Right now I see a lot of Swiss-style, minimalist portfolios. So the ones that stand out do something playful and different, whether that’s with animations, color, copy, type or layout.

Neglecting case studies. Dumping a bunch of images on a page and leaving it up to the user to guess what they’re looking at. Or, on the other extreme, writing case studies so long and boring I can’t make it past the first two sentences. "I want to understand your process, but I don’t need to know your user persona better than I know my own mother." It’s all about finding the perfect balance.

The person reading your case study is busy. They’ve probably looked at dozens of portfolios today. Respect their time. Write something that makes them smile. Tell a story, but get to the point. With our own portfolio, it’s easy to forget the design and web practices we know so well. Things like: People scan, they don’t read. They want captions, not chapters. They’ll exit fast unless you keep them wanting more.

I think if you pointed to a random paragraph in anything written by anyone and told them to make it slightly shorter (or longer), they'd probably be able to come up with something better. The best analogy for this phenomenon is when you shake a bin full of different objects. The shakes are arbitrary motions. Or more precisely, they're not calculated to make any two specific objects fit more closely together. And yet repeated shaking inevitably makes the objects discover brilliantly clever ways of packing themselves. Gravity won't let them become less tightly packed, so any change has to be a change for the better.

If you have to rewrite an awkward passage, you'll never do it in a way that makes it less true. You couldn't bear it, any more than gravity could bear things floating upward. So any change in the ideas has to be a change for the better.

Writing that sounds good is more likely to be right for the same reason that a well-shaken bin is more likely to be tightly packed. But there's something else going on as well. Sounding good isn't just a random external force that leaves the ideas in an essay better off. It actually helps you to get them right.

the easier the essay is to read, the easier it is to notice if something catches

the rhythm of good writing has to match the ideas in it, and ideas have all kinds of different shapes. Sometimes they're simple and you just state them. But other times they're more subtle, and you need longer, more complicated sentences to tease out all the implications

when an essay sounds good, it's not merely because it has a pleasing rhythm, but because it has its natural one. Which means you can use getting the rhythm right as a heuristic for getting the ideas right. And not just in principle: good writers do both simultaneously as a matter of course. Often I don't even distinguish between the two problems. I just think Ugh, this doesn't sound right; what do I mean to say here?

The sound of writing turns out to be more like the shape of a plane than the color of a car. If it looks good, as Kelly Johnson used to say, it will fly well.

It's only when you're writing to develop ideas that there's such a close connection between the two senses of doing it well

The way to write something beautiful and false is to begin by making yourself almost believe it. So just like someone writing something beautiful and true, you're presenting a perfectly-formed train of thought. The difference is the point where it attaches to the world. You're saying something that would be true if certain false premises were.

So it's not quite right to say that better sounding writing is more likely to be true. Better sounding writing is more likely to be internally consistent. If the writer is honest, internal consistency and truth converge.

ideas are tree-shaped and essays are linear. You inevitably run into difficulties when you try to cram the former into the latter. Frankly it's suprising how much you can get away with. But even so you sometimes have to resort to an endnote.

Obviously if you shake the bin hard enough the objects in it can become less tightly packed. And similarly, if you imposed some huge external constraint on your writing, like using alternating one and two syllable words, the ideas would start to suffer

There are two senses in which writing can be good: it can sound good, and the ideas can be right. It can have nice, flowing sentences, and it can draw correct conclusions about important things. It might seem as if these two kinds of good would be unrelated, like the speed of a car and the color it's painted. And yet I don't think they are. I think writing that sounds good is more likely to be right. So here we have the most exciting kind of idea: one that seems both preposterous and true. Let's examine it. How can this possibly be true?

You can't simultaneously optimize two unrelated things; when you push one far enough, you always end up sacrificing the other. And yet no matter how hard I push, I never find myself having to choose between the sentence that sounds best and the one that expresses an idea best. If I did, it would be frivolous to care how sentences sound. But in practice it feels the opposite of frivolous. Fixing sentences that sound bad seems to help get the ideas right.

