like getting out of bed this morning.
I think we have a mutual friend in Randy Wallace, right?
I don't feel like really doing my work today.
A professional doesn't care how they feel.
They do it, right?
So an amateur has amateur habits and a professional has professional habits.
And my book, Turning Pro, is about that, flipping that switch in your head that costs no money.
Do we have?
You don't have to take a course.
You don't have to get certified.
All you have to do is sort of say to yourself, if you can do it, and it ain't easy, okay, I'm going to attack this thing, whatever it is now, as if I were Kobe Bryant.
Yeah.
You know, would he quit?
You know, when he didn't feel like doing it?
Absolutely not.
I don't feel like really doing my work today.
Randy has this thing, Randall Wallace, who wrote Braveheart.
So and oh, here's another aspect of turning pro that worked for me.
I had like about a 10 year career as a screenwriter, as we talked about with King Kong Lives.
And.
One of the things you learn is that screenwriters a lot of times will have their one-man corporations, and they will not sign a contract as themselves.
It won't be Andrew Huberman on the contract.
It'll be your corporation, Huberman Lab, FSO, for services of Andrew Huberman.
And his secretary directed that and many others.
And I really love that idea of thinking of yourself
as a two-part thing.
You're the CEO of this thing and then you're also the guy that does the work.
And I would find that if I was just thinking of myself as the guy that's doing the work,
I have a hard time pitching my ideas.
I'm sort of too shy.
But if I'm the CEO of my company, of my corporation, I'm a pro, I can go in there and pimp the hell out of it.
He has a thing in the morning that he calls little successes.
So that idea of looking at yourself as a professional kind of takes all judgment out of any failures that we've had.
We don't blame ourselves anymore for mistakes.
procrastinating or being perfectionists or giving into fear or self-doubt or anything.
We just say, well, okay, I did that when I was thinking like an amateur, but now I'm going to think like a pro and a pro just doesn't yield to that stuff.
So that's a mind shift, a mindset shift that really helped me a lot.
And what he's trying to do to build momentum for when he's actually going to sit down and write is, you know, achieve success.
Yeah.
Something that he can say, okay, I did something good here.
So going to the gym for me is that.
It's not so much about the physical aspect of it.
It's the rehearsal for kind of facing.
Yeah.
We were talking about that earlier, Andrew, when I was saying that like it becomes when you start eating healthy and sleeping and getting up early and stuff, it becomes a reproach to your friends who know that they're not doing that, know they should be doing that.
So I feel like when I finish at the gym, nothing I'm going to do for the rest of the day is going to be as hard as what I already did.
And they say, who's this guy to do that?
And then they will try to sabotage you and undermine you and ridicule you.
A professional doesn't care how they feel.
And so you're right.
Turning pro does have a cost.
A lot of times, you know, if you take that course, you have to leave people behind, you know, people who were your friends.
You can't be friends with them anymore, you know, because a lot of times groups of friends will have an unspoken kind of compact among them that we're all going to stay mediocre, right?
that's the deal right and in fact um goodwill hunting that was what that movie was about right that uh the um um matt damon character was this mathematical genius right and uh his buddies all of his you know fist fighting boston southie guys were had this compact they were all going to stay you know kind of blue collar guys and we're all going to be buddies we're going to have a wonderful
And then there's that great scene at the end of the movie where Ben Affleck, his best friend, says to him, you know, if I come back 20 years from now and you're still here, I'm going to kill you because you won the lottery.
So, you know, there we go.
You got this thing, this gift, and you've got to use it.
So there are those kind of pacts that people make.
We're all going to stay mediocre right here where we are.
And if you, Andrew, try to rise above, you'd be the tall poppy.
Somebody's going to, you know, cut you off.
So sometimes we do have to leave people behind.
The waves are greased and I can go forward.
That's the theory anyway.
Fuck no.
I mean, can we say that here?
Sure, yeah, absolutely.
Absolutely not.
They do it.
It's a drag.
I hate to go.
Absolutely.
I wish I could stay in bed.
But on the days I do stay in bed, Sunday—
I absolutely believe that.
And, you know, you're right, Andrew.
The creative life, I think, is a two-sided thing.
You know, the one side is kind of the blue-collar practical aspect of being a professional that, you know, you can sit down, you can do your work, you discipline yourself, you know what you're going to do.
I don't feel so good about myself.
But the other side is that where do ideas come from?
They don't come from us.
They come from someplace else.
And so I'm definitely a believer that we live on the material plane here, but there's a plane above us.
And we're trying to communicate to that plane, and that plane is trying to communicate to us.
I wish I had gone to the gym.
And our job as artists, like if we were in a monastery or something, the move from here to here would be called prayer.
I mean, you must feel the same way, Andrew, about whatever you do, being an old skateboarder and a fitness guy your whole life.
But if we're artists, the move from here to here is like the invocation of the muse.
It's kind of saying, give me an idea.
Help me, you know.
And one, we on the material plane put ourselves at the service of this higher plane, of our illumined self or whatever you want to call it, the Jungian self, whatever we want to call it.
And
Try to channel it as best we can.
And our job here is to be, in terms of being a pro, is to sort of be ready to take that voltage as it comes in.
And like Beethoven could play on the piano what he was hearing in his head.
So that's our job.
We have to be able to know how to produce that in material form, whatever that is.
But it's coming from another place.
So I'm absolutely a believer that there are higher dimensions, and there's probably a lot of higher dimensions.
So an amateur has amateur habits, and a professional has professional habits.
And I think the Greeks were really kind of onto something, and the ancient Greeks and their concept of the muses and the various gods and goddesses that are interacting with this material plane that we're on.
How does it fit in with your regimen?
That's a way of anthropomorphizing it.
I'm sure we could come up with some way in the quantum field or something.
I mean, you're a scientist.
You probably know that it has to do with something.
I don't know what.
But there is something coming from somewhere, and it ain't us.
I love that phrase.
That's a great one.
Is it?
I hear that anyway, not that I know anybody.
Yeah, or kind of surrendering to it, you know.
Like I'm not a meditator, but from what I gather, that's sort of what meditation is about, you know.
So, yeah, just sort of that's how I do it.
I'm not even sure how I do it.
I just put myself at the service of what I'm trying to do and try to get out of the way as much as I can.
Not very comfortable, but I'm only sitting here for a couple hours, so it's okay.
It probably should not be comfortable, you know?
But hopefully you're in your head and you're not really noticing that sort of thing.
Why do you ask that question, Andrew?
Yeah.
Yeah.
I agree completely that, you know, that advice was really bad.
I would go to the absolute opposite, you know, get the most uncomfortable chair you possibly can have.
You don't see me at home, Andrew.
No, I've really tried.
I'd never complain at all.
I think it's a real vice.
It's another form of resistance.
Interesting.
I have a book coming next June.
We were talking about this before.
I had a book a few years ago called A Man at Arms, which is about a recurring character that I have who I call the one-man killing machine of the ancient world, kind of the Clint Eastwood of the ancient world, Telemann of Arcadia.
And that book took place around the time of the crucifixion.
Fiction.
The new book is one of the aspects of Telemann is he keeps living life after life after life.
And he's doomed because of crimes he committed in the past to live life after life as a soldier, always as a soldier, always fighting, always killing, always being killed, so on and so forth.
So this new book that's coming out, it's called The Arcadian, is about his final life.
And I won't say any more than that, except that it takes place in the past and that it's pretty interesting in that how this all sort of plays out.
It really kind of goes what we were talking about before about are there different levels of reality?
And in this case, there definitely are different levels of reality.
And this character has to deal with them on the field of justice and payback.
Fantastic.
The next June.
And what you just said about dopamine, I never had thought about it that way.
That's sort of a slow release dopamine for me, you know, over many years.
You know, a lot of things we're talking about here today, Andrew, they don't teach you in school.
You know, nobody teaches you about what if you have a one hit.
How do you handle – nobody even – the topic doesn't come up at all.
Or how to handle negative criticism, how to handle positive stuff like that.
What's the idea of turning pro?
Nobody – you never learn this, you know.
And they're all absolutely vital life skills that you hope you encounter mentors along the way that teach you because it's not taught in school.
I hope we haven't squeezed all the fruit out of the orange here.
We can do this again sometime.
You know, you've got another 50-plus years ahead of yourself.
So I know when you turn 50, you turn 40, you turn 30, you say, oh, my God, my life is over, you know.
Not so, you know.
Take it from me.
I'd give my left arm to be 50 again.
You got it made.
I will if you will.
And that if I could flip a switch in my mind and think like a professional, that I could overcome some of the things.
I don't have during workouts.
Workouts.
I don't seem to get ideas during workouts, but I completely agree with that, that, you know, those ideas that come like in the shower or when you're on the subway or when you're driving along the freeway, your mind is occupied in something else, right?
Your ego is involved and somehow it opens the pipeline and things burble up and you always think, oh, I'll remember that.
But you forget it's like a dream, you know?
They just go away.
So, yeah, I mean, I'll just dictate it into my phone.
I mean, my phone now is full of stuff that I've got to transcribe.
But I couldn't agree more with that.
It's amazing how they go away.
See, I'm a different believer.
I don't believe it's really coming from the subconscious.
I'm a believer in the goddess.
I'm a believer in the muse.
I think it's coming from someplace else, you know, and that they're playing with us a little bit, you know.
Like I know Steven Spielberg says, when an idea comes, he says it whispers rather than shouting, which is his way, I think, of saying, you know, it's a very subtle thing that goes away very fast, you know, and you've got to grab it while it's there.
Um, I'm, I'm a great believer that work is everything, you know, um, particularly for, for a writer because your writer has a, has a long career, you know, you can be 70 years old, 80 years old, still working, you know? Um, and, uh, uh, You know, I've said this before, that like for 30 years, well, now people tell me that I have talent. But for 30 years, they told me I was a bum.
Um, I'm, I'm a great believer that work is everything, you know, um, particularly for, for a writer because your writer has a, has a long career, you know, you can be 70 years old, 80 years old, still working, you know? Um, and, uh, uh, You know, I've said this before, that like for 30 years, well, now people tell me that I have talent. But for 30 years, they told me I was a bum.
Um, I'm, I'm a great believer that work is everything, you know, um, particularly for, for a writer because your writer has a, has a long career, you know, you can be 70 years old, 80 years old, still working, you know? Um, and, uh, uh, You know, I've said this before, that like for 30 years, well, now people tell me that I have talent. But for 30 years, they told me I was a bum.
And I was a bum because I hadn't learned how to do it. You know, I didn't have the confidence. I hadn't found a voice or anything like that. So work, I think, is you have to have, obviously, you have to have some talent. But Work is 90% of it, I think. You can get better. That's the good news. No matter how bad a first draft is, the ninth draft can be really good.
And I was a bum because I hadn't learned how to do it. You know, I didn't have the confidence. I hadn't found a voice or anything like that. So work, I think, is you have to have, obviously, you have to have some talent. But Work is 90% of it, I think. You can get better. That's the good news. No matter how bad a first draft is, the ninth draft can be really good.
And I was a bum because I hadn't learned how to do it. You know, I didn't have the confidence. I hadn't found a voice or anything like that. So work, I think, is you have to have, obviously, you have to have some talent. But Work is 90% of it, I think. You can get better. That's the good news. No matter how bad a first draft is, the ninth draft can be really good.
Or no matter how bad you were when you're 26, when you're 46, you can be really good. When you look back at what you wrote at 26, you go, this is dog shit. But I'm not doing that anymore. I've learned. And I can do better. So the good news for anybody that's struggling, I think, is that work does pay off. You can get better. You can learn more. You can improve.
Or no matter how bad you were when you're 26, when you're 46, you can be really good. When you look back at what you wrote at 26, you go, this is dog shit. But I'm not doing that anymore. I've learned. And I can do better. So the good news for anybody that's struggling, I think, is that work does pay off. You can get better. You can learn more. You can improve.
Or no matter how bad you were when you're 26, when you're 46, you can be really good. When you look back at what you wrote at 26, you go, this is dog shit. But I'm not doing that anymore. I've learned. And I can do better. So the good news for anybody that's struggling, I think, is that work does pay off. You can get better. You can learn more. You can improve.
