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In a world in which our lives are increasingly distracted and deluded by forces like digital distraction and artificial intelligence, how do we push back? How do we create meaningful lives focused on things that actually matter to us today? I want to give you some powerful advice for accomplishing exactly this goal. Advice that comes from a perhaps unexpected source. Famous writers. Now, as a professional writer myself, I love hunting down advice about my craft from authors I really admire. But something I've come to realize is that some of my biggest ideas about living a deep life can be understood as generalizations of ideas that authors have had about the art of writing. So here's what I want to do. I pulled five of my favorite quotes from five well known authors talking about the craft of writing, offering advice about how to do it better. And for each of these quotes, I'll explain what the author means. But then I'm going to generalize a bigger idea out of that quote that could apply to your life in general. And then I'm going to translate that idea into concrete advice about how you can act on it to make your life deeper in a distracted world. So let's put on our writing nerd hats and go searching for some wise words. As always, I'm Cal Newport and this is is Deep Questions. Today's episode, life Changing lessons from legendary Writers. I'm going to start with a quote from the the short story ist novelist essayist George Saunders. This is a quote that came from his book A Swim in the Pond in the Rain. It's actually like a really cool book that comes out of his creative writing pedagogy. A longtime creative writing teacher and it's a, it's a book that has short stories from Masters and then his commentary. So it's a book about the art of writing. It's a really cool book. I'm going to pull a quote out here for those who are watching instead of just listening, I'll put this up on the screen as well. All right, so here's Saunders. What makes you as a writer is what you do to any old text by way of this iterative method. This method overturns the tyranny of the first draft. Who cares if the first draft is good? It doesn't need to be good, it just needs to be so you can revise it. All right, so what's he talking about here? Well, the idea that he's picking up on is an idea for which we have some neuroscience backing, which is writing something from scratch that is filling in the blank page with words is cognitively Demanding in a unique way. There's a lot of mental horsepower that gets summoned to accomplish this goal. You have to fire up a lot of your brain just to create the syntactically correct words that you're putting out there. Like the sentence itself has to make sense. You're also describing something from scratch. So you have a lot of other horsepower trying to build from scratch in your mind, whether it's an abstract thing or like a vivid sort of realistic scene that you're writing about. You have to create this thing you're writing about from scratch. You have to hold it completely in your mind's eye, and then you have to put in a lot of work to build sentences around it that actually makes sense as good English sentences that uses a lot of your brain to do that. Now compare that to editing a sentence you already wrote. You have a lot more brain resources now to play with what you're doing. First of all, the words are already there in reasonable English. You don't have to have so much of your brain fired up just trying to make sure that words are matching properly with grammar and spelling, et cetera. Those brain resources are filled up. Also, when you read what you're writing, that's going to recreate in your mind the image to think about. You're not building it ex nilo, but it's being captured in those words. Now you can play with it more freely, play with the idea, look at different aspects of it, instead of trying to build it and hold it from scratch. So now you can think much more deeply about the ideas, and you can think much more deeply and carefully about the actual craft of your sentences. Which is to say, it is in revising your words that the really good writing begins to emerge. And that's why Saunders is saying, look, my iterative method. And if you get into the details of the method, method, it's about editing passes. It says, just get something down. It's going to be the worst version of whatever you do, because you don't have enough brain resources to make the first thing good anyways. You need something down to edit, because editing is where the actual interesting writing happens. That's a great piece of advice for writers. Now, how do we generalize this to our lives if we're not writers? Well, in life, it can be hard to figure out the right way to do things, pursue goals, to make progress, to express your values or find meaning. It can be hard to figure that out all in advance before you get started, to sit down and say, okay, I'm going To come up with a perfect plan of exactly what I should be doing with all my time for all my weeks for the next few years. It's just really hard to do from scratch. But if you make some preliminary decisions and start actually living, what happens is you begin to get feedback and knowledge. The thing that you were thinking about is happening and you're experiencing it, and now you can play with it. Well, what's working, what's not, what's the reality of this path? Once I'm actually on it, I don't have to conjure up and try to imagine the whole thing. I'm in it right now, and I can play with it, and I can see variations that would not have been obvious when I was starting before I had started before I knew about these nuances. I'm learning new information I might not have had before. I'm not playing with so much abstraction. I'm actually looking at options that are actually there in front of me. So your life is improved in the edit, often much more, with much more nuance and impact than when you're trying to plan it in advance, just like it is trying to produce words. You make a good. You make the best decision you can. You go for it, you reflect, you edit, you repeat that process, and you get a really good manuscript of your life. If you try to wait until you have just the perfect story before you get started, you're going to be 34. You're still in that basement. You're still playing Call of Duty, just waiting