Realize that competent mental control is only useful when it is used to enhance real, vivid experience and not simulated reality.

You know how to lose things over and over without losing sight of what you still have, so use that nonattached insight and permanence and accept the part of yourself that was cut off when you decided to make yourself smaller again.

the 4 wing likes self expression. I spent 20+ mins a day dancing alone with headphones for months and it really changed something in me for the better.

Endeavor to engage rather than to avoid, and work on improving your physical strength and well-being.

5w4s have a tendency to be independent, aloof, and (if you're like me) greedy with time. Overall this is fine, but after a point it becomes unhealthy. Everyone needs connection and connection often comes by sharing. Find a person or an activity group that you can semi-consistently share your time, thoughts, and/or interests with.

More in control of what? Your free time? Your thoughts or mindset? Your emotions? All of the above? Sounds like you’re spinning your wheels a bit on a few fronts. As others have mentioned, sure, tapping into the 8-traits of in-the-moment decisiveness sounds like a quick fix but it isn’t. To get to that point, you likely need to process some messy emotional shit first.

The “sales, then logistics” framework: Always sell people on why something matters before diving into how to do it. Even executives who seem rushed need 30 to 60 seconds of context for why this matters now.

Being concise is about density of insight, not brevity: “Being concise is not about absolute word count. It’s about economy of words and density of the insight.” The bottleneck to being concise is often unclear thinking.

Use “signposting” to guide your audience: Words like “for example,” “because,” “as a next step,” and “first, second, third”

Before sharing an idea, spend just a few seconds anticipating the most obvious objections.

Don’t overstate hypotheses as facts or understate strong recommendations. Match your conviction level to the evidence available.

Focus on motivating behavior change rather than venting your frustrations. “Trim 90% of what you initially want to say and keep only the 10% that will make the person want to change.”

he CEDAF delegation framework: Comprehension: Ensure they understand what needs to be done Excitement: Make the task meaningful and motivating De-risk: Anticipate and address potential issues Align: Confirm mutual understanding Feedback: Create the shortest possible feedback loop

To write about anything well, you have to do a lot of research. Even just trying to work out the chronology of a few years of one person’s life can take hours of interviews. If you’re writing about a scientific debate, you may have to trace it back 100 years through papers and books. To understand how someone sequenced 400,000 year old DNA, you may need to become excruciatingly well acquainted with the latest DNA sequencing technology. Once you’ve done all that, you will feel a sense of victory. You get it. You see how all the pieces fit together. And you can’t wait to make your readers also see that entire network of knowledge as clearly as you do right now. That’s a recipe for disaster.

When I was starting out, I’d try to convey everything I knew about a subject in a story, and I ended up spending days or weeks in painful contortions. There isn’t enough room in an article to present a full story. Even a book is not space enough. It’s like trying to build a ship in a bottle. You end up spending all your time squeezing down all the things you’ve learned into miniaturized story bits. And the result will be unreadable.

It took me a long time to learn that all that research is indeed necessary, but only to enable you to figure out the story you want to tell. That story will be a shadow of reality—a low-dimensional representation of it. But it will make sense in the format of a story. It’s hard to take this step, largely because you look at the heap of information you’ve gathered and absorbed, and you can’t bear to abandon any of it. But that’s not being a good writer. That’s being selfish. I wish someone had told me to just let go.

Find time to write at least a couple hours a day, every day. And I mean real writing, not dithering on the Internet telling yourself you’re doing “research.” Get a blank notebook and a pen if you have to. It’s in those long stretches of time with your own words, sentences, and paragraphs that you come face to face with all the great challenges of writing, and you find the solutions.

Make readers want to keep reading to find out how you got to that point. Practically speaking, a full-width banner image with bold colors and appropriate branding, as well as a mockup or two (mirroring your homepage thumbnail) is the most effective. Follow this with a short paragraph of what the project is about and its background. You should also include a list of details such as the project duration, how big the team was, tools used, and most importantly, what your specific role in the project was.