Well, you know, like the whole subject matter of The War of Art, my book, The War of Art, is about what I call resistance with a capital R, which is that... that voice in our head that tells us we're not good enough, our idea isn't good enough, we're too old, we're too young, we're too fat, we're too thin, we went to school, blah, blah, blah. And the other aspect of that is procrastination,
Well, you know, like the whole subject matter of The War of Art, my book, The War of Art, is about what I call resistance with a capital R, which is that... that voice in our head that tells us we're not good enough, our idea isn't good enough, we're too old, we're too young, we're too fat, we're too thin, we went to school, blah, blah, blah. And the other aspect of that is procrastination,
Well, you know, like the whole subject matter of The War of Art, my book, The War of Art, is about what I call resistance with a capital R, which is that... that voice in our head that tells us we're not good enough, our idea isn't good enough, we're too old, we're too young, we're too fat, we're too thin, we went to school, blah, blah, blah. And the other aspect of that is procrastination,
the susceptibility to distraction going down rabbit holes and, you know, click bait and stuff like that. And other things like perfectionism, where we'll spend all day working on one paragraph instead of moving forward. And there's a million ways that our, our, our, our ego will sabotage us, you know? And to me,
the susceptibility to distraction going down rabbit holes and, you know, click bait and stuff like that. And other things like perfectionism, where we'll spend all day working on one paragraph instead of moving forward. And there's a million ways that our, our, our, our ego will sabotage us, you know? And to me,
the susceptibility to distraction going down rabbit holes and, you know, click bait and stuff like that. And other things like perfectionism, where we'll spend all day working on one paragraph instead of moving forward. And there's a million ways that our, our, our, our ego will sabotage us, you know? And to me,
job one of any creative person is to is to acknowledge that that is you know there is an enemy and the enemy is you you know the enemy is me it's in it's in us it's there the minute we wake up in the morning it's a dragon we have to slay every morning before we even sit down to work work is that's easy compared with uh like in the war of art it says something like
job one of any creative person is to is to acknowledge that that is you know there is an enemy and the enemy is you you know the enemy is me it's in it's in us it's there the minute we wake up in the morning it's a dragon we have to slay every morning before we even sit down to work work is that's easy compared with uh like in the war of art it says something like
job one of any creative person is to is to acknowledge that that is you know there is an enemy and the enemy is you you know the enemy is me it's in it's in us it's there the minute we wake up in the morning it's a dragon we have to slay every morning before we even sit down to work work is that's easy compared with uh like in the war of art it says something like
There's a secret that real writers know that wannabe writers don't know. And the secret is this. It's the writing is not the hard part. What's hard is sitting down to write. And I believe that completely. And what we all have to do in our own way, and everybody does it differently, is find some way to slay this dragon every morning. To be able to work.
There's a secret that real writers know that wannabe writers don't know. And the secret is this. It's the writing is not the hard part. What's hard is sitting down to write. And I believe that completely. And what we all have to do in our own way, and everybody does it differently, is find some way to slay this dragon every morning. To be able to work.
There's a secret that real writers know that wannabe writers don't know. And the secret is this. It's the writing is not the hard part. What's hard is sitting down to write. And I believe that completely. And what we all have to do in our own way, and everybody does it differently, is find some way to slay this dragon every morning. To be able to work.
Obviously, if you can't work, you can't do anything. But... The first step to that, in my opinion, is recognizing that there is this negative force. You know, you sit down at the blank page and it radiates off that blank page, right? You know, let's go to the beach, you know, let's smoke a joint, let's whatever, right? Something that the resistance is always trying to stop us from doing our work.
Obviously, if you can't work, you can't do anything. But... The first step to that, in my opinion, is recognizing that there is this negative force. You know, you sit down at the blank page and it radiates off that blank page, right? You know, let's go to the beach, you know, let's smoke a joint, let's whatever, right? Something that the resistance is always trying to stop us from doing our work.
Obviously, if you can't work, you can't do anything. But... The first step to that, in my opinion, is recognizing that there is this negative force. You know, you sit down at the blank page and it radiates off that blank page, right? You know, let's go to the beach, you know, let's smoke a joint, let's whatever, right? Something that the resistance is always trying to stop us from doing our work.
So if we can believe that, accept it, feel it inside us, then we can overcome it. We can dismiss it and just say, well, bullshit, I'm just going to sit down and do my work. And to me, it's like jumping into a cold pool.
So if we can believe that, accept it, feel it inside us, then we can overcome it. We can dismiss it and just say, well, bullshit, I'm just going to sit down and do my work. And to me, it's like jumping into a cold pool.
So if we can believe that, accept it, feel it inside us, then we can overcome it. We can dismiss it and just say, well, bullshit, I'm just going to sit down and do my work. And to me, it's like jumping into a cold pool.
It's hard when you're standing on the edge, but once you're in the water, in other words, once you start writing or dancing or doing whatever it is you're going to do, then that fear goes away. And fear is a huge part of it too, Andre, right? It's like fear of success, fear of failure, fear of destitution, fear of embarrassing yourself, fear of looking like an idiot.
It's hard when you're standing on the edge, but once you're in the water, in other words, once you start writing or dancing or doing whatever it is you're going to do, then that fear goes away. And fear is a huge part of it too, Andre, right? It's like fear of success, fear of failure, fear of destitution, fear of embarrassing yourself, fear of looking like an idiot.
It's hard when you're standing on the edge, but once you're in the water, in other words, once you start writing or dancing or doing whatever it is you're going to do, then that fear goes away. And fear is a huge part of it too, Andre, right? It's like fear of success, fear of failure, fear of destitution, fear of embarrassing yourself, fear of looking like an idiot.
And somehow we all have to get past that. You know, that I don't give a shit, I'm gonna do it anyway. The pain, when the pain of not doing the work becomes worse than the pain of doing the work, then we'll actually sit down and do it. But the good news is once we start to do it immediately, everything is okay.
And somehow we all have to get past that. You know, that I don't give a shit, I'm gonna do it anyway. The pain, when the pain of not doing the work becomes worse than the pain of doing the work, then we'll actually sit down and do it. But the good news is once we start to do it immediately, everything is okay.
And somehow we all have to get past that. You know, that I don't give a shit, I'm gonna do it anyway. The pain, when the pain of not doing the work becomes worse than the pain of doing the work, then we'll actually sit down and do it. But the good news is once we start to do it immediately, everything is okay.
Here we go.
Here we go.
Here we go.
Das ist nicht in dem Buch, aber... Es gibt da überall Verbindungen. Aber es ist ein Memoir, es ist meine Lebensgeschichte.
Das ist nicht in dem Buch, aber... Es gibt da überall Verbindungen. Aber es ist ein Memoir, es ist meine Lebensgeschichte.
Das ist nicht in dem Buch, aber... Es gibt da überall Verbindungen. Aber es ist ein Memoir, es ist meine Lebensgeschichte.
Und der Grund, warum ich es geschrieben habe, ist genau wie das, worüber du sprichst, für eure Entrepreneurs und Leute, die Schriftsteller und Copywriter sind und so weiter und so fort, die mit ihrer eigenen Sachen kämpfen und manchmal denken, oh, das ist für immer gedauert und ich fliege herum, ich weiß nicht, wo ich bin.
Und der Grund, warum ich es geschrieben habe, ist genau wie das, worüber du sprichst, für eure Entrepreneurs und Leute, die Schriftsteller und Copywriter sind und so weiter und so fort, die mit ihrer eigenen Sachen kämpfen und manchmal denken, oh, das ist für immer gedauert und ich fliege herum, ich weiß nicht, wo ich bin.
Und der Grund, warum ich es geschrieben habe, ist genau wie das, worüber du sprichst, für eure Entrepreneurs und Leute, die Schriftsteller und Copywriter sind und so weiter und so fort, die mit ihrer eigenen Sachen kämpfen und manchmal denken, oh, das ist für immer gedauert und ich fliege herum, ich weiß nicht, wo ich bin.
Und ich dachte, wenn ich meine Geschichte erzählen würde, weil es mir so lange gedauert hat, um das zu brechen, dann könnte das die Menschen ermutigen, dass wenn dieser Kerl all diese Dinge überleben kann, dass es Hilfe für alle anderen gibt.
Und ich dachte, wenn ich meine Geschichte erzählen würde, weil es mir so lange gedauert hat, um das zu brechen, dann könnte das die Menschen ermutigen, dass wenn dieser Kerl all diese Dinge überleben kann, dass es Hilfe für alle anderen gibt.
Und ich dachte, wenn ich meine Geschichte erzählen würde, weil es mir so lange gedauert hat, um das zu brechen, dann könnte das die Menschen ermutigen, dass wenn dieser Kerl all diese Dinge überleben kann, dass es Hilfe für alle anderen gibt.
Well, I was the Google sort of longer version of the story. I was working, my first job was as a copywriter in New York City at a big, you know, Madison Avenue ad agency. And I had a boss named Ed Hannibal and he wrote a novel and it was an instant hit. And the guy quit his job and became like a full-time writer. Ich sah das passieren und dachte mir, warum mache ich nicht das gleiche?
Well, I was the Google sort of longer version of the story. I was working, my first job was as a copywriter in New York City at a big, you know, Madison Avenue ad agency. And I had a boss named Ed Hannibal and he wrote a novel and it was an instant hit. And the guy quit his job and became like a full-time writer. Ich sah das passieren und dachte mir, warum mache ich nicht das gleiche?
Well, I was the Google sort of longer version of the story. I was working, my first job was as a copywriter in New York City at a big, you know, Madison Avenue ad agency. And I had a boss named Ed Hannibal and he wrote a novel and it was an instant hit. And the guy quit his job and became like a full-time writer. Ich sah das passieren und dachte mir, warum mache ich nicht das gleiche?
Also habe ich mich verabschiedet und versuchte, ein Buch zu schreiben, für etwa zwei Jahre. Und natürlich hatte ich nichts damit zu tun. Ich hatte keine Ahnung, wie hart es sein würde. Ich war viel zu jung, etc., etc. Und so hat mein Leben an diesem Punkt sortiert. Ich wurde verheiratet, bla bla bla. Ich war auf der Straße.
Also habe ich mich verabschiedet und versuchte, ein Buch zu schreiben, für etwa zwei Jahre. Und natürlich hatte ich nichts damit zu tun. Ich hatte keine Ahnung, wie hart es sein würde. Ich war viel zu jung, etc., etc. Und so hat mein Leben an diesem Punkt sortiert. Ich wurde verheiratet, bla bla bla. Ich war auf der Straße.
Also habe ich mich verabschiedet und versuchte, ein Buch zu schreiben, für etwa zwei Jahre. Und natürlich hatte ich nichts damit zu tun. Ich hatte keine Ahnung, wie hart es sein würde. Ich war viel zu jung, etc., etc. Und so hat mein Leben an diesem Punkt sortiert. Ich wurde verheiratet, bla bla bla. Ich war auf der Straße.
And I felt like the only way I could get out of this thing was to sort of write my way out of it. You know, it was like I tried this thing. I failed. You know, resistance was what defeated me. Resistance with a capital R. But at that time, I had no idea that there was such a thing. So anyway, I just was sort of in a position kind of Russell of shame. Wie ich es in Government Cheese erwähnt habe.
And I felt like the only way I could get out of this thing was to sort of write my way out of it. You know, it was like I tried this thing. I failed. You know, resistance was what defeated me. Resistance with a capital R. But at that time, I had no idea that there was such a thing. So anyway, I just was sort of in a position kind of Russell of shame. Wie ich es in Government Cheese erwähnt habe.
And I felt like the only way I could get out of this thing was to sort of write my way out of it. You know, it was like I tried this thing. I failed. You know, resistance was what defeated me. Resistance with a capital R. But at that time, I had no idea that there was such a thing. So anyway, I just was sort of in a position kind of Russell of shame. Wie ich es in Government Cheese erwähnt habe.
Ich habe alle gelassen. Ich habe mich selbst gelassen. Irgendwie muss ich das Schiff aufsteigen. Es hat dann nur noch 27 Jahre gedauert.
Ich habe alle gelassen. Ich habe mich selbst gelassen. Irgendwie muss ich das Schiff aufsteigen. Es hat dann nur noch 27 Jahre gedauert.