for, like, the right time to get going. All right, so let me turn this into some concrete advice. So what should you do to cultivate a deep life based off of this Saunders advice? There's two things I want you to think about. One, I want you to have a lifestyle vision. And now what I mean by that is that you have written down somewhere a description of the ideal lifestyle that you want to move towards. At least your best understanding of what this ideal lifestyle would be like at the moment. You can revise this as time goes on. Be careful not to get captured in the myopia here and just focus on one aspect of your life. All I'm thinking about is my job. All I'm thinking about is, like, some athletic accomplishment I want to do. Make sure you have it divided up into buckets like I often talk about, for different areas of your life. And your vision touches on each of these buckets. You want to be describing in the first person, sort of what this part of your life is like. If you're in your ideal life. So now you have an ideal lifestyle vision to be working towards. You should check in on this vision weekly. You should give it a significant update at least once a year. I suggest doing that around your birthday. All right, the second part is how you edit this. So this is the, the sentence. The original sentence is the life you're trying to lead based off this lifestyle vision, you came up with the best you could. I think this is what I want in my life. As you go along and live this life, keep a journal, a very specific type of journal. I'm not talking about the. Let me talk about my hopes and dreams or get into, you know, my, my psychopathy and what's going on in my life. That's all fine. But the type of journal I'm talk here is one where you record what's resonating with you and what's not, both abstractly and concretely. So if you come across something that maybe you're not doing in your life, but you come across an example of it, and you're like, whoa, that's really attractive to me. I don't know why, but something about the way like she's living or something that's really, I, I've seen her in a documentary. This person that's really resonating, write that down. You come across something else. My friend's house. And man, the way they, the way he lives, it seems really hectic and the house is like huge but kind of empty and depressing and I don't know, something about that doesn't resonate. Write that down. Same thing with what you're actually doing in your life. Like, hey, this project I'm working on is really stressing me out. Or I really liked, I did this little volunteer thing. I really liked having a place to go each week and meeting with people. So you're keeping track of what resonates and what doesn't resonate, both in terms of outside world stuff you encounter and in your own life. This then can become the grist to edit that lifestyle vision. Now when you do these more serious check ins on like the annual basis or maybe twice a year, you can look through those journals and begin adjusting this vision. You know, that wasn't so important. This is important. I was missing this. I want to put that in there. That is where you're editing the sentences of your life. So Saunders, advice is a great way to approach writing. Well, all the cool stuff happens in the edit, but it should happen in your life as well. You need a lifestyle Vision to be your sort of your current draft of what you're trying to do. And then you need to be taking the notes you need about what resonates and not so that you can keep editing that vision and getting closer to a polished draft. All right, so that's our first piece of advice. Let's see here, our second. This comes from my man, Robert Caro, nonfiction writer, most famous for his National Book Award winning, multi volume biography of Lyndon Johnson. You really should read it. He wrote this thing over so many years, so it's been working over so many years. Also his the Power Broker, his biography of Robert Moses is another sort of like classic in the field. He's this like a towering figure in research based historical nonfiction writing and biography. In 2019, he wrote a book about his process. It was called Working. And he did a lot of interviews about this book. So he did a lot of interviews about his life. I want to put a quote up here on the screen that comes from an interview he did with the AP that was talking about something from his memoir, his professional memoir, Working. All right, so here's Robert Caro. I can't remember how many times with that Johnson book and that incredible mass of stuff at the Johnson Library, I felt like giving up, not giving up the book, just saying, I've done enough. But then I would hear Alan saying to me, turn every page. I hear him saying, never assume a damn thing. I have that in my mind all the time. All right, so the Allen that Robert Caro is referring to here is Alan Hathaway, who was his editor at Newsday. So Caro's sort of first serious journalistic job was at Newsday. And Alan Hathaway taught him, hey, when you're trying to do research on something, don't just do enough research that you have a story that you like. Turn every page in that archive. It's when you turn every page, you read everything that's available, that you actually get at the truth of the matter. And in the end, the truth is going to be much more interesting and much more powerful than just that initial story you came across that you like. This is a classic piece of advice for research based nonfiction writers. Now this generalizes to our lives as well. One thing, one way to think about this is pursuits don't really get interesting, both in terms of their subjective experience and the opportunities they open to you, until you've really followed them through to an impressive level of accomplishment. It's once you've symbolically turned every page that you really get to Something that's special, something that is award caliber. And I think this applies to your life as well. Now this requires two things. Once you get going, it requires diligence. You have to stick with something over a long period of time, which in turn requires you to say no to other things. I have the ability to stick with whatever this project is that I think is important to my life, whether it's professional or not, for a long amount of time. It also requires deliberateness. It's not just enough to stick with something year