Following this, make your problem statement bold and clear. It doesn’t have to be too formal. Juxtapose this with your solution. This could be a parallel statement, or a combination of words and graphics once again showing your final product, but more specifically highlighting sections or screens that demonstrate how it solves the problem you just stated.

Everything you’ve written up to this point should be enough to give the casual reader a good idea of the project background and what the final product looks like. They’d probably be fine moving on to another page on your portfolio. But for people who want to read more on this case study, make sure to clearly but concisely tell everything that relates to the work that you did. Structure the rest of your case study after the introduction like this: Research — E.g. competitive analysis, interview and survey results, and personas (if any). User flow(s) — Important to give an idea of how the app is meant to be used. Ideation — E.g. information architecture/site map, sketches, low-progressing-to-high fidelity wireframes, usability testing feedback, annotated iterations, and before/after examples. Final design — Complete prototype containing your highest fidelity wireframes. You could walk through a specific user flow, or just showcase different screens. Here is where gifs, an embedded prototype (more on this later), and demonstration videos should be placed. Conclusion — All good pieces of writing need a conclusion to stick the landing. Talk about next steps first, because readers’ minds are still on the prototype. Then, if applicable, mention direct impacts of the work you did, such as specific growth or revenue metrics. Then, give it a personal touch by talking about what you thought of the project, and the lessons learned.

Abandon the idea that you are ever going to finish. Lose track of the 400 pages and write just one page for each day, it helps. Then when it gets finished, you are always surprised.

Forget your generalized audience. In the first place, the nameless, faceless audience will scare you to death and in the second place, unlike the theater, it doesn’t exist. In writing, your audience is one single reader. I have found that sometimes it helps to pick out one person—a real person you know, or an imagined person and write to that one.

If a scene or a section gets the better of you and you still think you want it—bypass it and go on. When you have finished the whole you can come back to it and then you may find that the reason it gave trouble is because it didn’t belong there.

If there is a magic in story writing, and I am convinced there is, no one has ever been able to reduce it to a recipe that can be passed from one person to another. The formula seems to lie solely in the aching urge of the writer to convey something he feels important to the reader.

a bad story is only an ineffective story.

So I do have kind of an extensive questionnaire, so we just touch on a few things, but one thing I think first and foremost is, what are your values? And I think it's really essential to do some sort of values clarification exercise. You can find a ton of them online. You can find a list of values and just pull out your core values and just compare them with each other because when you are aligned, it's great. Or when you're adjacent, it's also great. I might care a lot about excellence, Lenny, you might care a lot about learning. Fantastic. Those are great values that we can kind of, go together. I might care about excellence and you might care about work-life balance. Wow, let's talk about that because I think it's going to be really important as we go through our startup journey that we understand both of us, what does work-life balance mean and what does excellence mean?

One of the founders I worked with, he would text or Slack his co-founder on weekends and the co-founder wouldn't respond. And that was extremely frustrating to the person, to the co-founder I was talking to. And it turned out, after they finally addressed it, it really was about wanting to have some downtime and some, quote unquote, "Balance."

I'm so great at bringing things up." But the person who's close to you might say, "You seethe until you're ready to bring something up and it's really uncomfortable in the seething period." So it just gives you a little more self-awareness about how you actually handle conflict.

The other person might be a person who totally wants to talk about the conflict but wants to let it settle first and wants to also go through their own thinking process about what's important to them and might actually feel like they've resolved it themselves without having to have a conversation with you.

And if you're the person who's like, "Let's talk about it, let's talk about it, let's talk about it." And they're like, "I'm working through it myself." Now you have conflict over the conflict and it just turns into dynamic that's not necessary.

The act of writing out your thoughts is a direct aid to concentration, and tends to enforce the habit of choosing the best language. It gives clearness, force, precision, beauty, and copiousness of style, so valuable in extemporaneous and impromptu speaking.

One eminent speaker used practically no gesture; another was in almost constant action. One was quiet, modest, and conversational in his speaking style; another was impulsive and resistless as a mountain torrent.