Ich habe alle gelassen. Ich habe mich selbst gelassen. Irgendwie muss ich das Schiff aufsteigen. Es hat dann nur noch 27 Jahre gedauert.
Wenn mir jemand das gesagt hätte, wäre es eine andere Geschichte gewesen.
Wenn mir jemand das gesagt hätte, wäre es eine andere Geschichte gewesen.
Wenn mir jemand das gesagt hätte, wäre es eine andere Geschichte gewesen.
It's like the reason why they have those phrases, copy and paste, is because that's what it really used to be. You know, you literally would cut it and you literally would paste it, you know. But because you didn't know any better, there was no such no alternative. So you just did it.
It's like the reason why they have those phrases, copy and paste, is because that's what it really used to be. You know, you literally would cut it and you literally would paste it, you know. But because you didn't know any better, there was no such no alternative. So you just did it.
It's like the reason why they have those phrases, copy and paste, is because that's what it really used to be. You know, you literally would cut it and you literally would paste it, you know. But because you didn't know any better, there was no such no alternative. So you just did it.
Du wendest dich mit Seiten, die zusammengeklebt werden würden. Sie wären drei Fuß lang. Sie wären wie auf einem Computer, nur mit echtem Papier. Es war eine verrückte Situation. Ich habe versucht, es zu lesen, um zu sehen, ob es Sinn macht. Aber das war so, wie es ging. Es war definitiv handgemachtes Ding.
Du wendest dich mit Seiten, die zusammengeklebt werden würden. Sie wären drei Fuß lang. Sie wären wie auf einem Computer, nur mit echtem Papier. Es war eine verrückte Situation. Ich habe versucht, es zu lesen, um zu sehen, ob es Sinn macht. Aber das war so, wie es ging. Es war definitiv handgemachtes Ding.
Du wendest dich mit Seiten, die zusammengeklebt werden würden. Sie wären drei Fuß lang. Sie wären wie auf einem Computer, nur mit echtem Papier. Es war eine verrückte Situation. Ich habe versucht, es zu lesen, um zu sehen, ob es Sinn macht. Aber das war so, wie es ging. Es war definitiv handgemachtes Ding.
Well, it definitely feels like that's who you really are, right? That's kind of your, it is your calling, that you should be doing that. And at least for me, when I would try to do anything else, You know, like if I would get a copywriting job or something like that, I would be so depressed at the end of the day.
Well, it definitely feels like that's who you really are, right? That's kind of your, it is your calling, that you should be doing that. And at least for me, when I would try to do anything else, You know, like if I would get a copywriting job or something like that, I would be so depressed at the end of the day.
Well, it definitely feels like that's who you really are, right? That's kind of your, it is your calling, that you should be doing that. And at least for me, when I would try to do anything else, You know, like if I would get a copywriting job or something like that, I would be so depressed at the end of the day.
Really, you know, that I would have the only thing that would save me would be to sit down at this old clunky typewriter and try to write something of my own, you know. But the other thing from a writer's point of view is that you're you feel a call to a certain story. You know, there's a book you want to write. Like, I'm sure you felt this, Russell, or you're feeling it right now.
Really, you know, that I would have the only thing that would save me would be to sit down at this old clunky typewriter and try to write something of my own, you know. But the other thing from a writer's point of view is that you're you feel a call to a certain story. You know, there's a book you want to write. Like, I'm sure you felt this, Russell, or you're feeling it right now.
Really, you know, that I would have the only thing that would save me would be to sit down at this old clunky typewriter and try to write something of my own, you know. But the other thing from a writer's point of view is that you're you feel a call to a certain story. You know, there's a book you want to write. Like, I'm sure you felt this, Russell, or you're feeling it right now.
You know, that there's this story about whatever it is. And you just got it and you start it and you're hooked on it. And now you've got to finish it. And you go through the same sort of things you're talking about, where... Once you're a few weeks into it, you say to yourself, what am I doing? This is crazy. This is not going anywhere. I'm lost. Nobody's going to buy this. I'm not good enough.
You know, that there's this story about whatever it is. And you just got it and you start it and you're hooked on it. And now you've got to finish it. And you go through the same sort of things you're talking about, where... Once you're a few weeks into it, you say to yourself, what am I doing? This is crazy. This is not going anywhere. I'm lost. Nobody's going to buy this. I'm not good enough.
You know, that there's this story about whatever it is. And you just got it and you start it and you're hooked on it. And now you've got to finish it. And you go through the same sort of things you're talking about, where... Once you're a few weeks into it, you say to yourself, what am I doing? This is crazy. This is not going anywhere. I'm lost. Nobody's going to buy this. I'm not good enough.
All that kind of thing. And those are the sort of resistance points that you have to sort of learn to overcome. Just like an entrepreneur, right, where you start something and you think, oh shit, what have I done? There's no way this is going to pay off, etc., etc., But that just seems to be part and parcel of any creative enterprise. When you are called, you do get that feeling, right?
All that kind of thing. And those are the sort of resistance points that you have to sort of learn to overcome. Just like an entrepreneur, right, where you start something and you think, oh shit, what have I done? There's no way this is going to pay off, etc., etc., But that just seems to be part and parcel of any creative enterprise. When you are called, you do get that feeling, right?
All that kind of thing. And those are the sort of resistance points that you have to sort of learn to overcome. Just like an entrepreneur, right, where you start something and you think, oh shit, what have I done? There's no way this is going to pay off, etc., etc., But that just seems to be part and parcel of any creative enterprise. When you are called, you do get that feeling, right?
You feel like, I've got to do this thing. Nothing else is going to make me happy.
You feel like, I've got to do this thing. Nothing else is going to make me happy.
You feel like, I've got to do this thing. Nothing else is going to make me happy.
Well, I'm definitely a believer that life happens on two levels. That there's the material level that we're on, and there's a higher level above that. And we get called from that level. It's the muse, it's the goddess, that's the way I look at it. That it's sort of... Sie sprechen von Songwritern, die auf der Straßenbahn fahren und plötzlich kommt ein Song in ihre Hände, von Anfang bis Ende.
Well, I'm definitely a believer that life happens on two levels. That there's the material level that we're on, and there's a higher level above that. And we get called from that level. It's the muse, it's the goddess, that's the way I look at it. That it's sort of... Sie sprechen von Songwritern, die auf der Straßenbahn fahren und plötzlich kommt ein Song in ihre Hände, von Anfang bis Ende.
Well, I'm definitely a believer that life happens on two levels. That there's the material level that we're on, and there's a higher level above that. And we get called from that level. It's the muse, it's the goddess, that's the way I look at it. That it's sort of... Sie sprechen von Songwritern, die auf der Straßenbahn fahren und plötzlich kommt ein Song in ihre Hände, von Anfang bis Ende.
Sie müssen sich auf die Seite der Straße schrecken und es schreiben, bevor es weggeht. Ich fühle definitiv, dass Ideen aus einem anderen Ort kommen. Es ist unser Job, sie zu holen und sie in das materielle Wesen zu bringen. Auf diesem materiellen Plan.
Sie müssen sich auf die Seite der Straße schrecken und es schreiben, bevor es weggeht. Ich fühle definitiv, dass Ideen aus einem anderen Ort kommen. Es ist unser Job, sie zu holen und sie in das materielle Wesen zu bringen. Auf diesem materiellen Plan.
Sie müssen sich auf die Seite der Straße schrecken und es schreiben, bevor es weggeht. Ich fühle definitiv, dass Ideen aus einem anderen Ort kommen. Es ist unser Job, sie zu holen und sie in das materielle Wesen zu bringen. Auf diesem materiellen Plan.
Let me ask you, Russell, how do you deal with self-doubt that hits you when you start something? I mean, when you were first messing around with potato guns, you said to yourself, what am I doing with this thing here? How do you deal with self-doubt when you're starting something new?
Let me ask you, Russell, how do you deal with self-doubt that hits you when you start something? I mean, when you were first messing around with potato guns, you said to yourself, what am I doing with this thing here? How do you deal with self-doubt when you're starting something new?
Let me ask you, Russell, how do you deal with self-doubt that hits you when you start something? I mean, when you were first messing around with potato guns, you said to yourself, what am I doing with this thing here? How do you deal with self-doubt when you're starting something new?
Ja, das ist meine Theorie. Eigentlich habe ich gerade einen Podcast mit Rick Rubin gemacht. Du weißt, er ist der Musikentrepreneur, der Typ, der der Gottvater von Hip-Hop ist. Und... Das ist absolut das, was er glaubt.
Ja, das ist meine Theorie. Eigentlich habe ich gerade einen Podcast mit Rick Rubin gemacht. Du weißt, er ist der Musikentrepreneur, der Typ, der der Gottvater von Hip-Hop ist. Und... Das ist absolut das, was er glaubt.
Ja, das ist meine Theorie. Eigentlich habe ich gerade einen Podcast mit Rick Rubin gemacht. Du weißt, er ist der Musikentrepreneur, der Typ, der der Gottvater von Hip-Hop ist. Und... Das ist absolut das, was er glaubt.
Und ich glaube es komplett, dass wenn man versucht, einen Publikum zu vorstellen und sagt, du wirst die Bedürfnisse für sie erfüllen, kommst du aus einem Ort des Egos, denke ich, und nicht aus einem Ort des Herzens. Und der andere Grund, der andere Weg, um es zu schauen, ist, zu sagen, ich muss den Publikum führen.
Und ich glaube es komplett, dass wenn man versucht, einen Publikum zu vorstellen und sagt, du wirst die Bedürfnisse für sie erfüllen, kommst du aus einem Ort des Egos, denke ich, und nicht aus einem Ort des Herzens. Und der andere Grund, der andere Weg, um es zu schauen, ist, zu sagen, ich muss den Publikum führen.
Und ich glaube es komplett, dass wenn man versucht, einen Publikum zu vorstellen und sagt, du wirst die Bedürfnisse für sie erfüllen, kommst du aus einem Ort des Egos, denke ich, und nicht aus einem Ort des Herzens. Und der andere Grund, der andere Weg, um es zu schauen, ist, zu sagen, ich muss den Publikum führen.
Sie wissen nicht, was diese Geschichte, die in meinem Kopf ist, oder diese Idee, die in meinem Kopf ist. Wenn sie es gemacht hätten, würden sie es machen. Wenn Steve Jobs mit dem iPhone angefangen hat, war niemand dafür aufgeregt. Niemand hat gesagt, mach mir ein Handy, das Apps und so hat. Sie wussten nicht, was es war.
Sie wissen nicht, was diese Geschichte, die in meinem Kopf ist, oder diese Idee, die in meinem Kopf ist. Wenn sie es gemacht hätten, würden sie es machen. Wenn Steve Jobs mit dem iPhone angefangen hat, war niemand dafür aufgeregt. Niemand hat gesagt, mach mir ein Handy, das Apps und so hat. Sie wussten nicht, was es war.
Sie wissen nicht, was diese Geschichte, die in meinem Kopf ist, oder diese Idee, die in meinem Kopf ist. Wenn sie es gemacht hätten, würden sie es machen. Wenn Steve Jobs mit dem iPhone angefangen hat, war niemand dafür aufgeregt. Niemand hat gesagt, mach mir ein Handy, das Apps und so hat. Sie wussten nicht, was es war.
Aber er glaubte, wenn ich mit diesem Ding verabschiedet werde, werden alle anderen Leute damit verabschiedet werden. Und ich denke, das ist einfach die Art und Weise, wie die Welt funktioniert. Du musst dich selbst verabschieden. Glaub, wenn es dir Spaß macht, wird es auch für jemand anderes Spaß machen.
Aber er glaubte, wenn ich mit diesem Ding verabschiedet werde, werden alle anderen Leute damit verabschiedet werden. Und ich denke, das ist einfach die Art und Weise, wie die Welt funktioniert. Du musst dich selbst verabschieden. Glaub, wenn es dir Spaß macht, wird es auch für jemand anderes Spaß machen.
Aber er glaubte, wenn ich mit diesem Ding verabschiedet werde, werden alle anderen Leute damit verabschiedet werden. Und ich denke, das ist einfach die Art und Weise, wie die Welt funktioniert. Du musst dich selbst verabschieden. Glaub, wenn es dir Spaß macht, wird es auch für jemand anderes Spaß machen.