after year after year. You have to keep thinking, what are the activities here that are going to help me make the most progress? What are the activities that actually matter? Right. So for Caro is a writer, it was turning every page in that archive, whether you wanted to or not. That's the thing that actually matters, even though it's a huge pain. The same holds for almost any pursuit that you might go after in your professional or personal life. You might want to just tell yourself a story like, oh, I'm just going to do a little bit of work and it'll be fine. But the things that matter are the things that matter. If you want to become, you know, better at a sport, there's a types of practicing you have to do to get better. If you want to get better at an instrument, it's the hard stuff, not just jamming on the songs, you know, it's trying to push yourself on the songs that are a little bit too hard that make you better. So you got to be deliberate. What really matters for the thing I'm doing. So I can't just stick with it. I have to be doing the right things. I think this is a great piece of life advice. The things that are going to define your life, the stuff that's going to be, you know, your equivalent of winning the National Book Award is going to require that you turn every page. You stick with it for a long amount of time, you do the work that actually matters. Now I can translate this into some practical advice. So if you want to practice these type of efforts, and I think it's worth practicing before you're setting off on like a 10 year journey. If you want to practice these type of efforts, a good way to do that is with what I call a seasonal project. You come with one project per season. I'm talking about the seasons, the weather, seasons of the year. If it goes well, it can span multiple seasons. You set aside regular time each week to work on that project. And you have a training plan that's actually written down that says, here's what I'm going to do on this project this week and here is why I think this is the right thing to do. Do like I talked to this person, this is what they said actually made a difference. Or here's my experience trying this, you know, over the last few weeks. So you have to justify your actions. So what you get here is practice sticking with something over a longer amount of time. So at least a season, putting regular time on it, because you're going to put aside regular time for your single seasonal project. Regular time is on your calendar. You just these days, these times. That's just how I do it. I go to work late on Thursdays and I Saturday morning, whatever it is. And you're deliberate because you have to have a training plan where you say, no, this is what I did this week on this project and why I did these particular things. You can't just do what feels good or you can't just, in caro terms, pursue the story you want to be true. You got to actually find the story that actually is happening. Do this for a little while, a year, maybe two, you will begin to understand what it feels like to be both diligent and deliberate in the rewards that returns. You'll realize what it feels like to actually be doing the right thing time over time and not just doing something that's fun in the moment. How to stick with something past moments of enthusiasm and have a deeper, longer term motivation. Now you're ready to get involved in whether it's in your personal, professional life, those bigger projects that's going to make a difference. If you turn every page on something, that's eventually where the deep story actually emerges. So good advice there, both for your writing and your life. We're rock and rolling here, Jesse. All right, here's our next one. Let's see here. David Grann, a colleague at the New Yorker, you might know him for the his book Killers of the Flower Moon, which is made into a movie with Martin Scorsese, directed that with Leonardo DiCaprio. Interestingly, they had optioned two projects to consider for their next movie back then. They were like, okay, we're either going to make this three hour epic Martin Scorsese DiCaprio vehicle. Either we're going to option and use David Grant's Killer of the Flowers Moon, which was about this, these high profile murders and this Indian reservation to get oil money and the birth of the FBI. Like, okay, either we are going to do that or we've also optioned the Time Block Planner. And so they had these two different like movies ideas. They were going to be in the Time Block Planner. It'd be really handheld camera. Following Leonardo as he's like, hub up, I've fallen off of my block plan. I, I, I went too long. Like you gotta, you gotta fix it. You gotta fix the block plan in the column. Over. I'm running out of columns. This is my last chance. I gotta run out of columns. The meeting went too long. So they're gonna do that with like a really great tracking shot as he's like with his Time Block Planner or the story of the birth of the FBI and the series of high profile births. They went with David grand for that one, but I think he has us in mind maybe for the next one. All right, so David Grant's is great writer, writes these great New Yorker pieces, writes these great books. His books are super deeply researched. I actually thought about using David Graham. He's another great example of what we just talked with Robert Caro. He also has the habit of keep reading, keep reading, keep reading. Learn more than you think. You have to spend years in the archives because then it shows in the story. But that's not the advice I want to highlight here. Let me read a quote here. I'll put it on the screen. This is from an interview with the Nieman storyboard. Coming up with the right idea is the hardest part. I spend a preliminary period ruthlessly interrogating ideas as I come across them. Even though it's time consuming and a bit frustrating, I don't want to wake up two years into a book project saying this isn't going anywhere. So I like this idea. He's saying, spend longer thinking about what you're going to write your book about. Like find the perfect idea because you're going to be working on this for so many years and if the idea is not quite right, you're not going to end up with Leonardo DiCaprio starring Martin Scorsese movie. The difference in impact between a great idea and a good one is exponential. It's worth taking the time to find the right