Die längere Version dieser Geschichte ist, dass ich eine Screenwriting-Karriere für etwa zehn Jahre hatte, eine Art B- oder C-Level, nicht A-Level, aber ich war da. Und mein Agent, der ein guter Freund meines war, Ich habe viel Arbeit gemacht, um mich in die Stadt zu bringen und Menschen zu bringen, die wissen, wer ich war.
Die längere Version dieser Geschichte ist, dass ich eine Screenwriting-Karriere für etwa zehn Jahre hatte, eine Art B- oder C-Level, nicht A-Level, aber ich war da. Und mein Agent, der ein guter Freund meines war, Ich habe viel Arbeit gemacht, um mich in die Stadt zu bringen und Menschen zu bringen, die wissen, wer ich war.
Die längere Version dieser Geschichte ist, dass ich eine Screenwriting-Karriere für etwa zehn Jahre hatte, eine Art B- oder C-Level, nicht A-Level, aber ich war da. Und mein Agent, der ein guter Freund meines war, Ich habe viel Arbeit gemacht, um mich in die Stadt zu bringen und Menschen zu bringen, die wissen, wer ich war.
Und dann plötzlich, ich habe mich einfach von dieser Idee für The Legend of Bagger Vance gesetzt. Aber es war als Buch, nicht als Film. Und ich wusste das komplett. Es gab keine Angst in meinem Kopf. And when I told my agent that, he basically fired me. He said, you know, I've been busting my ass for years for you to get you out there. You go off for a year or something to write this book.
Und dann plötzlich, ich habe mich einfach von dieser Idee für The Legend of Bagger Vance gesetzt. Aber es war als Buch, nicht als Film. Und ich wusste das komplett. Es gab keine Angst in meinem Kopf. And when I told my agent that, he basically fired me. He said, you know, I've been busting my ass for years for you to get you out there. You go off for a year or something to write this book.
Und dann plötzlich, ich habe mich einfach von dieser Idee für The Legend of Bagger Vance gesetzt. Aber es war als Buch, nicht als Film. Und ich wusste das komplett. Es gab keine Angst in meinem Kopf. And when I told my agent that, he basically fired me. He said, you know, I've been busting my ass for years for you to get you out there. You go off for a year or something to write this book.
People forget you in this town in a week and a half, you know. But I was just so seized with it that I just absolutely had to do it, you know, come hell or high water. And, you know, knock on wood, it worked. But that sort of goes... zu dem, worüber wir vorhin gesprochen haben. Du, der Kreator, du, der Entrepreneur, musst den Publikum führen.
People forget you in this town in a week and a half, you know. But I was just so seized with it that I just absolutely had to do it, you know, come hell or high water. And, you know, knock on wood, it worked. But that sort of goes... zu dem, worüber wir vorhin gesprochen haben. Du, der Kreator, du, der Entrepreneur, musst den Publikum führen.
People forget you in this town in a week and a half, you know. But I was just so seized with it that I just absolutely had to do it, you know, come hell or high water. And, you know, knock on wood, it worked. But that sort of goes... zu dem, worüber wir vorhin gesprochen haben. Du, der Kreator, du, der Entrepreneur, musst den Publikum führen.
Aber ich hatte einen riesigen Selbstvertrauen in das Buch. Ich dachte, als ich es geschrieben habe, eine Golf-Story, die mystisch ist. Ich meine, wer ist interessiert in das? Aber wiederum, ich wurde einfach von dem enttäuscht. Ich musste es einfach machen. Manchmal, weißt du, dass die höhere Dimension sich übernimmt und du keine Chance hast. Du musst es einfach machen.
Aber ich hatte einen riesigen Selbstvertrauen in das Buch. Ich dachte, als ich es geschrieben habe, eine Golf-Story, die mystisch ist. Ich meine, wer ist interessiert in das? Aber wiederum, ich wurde einfach von dem enttäuscht. Ich musste es einfach machen. Manchmal, weißt du, dass die höhere Dimension sich übernimmt und du keine Chance hast. Du musst es einfach machen.
Aber ich hatte einen riesigen Selbstvertrauen in das Buch. Ich dachte, als ich es geschrieben habe, eine Golf-Story, die mystisch ist. Ich meine, wer ist interessiert in das? Aber wiederum, ich wurde einfach von dem enttäuscht. Ich musste es einfach machen. Manchmal, weißt du, dass die höhere Dimension sich übernimmt und du keine Chance hast. Du musst es einfach machen.
Nun, das wird uns wahrscheinlich komplett überraschen. Es gibt eine berühmte hinduische Schrift, die Bhagavad-Gita. Ich weiß nicht, ob ihr das gehört habt. Es geht um den großen Krieger Arjuna und seinen Charioteer. Ich war ein Fan dieses Buches. Ich habe es viele Male gelesen. Eines Tages dachte ich mir, das ist eine tolle Struktur für eine Geschichte.
Nun, das wird uns wahrscheinlich komplett überraschen. Es gibt eine berühmte hinduische Schrift, die Bhagavad-Gita. Ich weiß nicht, ob ihr das gehört habt. Es geht um den großen Krieger Arjuna und seinen Charioteer. Ich war ein Fan dieses Buches. Ich habe es viele Male gelesen. Eines Tages dachte ich mir, das ist eine tolle Struktur für eine Geschichte.
Nun, das wird uns wahrscheinlich komplett überraschen. Es gibt eine berühmte hinduische Schrift, die Bhagavad-Gita. Ich weiß nicht, ob ihr das gehört habt. Es geht um den großen Krieger Arjuna und seinen Charioteer. Ich war ein Fan dieses Buches. Ich habe es viele Male gelesen. Eines Tages dachte ich mir, das ist eine tolle Struktur für eine Geschichte.
Ich kann das in einen modernen Kontext einstellen und es wird funktionieren. So habe ich mich damit gewöhnt. Ich dachte, die Struktur ist großartig. Es ist wie das Rippen von Romeo und Juliet oder so etwas. Du weißt, dass es funktionieren wird. Und dann, wenn du daran bist, erhältst du ein eigenes Momentum.
Ich kann das in einen modernen Kontext einstellen und es wird funktionieren. So habe ich mich damit gewöhnt. Ich dachte, die Struktur ist großartig. Es ist wie das Rippen von Romeo und Juliet oder so etwas. Du weißt, dass es funktionieren wird. Und dann, wenn du daran bist, erhältst du ein eigenes Momentum.
Ich kann das in einen modernen Kontext einstellen und es wird funktionieren. So habe ich mich damit gewöhnt. Ich dachte, die Struktur ist großartig. Es ist wie das Rippen von Romeo und Juliet oder so etwas. Du weißt, dass es funktionieren wird. Und dann, wenn du daran bist, erhältst du ein eigenes Momentum.
Charaktere erscheinen, Szenen beginnen zu passieren und neue Ideen kommen in, wie bei einer Unternehmensentwicklung. Wenn du mit einem verrückten Ding anfängst, dann hast du eine ganze Industrie. Ja.
Charaktere erscheinen, Szenen beginnen zu passieren und neue Ideen kommen in, wie bei einer Unternehmensentwicklung. Wenn du mit einem verrückten Ding anfängst, dann hast du eine ganze Industrie. Ja.
Charaktere erscheinen, Szenen beginnen zu passieren und neue Ideen kommen in, wie bei einer Unternehmensentwicklung. Wenn du mit einem verrückten Ding anfängst, dann hast du eine ganze Industrie. Ja.
First, let me just say that for the first, you know, eight or nine years or longer than that of my career, career i was being defeated by this force called resistance and i never knew it even existed so let me see if i can define it it's like when you sit down in front of one of these things Und du bist vor dem blanken Bildschirm. Du spürst eine Kraft, die auf dem Bildschirm radiert.
First, let me just say that for the first, you know, eight or nine years or longer than that of my career, career i was being defeated by this force called resistance and i never knew it even existed so let me see if i can define it it's like when you sit down in front of one of these things Und du bist vor dem blanken Bildschirm. Du spürst eine Kraft, die auf dem Bildschirm radiert.
First, let me just say that for the first, you know, eight or nine years or longer than that of my career, career i was being defeated by this force called resistance and i never knew it even existed so let me see if i can define it it's like when you sit down in front of one of these things Und du bist vor dem blanken Bildschirm. Du spürst eine Kraft, die auf dem Bildschirm radiert.
Eine negative Kraft, die versucht, dich aufzunehmen und zu verlassen. Es will definitiv nicht, dass du das Job machst. Was auch immer es ist. Und die Art, wie Resistenz erscheint, ist als eine Stimme in deinem Kopf. And the voice in your head will tell you a couple of things. One of the things it will tell you is you're not good enough to do this. Who do you think you are?
Eine negative Kraft, die versucht, dich aufzunehmen und zu verlassen. Es will definitiv nicht, dass du das Job machst. Was auch immer es ist. Und die Art, wie Resistenz erscheint, ist als eine Stimme in deinem Kopf. And the voice in your head will tell you a couple of things. One of the things it will tell you is you're not good enough to do this. Who do you think you are?
Eine negative Kraft, die versucht, dich aufzunehmen und zu verlassen. Es will definitiv nicht, dass du das Job machst. Was auch immer es ist. Und die Art, wie Resistenz erscheint, ist als eine Stimme in deinem Kopf. And the voice in your head will tell you a couple of things. One of the things it will tell you is you're not good enough to do this. Who do you think you are?
You're too old, you're too young, you have no skills, you've never done this before. This is a dumb idea. If it's been done before by a million people better than that kind of voice, right? That'll try to force you back and stop you from doing it. The other half of the voice is it will try to distract you.
You're too old, you're too young, you have no skills, you've never done this before. This is a dumb idea. If it's been done before by a million people better than that kind of voice, right? That'll try to force you back and stop you from doing it. The other half of the voice is it will try to distract you.
You're too old, you're too young, you have no skills, you've never done this before. This is a dumb idea. If it's been done before by a million people better than that kind of voice, right? That'll try to force you back and stop you from doing it. The other half of the voice is it will try to distract you.
And it will say, clickbait, you go down this rabbit hole of whatever it is, or let's get drunk, or let's have an affair, or let's go to the beach, let's get whatever, that kind of thing. And after a while you recognize that There is an enemy. The playing field is not level when you sit down to do anything creative or entrepreneurial.
And it will say, clickbait, you go down this rabbit hole of whatever it is, or let's get drunk, or let's have an affair, or let's go to the beach, let's get whatever, that kind of thing. And after a while you recognize that There is an enemy. The playing field is not level when you sit down to do anything creative or entrepreneurial.
And it will say, clickbait, you go down this rabbit hole of whatever it is, or let's get drunk, or let's have an affair, or let's go to the beach, let's get whatever, that kind of thing. And after a while you recognize that There is an enemy. The playing field is not level when you sit down to do anything creative or entrepreneurial.
There is this negative force out there that I believe is like the force of gravity. It just exists in the real world. There's nothing you can do about it. Es ist da, es kämpft dich, es wird dich jeden Tag in deinem Leben kämpfen. Ich bin in diesem Geschäft jetzt seit 50 Jahren und die Stärke der Resistenz geht nie weg. and never diminishes. It's the dragon you have to slay every morning anew.
There is this negative force out there that I believe is like the force of gravity. It just exists in the real world. There's nothing you can do about it. Es ist da, es kämpft dich, es wird dich jeden Tag in deinem Leben kämpfen. Ich bin in diesem Geschäft jetzt seit 50 Jahren und die Stärke der Resistenz geht nie weg. and never diminishes. It's the dragon you have to slay every morning anew.
There is this negative force out there that I believe is like the force of gravity. It just exists in the real world. There's nothing you can do about it. Es ist da, es kämpft dich, es wird dich jeden Tag in deinem Leben kämpfen. Ich bin in diesem Geschäft jetzt seit 50 Jahren und die Stärke der Resistenz geht nie weg. and never diminishes. It's the dragon you have to slay every morning anew.
So I always say to any artist or any entrepreneur, before you even get into the skill of it, of whatever you're going to do, the first thing you have to do is recognize this negative force and find some way to overcome it, one day at a time, day after day after day.
So I always say to any artist or any entrepreneur, before you even get into the skill of it, of whatever you're going to do, the first thing you have to do is recognize this negative force and find some way to overcome it, one day at a time, day after day after day.
So I always say to any artist or any entrepreneur, before you even get into the skill of it, of whatever you're going to do, the first thing you have to do is recognize this negative force and find some way to overcome it, one day at a time, day after day after day.
belief in the calling or the thing you're pursuing or else it's easy for that just to to collapse you right yeah and like you say because it never stops it's like you might defeat it you know for a week or two weeks or in training you know or work that you're trying to do and then resistance will even use that success against you and the voice in your head will say oh you've done great for those two weeks you really got licked you know
belief in the calling or the thing you're pursuing or else it's easy for that just to to collapse you right yeah and like you say because it never stops it's like you might defeat it you know for a week or two weeks or in training you know or work that you're trying to do and then resistance will even use that success against you and the voice in your head will say oh you've done great for those two weeks you really got licked you know
belief in the calling or the thing you're pursuing or else it's easy for that just to to collapse you right yeah and like you say because it never stops it's like you might defeat it you know for a week or two weeks or in training you know or work that you're trying to do and then resistance will even use that success against you and the voice in your head will say oh you've done great for those two weeks you really got licked you know
Let's take the day off, you know, or it's Sunday or, you know, our wife wants to do that, blah, blah, blah. And of course you can't be hardcore 24 hours a day, but you do have to sort of think in marathon terms. You know, I think of this absolutely as a lifetime commitment, you know, when I'm dead, I'll stop worrying about this, but not until then. And so, uh,
Let's take the day off, you know, or it's Sunday or, you know, our wife wants to do that, blah, blah, blah. And of course you can't be hardcore 24 hours a day, but you do have to sort of think in marathon terms. You know, I think of this absolutely as a lifetime commitment, you know, when I'm dead, I'll stop worrying about this, but not until then. And so, uh,
Let's take the day off, you know, or it's Sunday or, you know, our wife wants to do that, blah, blah, blah. And of course you can't be hardcore 24 hours a day, but you do have to sort of think in marathon terms. You know, I think of this absolutely as a lifetime commitment, you know, when I'm dead, I'll stop worrying about this, but not until then. And so, uh,
Es ist so diabolisch, die Stimme in deinem Kopf, in den nuanced Wegen, die versuchen, dich rauszufaken und dich zu stoppen. Es ist wirklich interessant, was du gemacht hast, Russell, mit deinem Telefon, wo du dich aufmerksam hattest. Aber ich habe das nie gemacht. Aber ich würde mir vorstellen, dass es mich 500 Mal am Tag schlägt.
Es ist so diabolisch, die Stimme in deinem Kopf, in den nuanced Wegen, die versuchen, dich rauszufaken und dich zu stoppen. Es ist wirklich interessant, was du gemacht hast, Russell, mit deinem Telefon, wo du dich aufmerksam hattest. Aber ich habe das nie gemacht. Aber ich würde mir vorstellen, dass es mich 500 Mal am Tag schlägt.
Es ist so diabolisch, die Stimme in deinem Kopf, in den nuanced Wegen, die versuchen, dich rauszufaken und dich zu stoppen. Es ist wirklich interessant, was du gemacht hast, Russell, mit deinem Telefon, wo du dich aufmerksam hattest. Aber ich habe das nie gemacht. Aber ich würde mir vorstellen, dass es mich 500 Mal am Tag schlägt.
Weißt du, was ich meine? Lass mich hier eine Sache ausdrücken, die vielleicht, vielleicht wirst du mich etwas über das fragen, aber vielleicht ist das, was ich jetzt sagen möchte, vielleicht sehr hilfreich für jeden, der darüber nachdenkt. Und das ist, dass Imagine a tree in the middle of a sunny meadow. The minute the tree appears, a shadow appears. And the shadow is equal to the tree, right?
Weißt du, was ich meine? Lass mich hier eine Sache ausdrücken, die vielleicht, vielleicht wirst du mich etwas über das fragen, aber vielleicht ist das, was ich jetzt sagen möchte, vielleicht sehr hilfreich für jeden, der darüber nachdenkt. Und das ist, dass Imagine a tree in the middle of a sunny meadow. The minute the tree appears, a shadow appears. And the shadow is equal to the tree, right?
Weißt du, was ich meine? Lass mich hier eine Sache ausdrücken, die vielleicht, vielleicht wirst du mich etwas über das fragen, aber vielleicht ist das, was ich jetzt sagen möchte, vielleicht sehr hilfreich für jeden, der darüber nachdenkt. Und das ist, dass Imagine a tree in the middle of a sunny meadow. The minute the tree appears, a shadow appears. And the shadow is equal to the tree, right?
If it's a big tree, it's a big shadow. So in the terms of resistance, the tree is the dream that you have. The book you want to write, the venture you want to do, whatever. And resistance is the shadow. So there would not, what I want to say is resistance always comes second. Es gäbe keine Resistenz, wenn es nicht ein Traum gewesen wäre, wenn es nicht ein Anruf im Inneren gewesen wäre.
If it's a big tree, it's a big shadow. So in the terms of resistance, the tree is the dream that you have. The book you want to write, the venture you want to do, whatever. And resistance is the shadow. So there would not, what I want to say is resistance always comes second. Es gäbe keine Resistenz, wenn es nicht ein Traum gewesen wäre, wenn es nicht ein Anruf im Inneren gewesen wäre.
If it's a big tree, it's a big shadow. So in the terms of resistance, the tree is the dream that you have. The book you want to write, the venture you want to do, whatever. And resistance is the shadow. So there would not, what I want to say is resistance always comes second. Es gäbe keine Resistenz, wenn es nicht ein Traum gewesen wäre, wenn es nicht ein Anruf im Inneren gewesen wäre.
Das Gute davon ist, dass wenn du eine große Resistenz fühlst, diese große Schattung, dann zeigt das, dass da ein großer Baum ist. Es gibt große Träume, denn die Resistenz kommt immer, wie Newton's drittes Gesetz der Bewegung, eine gleiche und die gleiche Reaktion. Es ist eine Reaktion zu einer Aspiration. zu einem Buch, das du schreiben möchtest, oder einem Film, was auch immer es ist.
Das Gute davon ist, dass wenn du eine große Resistenz fühlst, diese große Schattung, dann zeigt das, dass da ein großer Baum ist. Es gibt große Träume, denn die Resistenz kommt immer, wie Newton's drittes Gesetz der Bewegung, eine gleiche und die gleiche Reaktion. Es ist eine Reaktion zu einer Aspiration. zu einem Buch, das du schreiben möchtest, oder einem Film, was auch immer es ist.
Das Gute davon ist, dass wenn du eine große Resistenz fühlst, diese große Schattung, dann zeigt das, dass da ein großer Baum ist. Es gibt große Träume, denn die Resistenz kommt immer, wie Newton's drittes Gesetz der Bewegung, eine gleiche und die gleiche Reaktion. Es ist eine Reaktion zu einer Aspiration. zu einem Buch, das du schreiben möchtest, oder einem Film, was auch immer es ist.
Also, nicht überrascht werden, würde ich sagen, von diesem dunklen Mond, dieser dunklen Schatten, ist ein Beweis, dass der Traum wirklich ist und groß ist.
Also, nicht überrascht werden, würde ich sagen, von diesem dunklen Mond, dieser dunklen Schatten, ist ein Beweis, dass der Traum wirklich ist und groß ist.
Also, nicht überrascht werden, würde ich sagen, von diesem dunklen Mond, dieser dunklen Schatten, ist ein Beweis, dass der Traum wirklich ist und groß ist.
Ich meine, es ist wie wenn wir über einen Anruf oder einen Traum sprechen oder was auch immer es ist. Wir können in einem Kühlschrank in einem Büro arbeiten oder wir können an einem hohen Ende arbeiten. Wir können ein großer Arbeiter oder so etwas sein. Und das ist das Leben, das wir leben. But there's an unlived life within us. And resistance's job is to make sure we never live that life out.
Ich meine, es ist wie wenn wir über einen Anruf oder einen Traum sprechen oder was auch immer es ist. Wir können in einem Kühlschrank in einem Büro arbeiten oder wir können an einem hohen Ende arbeiten. Wir können ein großer Arbeiter oder so etwas sein. Und das ist das Leben, das wir leben. But there's an unlived life within us. And resistance's job is to make sure we never live that life out.
Ich meine, es ist wie wenn wir über einen Anruf oder einen Traum sprechen oder was auch immer es ist. Wir können in einem Kühlschrank in einem Büro arbeiten oder wir können an einem hohen Ende arbeiten. Wir können ein großer Arbeiter oder so etwas sein. Und das ist das Leben, das wir leben. But there's an unlived life within us. And resistance's job is to make sure we never live that life out.
There are so many people who want to be writers, want to be artists, want to start businesses, but they don't for various reasons. They have kids, they got to take care of the kids, all that sort of stuff. Practical things, got to keep my job. So it's a very good question to ask oneself, what is my unlived life? What is the thing that's inside me that wants to be born?
There are so many people who want to be writers, want to be artists, want to start businesses, but they don't for various reasons. They have kids, they got to take care of the kids, all that sort of stuff. Practical things, got to keep my job. So it's a very good question to ask oneself, what is my unlived life? What is the thing that's inside me that wants to be born?
There are so many people who want to be writers, want to be artists, want to start businesses, but they don't for various reasons. They have kids, they got to take care of the kids, all that sort of stuff. Practical things, got to keep my job. So it's a very good question to ask oneself, what is my unlived life? What is the thing that's inside me that wants to be born?
Und das ist der Anruf, richtig? Du sprichst von der Reise der Helden. Das ist der Anruf zur Erfindung.
Und das ist der Anruf, richtig? Du sprichst von der Reise der Helden. Das ist der Anruf zur Erfindung.
Und das ist der Anruf, richtig? Du sprichst von der Reise der Helden. Das ist der Anruf zur Erfindung.
Ja, das ist wie das, was du gesagt hast, die Verabschiedung der Anrufe, richtig? In der Reise des Helden, der Konzept ist, dass, oder einer der Konzepte ist, dass sofort, wenn der Helden den Anruf zur Verabschiedung bekommt, das erste, was in ihrem Kopf kommt, ist, naja, ich will das nicht machen, richtig?
Ja, das ist wie das, was du gesagt hast, die Verabschiedung der Anrufe, richtig? In der Reise des Helden, der Konzept ist, dass, oder einer der Konzepte ist, dass sofort, wenn der Helden den Anruf zur Verabschiedung bekommt, das erste, was in ihrem Kopf kommt, ist, naja, ich will das nicht machen, richtig?
Ja, das ist wie das, was du gesagt hast, die Verabschiedung der Anrufe, richtig? In der Reise des Helden, der Konzept ist, dass, oder einer der Konzepte ist, dass sofort, wenn der Helden den Anruf zur Verabschiedung bekommt, das erste, was in ihrem Kopf kommt, ist, naja, ich will das nicht machen, richtig?
Sie verabschieden den Anruf, wie in dem Film Rocky, wenn er die Chance hat, den Champ zu kämpfen. Die Leute vergessen das von ihnen. Du siehst den Film, das erste, was er macht, ist, dass er es aufhört. Oder in der Odyssee, wenn Odysseus angerufen wird, in den Trojaner Krieg zu gehen.
Sie verabschieden den Anruf, wie in dem Film Rocky, wenn er die Chance hat, den Champ zu kämpfen. Die Leute vergessen das von ihnen. Du siehst den Film, das erste, was er macht, ist, dass er es aufhört. Oder in der Odyssee, wenn Odysseus angerufen wird, in den Trojaner Krieg zu gehen.
Sie verabschieden den Anruf, wie in dem Film Rocky, wenn er die Chance hat, den Champ zu kämpfen. Die Leute vergessen das von ihnen. Du siehst den Film, das erste, was er macht, ist, dass er es aufhört. Oder in der Odyssee, wenn Odysseus angerufen wird, in den Trojaner Krieg zu gehen.