idea. I didn't put this on the screen, but he actually, I thought it was interesting because I have the notes here. He went on in that interview to talk about the three things he looks for when David Grant is evaluating an idea as a potential long form article or book concept. So I want to go through these briefly. All right. So he says the first thing he looks for, you try to find a story that grips you and has subjects that are fascinating. Then you ask, are there underlying materials to tell that story? Once in a while I come across a rich story, but the records are classified or nobody's alive. Then nobody left any records behind. The third level of interrogation is, does this story have another dimension? Richer themes are trap doors that lead you places. It should tell us something larger about the human condition, the mystery of existence, systems of injustice or power, the nature of truth. That's actually a pretty cool. I mean, just we're going to geek out on writing stuff here. That's a pretty cool checklist for evaluating an idea. Like, the idea grips you. You're like, oh, my God, this is fascinating. But don't stop there. There's actual resources to pull from. Page is the turn so you can write a good story. Like for the. His most recent book, the Wager, which is about a shipwreck. I don't know if it was 18th century where there's two sets of survivors who finally survived and had two completely different. There was a ton of. Because they had the survivors tales. There was a ton of records on what had happened, two different accounts of what had happened. Then they had all of the testimony from the Admiralty Court, so all of the testimony and depositions after they got back. And then there's endless information about just the maritime trade and these ships and who these people were. So he knew for that book, like, oh, it's going to take me a few years, but I can learn about all of this. There's a lot to pull from. And then his third idea was, yes, it should be a fascinating story. You should find information. But for it to really get the Martin Scorsese film option, it has to have that deeper layer. You're like, oh, there's a deeper layer here. About the Wager, I think, was about the construction of truth and story and narrative. And then there was obviously, the Flower Moon was about structures of power and injustice and justice and those notions of that and what that meant in our country. And then that's what brings it to next level. It's hard to find an idea that has all three. Probably the Time Block Planner movie fell down on that third piece. There wasn't. It was probably missing, like, the deeper observations about structures of power. That's why we were. We were eked out. Seriously, I thought that was really cool just to geek out. It's really hard to find an idea that satisfies all three of those things. But that's what David's looking for. If it takes some years, it takes some years. All Right, Let us now generalize this in your own life. Use what I'm going to call evidence based planning. So I'm kind of combining the generalization, the advice here. But let me tell you what I mean. We often jump at an idea for something to do, a project, to pursue, a job, to switch to, a move to make. We jump at these ideas because there's on the surface, like, that's exciting and I like that feeling of excitement. Let's roll. But it might not be, to use Grand's terminology, an idea that can sustain multiple years of working on that project. So you really want to run an idea through the ringer before you actually use it as the foundation of making major changes in your life. And that's where this thing I call evidence based planning comes in. This is a concept that comes out of lifestyle centric planning. Evidence based planning. So this is my kind of my concrete advice here. But evidence based planning is where you get to the bottom about how whatever world or decision you want to make, how it actually works. You talk to people, you read things. Why do some people succeed with this or some people fail? What's the reality of this place I want to move to? What's the reality of this job? What would the economics be of this? What type of people are they hiring for this? If I move there, how much do the houses actually cost? What are the schools like? Does this job, Is it likely to have like a remote element? Is it nice to work remotely? Can I talk to someone who's in that situation? You gather evidence about the thing that you're thinking about doing. Because if you don't, you might just be stuck on a story that caught your attention today. But two years from now you're going to say, I can't believe I'm still writing this book. I'm stuck on it. So evidence based planning makes a big deal. So how do we make that concrete? Treat your major life decisions like you're a journalist, you're David grand, trying to do research on this idea. I want to talk to everyone involved, read everything I can, find people who did this, maybe people who tried this and didn't fit and failed at it. What is really going on here? And if after all of that, you're even more excited, like, wow, this is even better than I thought. But now I know exactly how to navigate and what to expect and I'm excited about it, then you're going to be much more likely to stick with that decision and get good rewards. And if you have to throw out the Idea that's okay. You just saved yourself a problem. That's not a bad thing. You've just saved yourself from something, an obstacle. You saved yourself from wasted time. And it can be frustrating because evidence based planning might lead you to throw out a bunch of things that are exciting in the moment. You might feel like, man, I'm such a killjoy. I'm always sort of like, is that really going to work? What about this? What about that? I should take more risks. But it gets you to those eventually to the ideas that become the blockbuster. And it's the blockbusters in your life that really in the end make the difference. So I'm a big fan of deploying something like, you got to deploy something like evidence based planning. Again. It's easy to find a story that's kind of gripping, but to get to the bottom of it, to find a story that really works takes more work. And more things than we think aren't exactly what we hope they would be. We go. David Grant, he has a cool story about giant squid hunting, like one of his favorite.