Das erste, was er tut, ist, es zu schalten, auch in Star Wars, wenn Luke R2-D2 entdeckt und die Botschaft bekommt, helft mir, Obi-Wan Kenobi. Das erste, was er tut, ist, es zu schalten. Er sagt, ich muss hier auf... You know, Uncle Owen and Aunt Beru's evaporator farm. You know, they need me. And it's not until they are killed by the sand people that he actually answers the call.
Das erste, was er tut, ist, es zu schalten, auch in Star Wars, wenn Luke R2-D2 entdeckt und die Botschaft bekommt, helft mir, Obi-Wan Kenobi. Das erste, was er tut, ist, es zu schalten. Er sagt, ich muss hier auf... You know, Uncle Owen and Aunt Beru's evaporator farm. You know, they need me. And it's not until they are killed by the sand people that he actually answers the call.
Das erste, was er tut, ist, es zu schalten, auch in Star Wars, wenn Luke R2-D2 entdeckt und die Botschaft bekommt, helft mir, Obi-Wan Kenobi. Das erste, was er tut, ist, es zu schalten. Er sagt, ich muss hier auf... You know, Uncle Owen and Aunt Beru's evaporator farm. You know, they need me. And it's not until they are killed by the sand people that he actually answers the call.
So, yeah, that's the unlived life.
So, yeah, that's the unlived life.
So, yeah, that's the unlived life.
Yeah, that's a great example of a copywriter, because I was one myself. And you know, like in any big ad agency where there might be 200 copywriters, male and female, if you open the drawer of any of their desks, they've got a half-written novel in there, they've got Es gibt eine Menge Schauspielerinnen und Schauspieler. Also ist das eigentliche Copywriting eine Art Schatten-Karriere.
Yeah, that's a great example of a copywriter, because I was one myself. And you know, like in any big ad agency where there might be 200 copywriters, male and female, if you open the drawer of any of their desks, they've got a half-written novel in there, they've got Es gibt eine Menge Schauspielerinnen und Schauspieler. Also ist das eigentliche Copywriting eine Art Schatten-Karriere.
Yeah, that's a great example of a copywriter, because I was one myself. And you know, like in any big ad agency where there might be 200 copywriters, male and female, if you open the drawer of any of their desks, they've got a half-written novel in there, they've got Es gibt eine Menge Schauspielerinnen und Schauspieler. Also ist das eigentliche Copywriting eine Art Schatten-Karriere.
Und oftmals, wie im Film-Business, sind die Berufe im Film-Business Unternehmerberufe. Ich weiß nicht, ob Sie sich mit dem kennen, aber das sind die Leute, die die Kontakte für Schauspielerinnen und Schauspieler und Schauspieler und so weiter und so fort machen. Und es ist eine Art Gemeinschaft, in der viele, viele dieser Berufe sein wollen, Writers or directors or producers.
Und oftmals, wie im Film-Business, sind die Berufe im Film-Business Unternehmerberufe. Ich weiß nicht, ob Sie sich mit dem kennen, aber das sind die Leute, die die Kontakte für Schauspielerinnen und Schauspieler und Schauspieler und so weiter und so fort machen. Und es ist eine Art Gemeinschaft, in der viele, viele dieser Berufe sein wollen, Writers or directors or producers.
Und oftmals, wie im Film-Business, sind die Berufe im Film-Business Unternehmerberufe. Ich weiß nicht, ob Sie sich mit dem kennen, aber das sind die Leute, die die Kontakte für Schauspielerinnen und Schauspieler und Schauspieler und so weiter und so fort machen. Und es ist eine Art Gemeinschaft, in der viele, viele dieser Berufe sein wollen, Writers or directors or producers.
And a lot of them do it. And they're good at it. And you can see that they sort of chose this career as a lawyer in the movie business to be adjacent to a creative enterprise, but in a kind of a safe way. They're a lawyer. They went to law school. It's a real job. They're going to be paid money. But that's their shadow career. Or another time,
And a lot of them do it. And they're good at it. And you can see that they sort of chose this career as a lawyer in the movie business to be adjacent to a creative enterprise, but in a kind of a safe way. They're a lawyer. They went to law school. It's a real job. They're going to be paid money. But that's their shadow career. Or another time,
And a lot of them do it. And they're good at it. And you can see that they sort of chose this career as a lawyer in the movie business to be adjacent to a creative enterprise, but in a kind of a safe way. They're a lawyer. They went to law school. It's a real job. They're going to be paid money. But that's their shadow career. Or another time,
Another example is a lot of times people will take a job maybe as an assistant to somebody, to an entrepreneur, to a creative person, when really they want to be the creative person, but they just haven't raised the courage quite yet to do it. So it's a real common thing.
Another example is a lot of times people will take a job maybe as an assistant to somebody, to an entrepreneur, to a creative person, when really they want to be the creative person, but they just haven't raised the courage quite yet to do it. So it's a real common thing.
Another example is a lot of times people will take a job maybe as an assistant to somebody, to an entrepreneur, to a creative person, when really they want to be the creative person, but they just haven't raised the courage quite yet to do it. So it's a real common thing.
It's another way that resistance, this diabolicalness fakes us out, you know, and gets us, sidetracks us away from something that we should be doing.
It's another way that resistance, this diabolicalness fakes us out, you know, and gets us, sidetracks us away from something that we should be doing.
It's another way that resistance, this diabolicalness fakes us out, you know, and gets us, sidetracks us away from something that we should be doing.
Ich denke, das ist auch eine tolle Frage. One of the things I've said before, you know who Steven Soderbergh is, the director? He won an Oscar for Traffic and he's done a million things that you've seen. And when he won his Oscar as Best Director for Traffic, he kind of held up the award and he said, this is for everybody who puts in one hour a day pursuing their art.
Ich denke, das ist auch eine tolle Frage. One of the things I've said before, you know who Steven Soderbergh is, the director? He won an Oscar for Traffic and he's done a million things that you've seen. And when he won his Oscar as Best Director for Traffic, he kind of held up the award and he said, this is for everybody who puts in one hour a day pursuing their art.
Ich denke, das ist auch eine tolle Frage. One of the things I've said before, you know who Steven Soderbergh is, the director? He won an Oscar for Traffic and he's done a million things that you've seen. And when he won his Oscar as Best Director for Traffic, he kind of held up the award and he said, this is for everybody who puts in one hour a day pursuing their art.
Und ich würde sagen, dass du eine Stunde pro Tag ein vollzeitiger professioneller Arzt sein kannst. Du musst deinen Job nicht abschließen. Obwohl, hoffentlich, das ist, was du irgendwann machen wirst, es vollzeit zu machen. Aber eine andere Art, das zu betrachten, ist, dass ich ein vollzeitiger professioneller Schauspieler bin. Ich muss nichts anderes machen.
Und ich würde sagen, dass du eine Stunde pro Tag ein vollzeitiger professioneller Arzt sein kannst. Du musst deinen Job nicht abschließen. Obwohl, hoffentlich, das ist, was du irgendwann machen wirst, es vollzeit zu machen. Aber eine andere Art, das zu betrachten, ist, dass ich ein vollzeitiger professioneller Schauspieler bin. Ich muss nichts anderes machen.
Und ich würde sagen, dass du eine Stunde pro Tag ein vollzeitiger professioneller Arzt sein kannst. Du musst deinen Job nicht abschließen. Obwohl, hoffentlich, das ist, was du irgendwann machen wirst, es vollzeit zu machen. Aber eine andere Art, das zu betrachten, ist, dass ich ein vollzeitiger professioneller Schauspieler bin. Ich muss nichts anderes machen.
But in my day, with all the bullshit that I have to do, I really wind up with only like about two hours of time to actually do my real writing, you know? So that even if you're a single mom and you've got two jobs, you can carve out a couple of hours for whatever your dream is. Und, you know, I figured it out one time. An hour a day comes out to a lot of hours over the course of a year.
But in my day, with all the bullshit that I have to do, I really wind up with only like about two hours of time to actually do my real writing, you know? So that even if you're a single mom and you've got two jobs, you can carve out a couple of hours for whatever your dream is. Und, you know, I figured it out one time. An hour a day comes out to a lot of hours over the course of a year.
But in my day, with all the bullshit that I have to do, I really wind up with only like about two hours of time to actually do my real writing, you know? So that even if you're a single mom and you've got two jobs, you can carve out a couple of hours for whatever your dream is. Und, you know, I figured it out one time. An hour a day comes out to a lot of hours over the course of a year.
And you can get a lot of stuff done in that time if you just stick with it. Going for the day when maybe you really can leave that job.
And you can get a lot of stuff done in that time if you just stick with it. Going for the day when maybe you really can leave that job.
And you can get a lot of stuff done in that time if you just stick with it. Going for the day when maybe you really can leave that job.
Es ist großartig. Es ist wie Fitness. Wenn du eine bestimmte Menge runnst und es jeden Tag machst, dann bist du am Ende des Jahres viel fitter, als du warst, als du angefangen hast.
Es ist großartig. Es ist wie Fitness. Wenn du eine bestimmte Menge runnst und es jeden Tag machst, dann bist du am Ende des Jahres viel fitter, als du warst, als du angefangen hast.
Es ist großartig. Es ist wie Fitness. Wenn du eine bestimmte Menge runnst und es jeden Tag machst, dann bist du am Ende des Jahres viel fitter, als du warst, als du angefangen hast.
Das ist eine tolle Frage. This is what worked for me. I'm a lot of other things who work for a lot of other people. But I sort of, when I asked myself, why am I constantly being defeated by this force of resistance? Why do I cave in? Why do I go halfway? That kind of thing. And I sort of said to myself, what I'm really doing is I'm acting and operating like an amateur and not like a professional.
Das ist eine tolle Frage. This is what worked for me. I'm a lot of other things who work for a lot of other people. But I sort of, when I asked myself, why am I constantly being defeated by this force of resistance? Why do I cave in? Why do I go halfway? That kind of thing. And I sort of said to myself, what I'm really doing is I'm acting and operating like an amateur and not like a professional.
Das ist eine tolle Frage. This is what worked for me. I'm a lot of other things who work for a lot of other people. But I sort of, when I asked myself, why am I constantly being defeated by this force of resistance? Why do I cave in? Why do I go halfway? That kind of thing. And I sort of said to myself, what I'm really doing is I'm acting and operating like an amateur and not like a professional.
Like for instance, when an amateur encounters adversity, an amateur folds. But a professional doesn't. A professional shows up every day. Think about Michael Jordan or Kobe Bryant or anybody like that, LeBron James or something. Another thing that a professional does is a professional plays hurt. If you're spraying your ankle or something like that,
Like for instance, when an amateur encounters adversity, an amateur folds. But a professional doesn't. A professional shows up every day. Think about Michael Jordan or Kobe Bryant or anybody like that, LeBron James or something. Another thing that a professional does is a professional plays hurt. If you're spraying your ankle or something like that,
Like for instance, when an amateur encounters adversity, an amateur folds. But a professional doesn't. A professional shows up every day. Think about Michael Jordan or Kobe Bryant or anybody like that, LeBron James or something. Another thing that a professional does is a professional plays hurt. If you're spraying your ankle or something like that,
Wenn du ein Amateur bist, wirst du sagen, okay, diese Verletzung ist zu viel, ich kann nicht mehr durchgehen. Aber ein Pro spielt durch diese Verletzung und weiß, dass man sie spielen muss. Nichts wird immer perfekt sein. Die schlechtesten Tage sind manchmal die Tage, an denen du das Beste machst. But the thing is to think of it as a real profession and to think of yourself as a professional.
Wenn du ein Amateur bist, wirst du sagen, okay, diese Verletzung ist zu viel, ich kann nicht mehr durchgehen. Aber ein Pro spielt durch diese Verletzung und weiß, dass man sie spielen muss. Nichts wird immer perfekt sein. Die schlechtesten Tage sind manchmal die Tage, an denen du das Beste machst. But the thing is to think of it as a real profession and to think of yourself as a professional.
Wenn du ein Amateur bist, wirst du sagen, okay, diese Verletzung ist zu viel, ich kann nicht mehr durchgehen. Aber ein Pro spielt durch diese Verletzung und weiß, dass man sie spielen muss. Nichts wird immer perfekt sein. Die schlechtesten Tage sind manchmal die Tage, an denen du das Beste machst. But the thing is to think of it as a real profession and to think of yourself as a professional.
And ask yourself when you feel that, hit that moment of adversity, what would a pro do in a case like this? And what's great about thinking of yourself as a pro is it doesn't cost anything. You don't have to go to school. You don't have to take a course. You don't have to do any. All you have to do is change your mind. And, you know, it worked for me.
And ask yourself when you feel that, hit that moment of adversity, what would a pro do in a case like this? And what's great about thinking of yourself as a pro is it doesn't cost anything. You don't have to go to school. You don't have to take a course. You don't have to do any. All you have to do is change your mind. And, you know, it worked for me.
And ask yourself when you feel that, hit that moment of adversity, what would a pro do in a case like this? And what's great about thinking of yourself as a pro is it doesn't cost anything. You don't have to go to school. You don't have to take a course. You don't have to do any. All you have to do is change your mind. And, you know, it worked for me.
It's not easy, but it's a great way of thinking of yourself.
It's not easy, but it's a great way of thinking of yourself.
It's not easy, but it's a great way of thinking of yourself.
Ich glaube, du hattest den Knall auf den Kopf, Russell. Es ist eine Frage der Identität, so viel es auch etwas anderes ist. Viele Leute sagen sich selbst, ich bin ein inspirierender Unternehmer. Oder ich bin ein inspirierender Schauspieler oder ein inspirierender Schauspieler. Man muss das Adjektiv entfernen. Auch wenn man nicht damit Geld verdient, kann man sich denken, dass man das ist.
Ich glaube, du hattest den Knall auf den Kopf, Russell. Es ist eine Frage der Identität, so viel es auch etwas anderes ist. Viele Leute sagen sich selbst, ich bin ein inspirierender Unternehmer. Oder ich bin ein inspirierender Schauspieler oder ein inspirierender Schauspieler. Man muss das Adjektiv entfernen. Auch wenn man nicht damit Geld verdient, kann man sich denken, dass man das ist.
Ich glaube, du hattest den Knall auf den Kopf, Russell. Es ist eine Frage der Identität, so viel es auch etwas anderes ist. Viele Leute sagen sich selbst, ich bin ein inspirierender Unternehmer. Oder ich bin ein inspirierender Schauspieler oder ein inspirierender Schauspieler. Man muss das Adjektiv entfernen. Auch wenn man nicht damit Geld verdient, kann man sich denken, dass man das ist.
Ich bin ein Wrestler, ich bin ein Schauspieler, ich bin ein Tänzer. Dann funktioniert es.
Ich bin ein Wrestler, ich bin ein Schauspieler, ich bin ein Tänzer. Dann funktioniert es.
Ich bin ein Wrestler, ich bin ein Schauspieler, ich bin ein Tänzer. Dann funktioniert es.
I was like 52 years old.
I was like 52 years old.
I was like 52 years old.
Nun, aus irgendeiner Art und Weise, sobald ich das erste Buch geschrieben habe, das veröffentlicht wurde, ich habe nicht viel Geld verdient, aber es gab ein bisschen einen Ausflug. Ich wusste einfach, dass ich jetzt ein Schauspieler bin. Und ich will keine Filme mehr machen, ich will kein Schauspieler mehr sein.
Nun, aus irgendeiner Art und Weise, sobald ich das erste Buch geschrieben habe, das veröffentlicht wurde, ich habe nicht viel Geld verdient, aber es gab ein bisschen einen Ausflug. Ich wusste einfach, dass ich jetzt ein Schauspieler bin. Und ich will keine Filme mehr machen, ich will kein Schauspieler mehr sein.
Nun, aus irgendeiner Art und Weise, sobald ich das erste Buch geschrieben habe, das veröffentlicht wurde, ich habe nicht viel Geld verdient, aber es gab ein bisschen einen Ausflug. Ich wusste einfach, dass ich jetzt ein Schauspieler bin. Und ich will keine Filme mehr machen, ich will kein Schauspieler mehr sein.
Und die nächste Frage für mich, ich bin mir sicher, du hattest die gleiche Frage, war, was soll ich jetzt tun? Also habe ich einfach auf die nächste Idee gewartet, und es war eine ganz andere Sache, ein Buch namens Gates of Fire, das um die 300 Spartaner im Kampf um Thermopylae ging. Und dann war ich auf und um und es war nur die Frage, was ist nächstes, was ist nächstes, was ist nächstes.
Und die nächste Frage für mich, ich bin mir sicher, du hattest die gleiche Frage, war, was soll ich jetzt tun? Also habe ich einfach auf die nächste Idee gewartet, und es war eine ganz andere Sache, ein Buch namens Gates of Fire, das um die 300 Spartaner im Kampf um Thermopylae ging. Und dann war ich auf und um und es war nur die Frage, was ist nächstes, was ist nächstes, was ist nächstes.
Und die nächste Frage für mich, ich bin mir sicher, du hattest die gleiche Frage, war, was soll ich jetzt tun? Also habe ich einfach auf die nächste Idee gewartet, und es war eine ganz andere Sache, ein Buch namens Gates of Fire, das um die 300 Spartaner im Kampf um Thermopylae ging. Und dann war ich auf und um und es war nur die Frage, was ist nächstes, was ist nächstes, was ist nächstes.
Ich denke, ich habe bis jetzt ungefähr 23 Bücher oder so, was für mich irgendwie erstaunlich ist.
Ich denke, ich habe bis jetzt ungefähr 23 Bücher oder so, was für mich irgendwie erstaunlich ist.
Ich denke, ich habe bis jetzt ungefähr 23 Bücher oder so, was für mich irgendwie erstaunlich ist.
Ich glaube, die Artkrieg kam 2002. Ich war also etwa sieben Jahre in meinem Büro-Written-Welt. Und ich habe das nur gemacht, weil Leute mich über und über gefragt haben, wie man ein Buch schreibt. Ich habe ein Buch und ich möchte ein Buch schreiben. Und ich sitze mit ihnen live, in Person, mit meinen Freunden.
Ich glaube, die Artkrieg kam 2002. Ich war also etwa sieben Jahre in meinem Büro-Written-Welt. Und ich habe das nur gemacht, weil Leute mich über und über gefragt haben, wie man ein Buch schreibt. Ich habe ein Buch und ich möchte ein Buch schreiben. Und ich sitze mit ihnen live, in Person, mit meinen Freunden.
Ich glaube, die Artkrieg kam 2002. Ich war also etwa sieben Jahre in meinem Büro-Written-Welt. Und ich habe das nur gemacht, weil Leute mich über und über gefragt haben, wie man ein Buch schreibt. Ich habe ein Buch und ich möchte ein Buch schreiben. Und ich sitze mit ihnen live, in Person, mit meinen Freunden.
Und das erste, was ich ihnen erzählen würde, war Resistenz, R. Ich würde sie warnen, ich habe keine Ahnung, wie groß deine Idee ist, ohne dass du diese Sache überwinden kannst, wirst du nie irgendwo hin. Und natürlich hat niemand mich gehört, niemand hat ihr Buch geschrieben. Sie wurden alle von der Resistenz verletzt. Aber sie kamen immer. Und ich sagte, lass mich das einfach schreiben.
Und das erste, was ich ihnen erzählen würde, war Resistenz, R. Ich würde sie warnen, ich habe keine Ahnung, wie groß deine Idee ist, ohne dass du diese Sache überwinden kannst, wirst du nie irgendwo hin. Und natürlich hat niemand mich gehört, niemand hat ihr Buch geschrieben. Sie wurden alle von der Resistenz verletzt. Aber sie kamen immer. Und ich sagte, lass mich das einfach schreiben.
Und das erste, was ich ihnen erzählen würde, war Resistenz, R. Ich würde sie warnen, ich habe keine Ahnung, wie groß deine Idee ist, ohne dass du diese Sache überwinden kannst, wirst du nie irgendwo hin. Und natürlich hat niemand mich gehört, niemand hat ihr Buch geschrieben. Sie wurden alle von der Resistenz verletzt. Aber sie kamen immer. Und ich sagte, lass mich das einfach schreiben.
Ich mache ein kleines Buch und dann sage ich, wenn mich jemand fragt, sage ich, hier, lesen wir das. Das war also so, wie die Artkrieg angefangen hat. Und es war nicht erfolgreich am Anfang. Es hat ziemlich lange gedauert, um es anzupassen. Und dann habe ich angefangen, ein paar Follower zu schreiben, wie Sie wissen.
Ich mache ein kleines Buch und dann sage ich, wenn mich jemand fragt, sage ich, hier, lesen wir das. Das war also so, wie die Artkrieg angefangen hat. Und es war nicht erfolgreich am Anfang. Es hat ziemlich lange gedauert, um es anzupassen. Und dann habe ich angefangen, ein paar Follower zu schreiben, wie Sie wissen.
Ich mache ein kleines Buch und dann sage ich, wenn mich jemand fragt, sage ich, hier, lesen wir das. Das war also so, wie die Artkrieg angefangen hat. Und es war nicht erfolgreich am Anfang. Es hat ziemlich lange gedauert, um es anzupassen. Und dann habe ich angefangen, ein paar Follower zu schreiben, wie Sie wissen.
Well, I do think that we're talking about being a profession, right? And a professional shows up every day, just like your mentor said to you, two pages a day and you've got two books a year. But I think I'm no different from most writers. I write every day. That's my job. This is what I do. This is my calling. And I'm also a believer in not stopping. Some people will finish a project
Well, I do think that we're talking about being a profession, right? And a professional shows up every day, just like your mentor said to you, two pages a day and you've got two books a year. But I think I'm no different from most writers. I write every day. That's my job. This is what I do. This is my calling. And I'm also a believer in not stopping. Some people will finish a project
Well, I do think that we're talking about being a profession, right? And a professional shows up every day, just like your mentor said to you, two pages a day and you've got two books a year. But I think I'm no different from most writers. I write every day. That's my job. This is what I do. This is my calling. And I'm also a believer in not stopping. Some people will finish a project
Und sie werden es publizieren oder veröffentlichen, es starten und dann warten sie auf die Antwort. Ist es ein Hint oder was auch immer. Ich bin definitiv von der anderen Schule. Ich fühle mich wirklich, je nachdem, wann du Nummer 6 beendet hast, gehst du zu Nummer 7. Und so ist das, wie man weiß, ein Buch folgt dem anderen. Und bevor du es weißt, hast du eine ganze Reihe.
Und sie werden es publizieren oder veröffentlichen, es starten und dann warten sie auf die Antwort. Ist es ein Hint oder was auch immer. Ich bin definitiv von der anderen Schule. Ich fühle mich wirklich, je nachdem, wann du Nummer 6 beendet hast, gehst du zu Nummer 7. Und so ist das, wie man weiß, ein Buch folgt dem anderen. Und bevor du es weißt, hast du eine ganze Reihe.
Und sie werden es publizieren oder veröffentlichen, es starten und dann warten sie auf die Antwort. Ist es ein Hint oder was auch immer. Ich bin definitiv von der anderen Schule. Ich fühle mich wirklich, je nachdem, wann du Nummer 6 beendet hast, gehst du zu Nummer 7. Und so ist das, wie man weiß, ein Buch folgt dem anderen. Und bevor du es weißt, hast du eine ganze Reihe.
Pretty much one at a time. Depending on what has grabbed me and seized me at the moment.
Pretty much one at a time. Depending on what has grabbed me and seized me at the moment.
Pretty much one at a time. Depending on what has grabbed me and seized me at the moment.
Well, a non-fiction I would say The War of Art, you know, because that was, you know. The second book after The Legend of Agrabahns is a book called Gates of Fire. That's probably, that's the one that has sold actually more than The War of Art. But to an audience that is probably not your audience, it's probably a different audience. But that would be, I think, my second favorite.
Well, a non-fiction I would say The War of Art, you know, because that was, you know. The second book after The Legend of Agrabahns is a book called Gates of Fire. That's probably, that's the one that has sold actually more than The War of Art. But to an audience that is probably not your audience, it's probably a different audience. But that would be, I think, my second favorite.
Well, a non-fiction I would say The War of Art, you know, because that was, you know. The second book after The Legend of Agrabahns is a book called Gates of Fire. That's probably, that's the one that has sold actually more than The War of Art. But to an audience that is probably not your audience, it's probably a different audience. But that would be, I think, my second favorite.
Also, ja, ich würde...
Also, ja, ich würde...
Also, ja, ich würde...
Ich gebe ein bisschen Pitch für den täglichen Pressefeld. Ja, pitch es. Für euren Publikum hier. Das ist der neueste. Wo habe ich ihn? Ich glaube, ich habe ihn hier irgendwo. And this is sort of a, but when people come to me and say, how do I write a book or how do I do a long form thing, whatever it might be, a screenplay, a startup or whatever, I give them this. This is like a 365-day project.
Ich gebe ein bisschen Pitch für den täglichen Pressefeld. Ja, pitch es. Für euren Publikum hier. Das ist der neueste. Wo habe ich ihn? Ich glaube, ich habe ihn hier irgendwo. And this is sort of a, but when people come to me and say, how do I write a book or how do I do a long form thing, whatever it might be, a screenplay, a startup or whatever, I give them this. This is like a 365-day project.
Ich gebe ein bisschen Pitch für den täglichen Pressefeld. Ja, pitch es. Für euren Publikum hier. Das ist der neueste. Wo habe ich ihn? Ich glaube, ich habe ihn hier irgendwo. And this is sort of a, but when people come to me and say, how do I write a book or how do I do a long form thing, whatever it might be, a screenplay, a startup or whatever, I give them this. This is like a 365-day project.
I don't know if I'd call it a course. It's not a course, but it's something that you, if you started into it, you'll know what I'm talking about. Something you could put beside your laptop or whatever it is and just pick, take it a day at a time. And it kind of starts for you from day one and kind of. Das ist großartig.
I don't know if I'd call it a course. It's not a course, but it's something that you, if you started into it, you'll know what I'm talking about. Something you could put beside your laptop or whatever it is and just pick, take it a day at a time. And it kind of starts for you from day one and kind of. Das ist großartig.
I don't know if I'd call it a course. It's not a course, but it's something that you, if you started into it, you'll know what I'm talking about. Something you could put beside your laptop or whatever it is and just pick, take it a day at a time. And it kind of starts for you from day one and kind of. Das ist großartig.
A book which is a fiction book, a novel, which is a follow-up to this book, A Man at Arms, that came out about two or three years ago. And so I just finished that. I haven't given it to my agent yet. I'm not sure exactly. I'm fixing a few things in it. And then I've started another story, another story set in in another period of time, another fiction book.
A book which is a fiction book, a novel, which is a follow-up to this book, A Man at Arms, that came out about two or three years ago. And so I just finished that. I haven't given it to my agent yet. I'm not sure exactly. I'm fixing a few things in it. And then I've started another story, another story set in in another period of time, another fiction book.
A book which is a fiction book, a novel, which is a follow-up to this book, A Man at Arms, that came out about two or three years ago. And so I just finished that. I haven't given it to my agent yet. I'm not sure exactly. I'm fixing a few things in it. And then I've started another story, another story set in in another period of time, another fiction book.
And just for fun, just to show you that I'm not immune to the stuff I'm talking about, I am riddled with self-doubt over this new book. Exactly like with The Legend of Agravance and other things where I say to myself, Is anybody going to be interested in this? Is it the dumbest idea you've ever come up with yet? Et cetera, et cetera.
And just for fun, just to show you that I'm not immune to the stuff I'm talking about, I am riddled with self-doubt over this new book. Exactly like with The Legend of Agravance and other things where I say to myself, Is anybody going to be interested in this? Is it the dumbest idea you've ever come up with yet? Et cetera, et cetera.
And just for fun, just to show you that I'm not immune to the stuff I'm talking about, I am riddled with self-doubt over this new book. Exactly like with The Legend of Agravance and other things where I say to myself, Is anybody going to be interested in this? Is it the dumbest idea you've ever come up with yet? Et cetera, et cetera.
And again, like what I said before about the tree and the meadow with the sun and the shadow, I take that as a good sign. I say, if I've got this big resistance that's trying to get me to not do this book, Dann muss es etwas dazu geben. Es muss etwas Gutes hier sein.
And again, like what I said before about the tree and the meadow with the sun and the shadow, I take that as a good sign. I say, if I've got this big resistance that's trying to get me to not do this book, Dann muss es etwas dazu geben. Es muss etwas Gutes hier sein.
And again, like what I said before about the tree and the meadow with the sun and the shadow, I take that as a good sign. I say, if I've got this big resistance that's trying to get me to not do this book, Dann muss es etwas dazu geben. Es muss etwas Gutes hier sein.
Also versuche ich mich jeden Tag, wie du, wenn du runnst oder ins Gym gehst, oder ich, wenn ich das gleiche mache, sage ich, ich muss es machen, ich muss es machen, ich muss es machen. In Wahrheit habe ich noch nicht heute gearbeitet. Sobald wir es beenden, Russell, werde ich sitzen und aufhören, auch wenn ich nur eine Stunde kann. Ja.
Also versuche ich mich jeden Tag, wie du, wenn du runnst oder ins Gym gehst, oder ich, wenn ich das gleiche mache, sage ich, ich muss es machen, ich muss es machen, ich muss es machen. In Wahrheit habe ich noch nicht heute gearbeitet. Sobald wir es beenden, Russell, werde ich sitzen und aufhören, auch wenn ich nur eine Stunde kann. Ja.
Also versuche ich mich jeden Tag, wie du, wenn du runnst oder ins Gym gehst, oder ich, wenn ich das gleiche mache, sage ich, ich muss es machen, ich muss es machen, ich muss es machen. In Wahrheit habe ich noch nicht heute gearbeitet. Sobald wir es beenden, Russell, werde ich sitzen und aufhören, auch wenn ich nur eine Stunde kann. Ja.
That's a great question. It's actually one of the big frustrations of my life. The audiences don't cross. And the people that read my fiction, I can't get them to be interested at all in the War of Art. And the people who like the War of Art, I can't get them to read my fiction. And I've actually, I've just, I've given up, you know. There are two completely different audiences.
That's a great question. It's actually one of the big frustrations of my life. The audiences don't cross. And the people that read my fiction, I can't get them to be interested at all in the War of Art. And the people who like the War of Art, I can't get them to read my fiction. And I've actually, I've just, I've given up, you know. There are two completely different audiences.
That's a great question. It's actually one of the big frustrations of my life. The audiences don't cross. And the people that read my fiction, I can't get them to be interested at all in the War of Art. And the people who like the War of Art, I can't get them to read my fiction. And I've actually, I've just, I've given up, you know. There are two completely different audiences.
And it's very frustrating to me.
And it's very frustrating to me.
And it's very frustrating to me.
Ja, es war lustig.
Ja, es war lustig.
Ja, es war lustig.
Yeah, read Gates of Fire next, yeah.
Yeah, read Gates of Fire next, yeah.
Yeah, read Gates of Fire next, yeah.
By the way, I just want to say to anybody listening, the book of Bagger Vance is a lot better than the movie, so... It's interesting, because there are parts in the movie of Bagger Vance, when like...
By the way, I just want to say to anybody listening, the book of Bagger Vance is a lot better than the movie, so... It's interesting, because there are parts in the movie of Bagger Vance, when like...
By the way, I just want to say to anybody listening, the book of Bagger Vance is a lot better than the movie, so... It's interesting, because there are parts in the movie of Bagger Vance, when like...
Ja, sie machen ihre Sache, ja.
Ja, sie machen ihre Sache, ja.
Ja, sie machen ihre Sache, ja.
entrepreneurs, rather than writers and artists and stuff like that, because it's the same thing. The same principles apply and the same resistance comes up, which I never even realized when I first started. I thought, this is only writers who go through this. And it was sort of amazing to me to see that people start in businesses, of course they go through it. It's exactly the same thing.
entrepreneurs, rather than writers and artists and stuff like that, because it's the same thing. The same principles apply and the same resistance comes up, which I never even realized when I first started. I thought, this is only writers who go through this. And it was sort of amazing to me to see that people start in businesses, of course they go through it. It's exactly the same thing.
entrepreneurs, rather than writers and artists and stuff like that, because it's the same thing. The same principles apply and the same resistance comes up, which I never even realized when I first started. I thought, this is only writers who go through this. And it was sort of amazing to me to see that people start in businesses, of course they go through it. It's exactly the same thing.
So anyway, thanks for having me. If you want to do this again sometime, I'm delighted to do it.
So anyway, thanks for having me. If you want to do this again sometime, I'm delighted to do it.
So anyway, thanks for having me. If you want to do this again sometime, I'm delighted to do it.
Thanks a lot, Russell. Thank you. We'll talk to you soon. Go out and buy a potato can tomorrow.
Thanks a lot, Russell. Thank you. We'll talk to you soon. Go out and buy a potato can tomorrow.
Thanks a lot, Russell. Thank you. We'll talk to you soon. Go out and buy a potato can tomorrow.
Awesome. Thanks so much, man. I appreciate you.
Awesome. Thanks so much, man. I appreciate you.
Awesome. Thanks so much, man. I appreciate you.
Imagine a tree in the middle of a sunny meadow. The minute the tree appears, a shadow appears. And the shadow is equal to the tree, right? If it's a big tree, it's a big shadow. So in the terms of resistance, the tree is the dream that you have. The book you want to write, the venture you want to do, whatever. And resistance is the shadow.
Imagine a tree in the middle of a sunny meadow. The minute the tree appears, a shadow appears. And the shadow is equal to the tree, right? If it's a big tree, it's a big shadow. So in the terms of resistance, the tree is the dream that you have. The book you want to write, the venture you want to do, whatever. And resistance is the shadow.
Imagine a tree in the middle of a sunny meadow. The minute the tree appears, a shadow appears. And the shadow is equal to the tree, right? If it's a big tree, it's a big shadow. So in the terms of resistance, the tree is the dream that you have. The book you want to write, the venture you want to do, whatever. And resistance is the shadow.
So there would not, what I want to say is resistance always comes second. There would be no resistance if there wasn't a dream, if there wasn't a calling that was inside you. So the good news of that is when you're feeling big resistance, that big shadow, Das zeigt, dass es einen großen Baum gibt.
So there would not, what I want to say is resistance always comes second. There would be no resistance if there wasn't a dream, if there wasn't a calling that was inside you. So the good news of that is when you're feeling big resistance, that big shadow, Das zeigt, dass es einen großen Baum gibt.
So there would not, what I want to say is resistance always comes second. There would be no resistance if there wasn't a dream, if there wasn't a calling that was inside you. So the good news of that is when you're feeling big resistance, that big shadow, Das zeigt, dass es einen großen Baum gibt.
Es gibt große Träume, weil Resistenz immer wie Newton's drittes Gesetz der Bewegung kommt, eine gleiche und äußerliche Reaktion. Es ist eine Reaktion zu einer Aspiration, zu einem Buch, das du schreiben willst, oder einem Film, das du willst, was auch immer es ist.
Es gibt große Träume, weil Resistenz immer wie Newton's drittes Gesetz der Bewegung kommt, eine gleiche und äußerliche Reaktion. Es ist eine Reaktion zu einer Aspiration, zu einem Buch, das du schreiben willst, oder einem Film, das du willst, was auch immer es ist.
Es gibt große Träume, weil Resistenz immer wie Newton's drittes Gesetz der Bewegung kommt, eine gleiche und äußerliche Reaktion. Es ist eine Reaktion zu einer Aspiration, zu einem Buch, das du schreiben willst, oder einem Film, das du willst, was auch immer es ist.
Also, sei nicht überrascht, würde ich jemandem sagen, von diesem dunklen Mond, dieser dunklen Schatten ist ein Beweis, dass der Traum wirklich ist und es groß ist.
Also, sei nicht überrascht, würde ich jemandem sagen, von diesem dunklen Mond, dieser dunklen Schatten ist ein Beweis, dass der Traum wirklich ist und es groß ist.
Also, sei nicht überrascht, würde ich jemandem sagen, von diesem dunklen Mond, dieser dunklen Schatten ist ein Beweis, dass der Traum wirklich ist und es groß ist.