While you might think turning a yellow spot into the sun is mainly about strong execution, it’s equally about inventiveness and vision. There are situations where I wouldn’t have been able to describe what the person ended up creating. I had a version of what “great” looked like in my mind—and they surpassed it in ways I wouldn’t have been able to articulate in advance.

Arielle because Balsamiq is a newsletter sponsor. She shared a story that’s an example of turning a yellow spot into the sun. Here’s what she said: “Something I did that completely changed my career in its early years: I kept a work journal. I noted down decisions I made as an IC and manager, decisions my managers made, the outcomes, the impact, and what I learned. I wrote down those "inside thoughts" we all have during meetings. I wrote down the advice I HATED and why, as well as the helpful stuff. I wrote down pivotal interactions with clients, peers, leaders, and direct reports. I wrote down specific phrases different leaders liked to use. It was almost scientific—I applied basic tactics I learned in science/psychology classes about field observation. I still reference that journal to this day.”

Most people in her shoes would have said, “I need a mentor. I need someone to teach me strategy. I need support. I need to ask execs to explain their decisions and get their feedback.” Not Arielle. Arielle took a little (i.e. the lived experiences she was getting on the job, like all her peers)—and she turned it into a lot.

There is no set of rules (beyond the first principles I cover here each week) to memorize. It’s the same foundational principles, like knowing your assets/levers/constraints, asking the question behind the question, thinking rigorously, etc.

Before you move on to the next shiny object, consider if you’ve really squeezed every last drop of juice from your current endeavor.

People celebrate the strategy at the beginning and the outcome at the end, but if you look more deeply, there was usually good decision-making and craft at each step, which layered up to greatness. That’s why turning a yellow spot into the sun isn’t only for dramatic projects. It’s equally about elevating stuff most folks think of as boring and small.

Keep an eye out for anything that makes you stop in your tracks, even small things. Note what makes it feel magical and add it to your mental swipe file.

we introduced something new—a concept no one had tried before: We abandoned volume-based pricing, offering unlimited forms and responses for free We created a modern form-building experience—no drag-and-drop, just a beautifully simple interface that works like a text document

I get that you've worked on this for months, that you're burned out generally, and now unemployed. So this comment is not meant as "mean" but rather offered in the spirit of encouragement. Firstly, building a business (especially in a crowded space) is stressful. It's not a place to recover from burnout. It's not a place that reduces anxiety. So my first recommendation is to relax a bit, put this on the back burner, and when you're ready go look for your next job. Secondly, treat this project as an education. You had an idea and spent months implementing it. That's the easy part. The hard part is finding a market willing to pay money for something. So for your next project do the hard part first. First find a market, find out what they will spend, ideally collect a small deposit (to prove they're serious) and then go from there. In my business we have 3 main product lines. The first 2 happened because the market paid us to build a solution. We iterated on those for 30 years, and we now are big players (in very niche spaces.) The 3rd happened as a take-over of a project by another retiring developer. He had a few customers, and a good product, but in a crowded space where there's lots of reasons not to change. It's taken many years to build it out, despite being clearly better than the competition, and it's still barely profitable (if you ignore a bunch of expenses paid by the whole business. ) The lesson being to follow the money, not the idea. (Aside, early on we followed some ideas, all those projects died, most without generating any revenue.) So congratulations to seeing something through to release. But turning a product into a business is really hard. Turning a commodity like this into a business is almost impossible. I wish you well in your future endeavors.

For a major commercial product I visited similar markets to ours, knocked on the doors of distributors, tried to find people who wanted to integrate our product into their market. I failed a lot but succeeded twice, and those 2 have been paying us lots of money every year for 20 years as they make sales. Your approach may vary. Start locally. Talk to shop keepers, restaurants, businesses, charities, schools and so on. Look for markets that are not serviced (which is different to where the person is just too cheap, or adverse to tech for other reasons.) Of course it's a LOT harder now to find unserviced markets. There's a lot more software out there now than there was when I started out. Ultimately though it's about connecting with people - real people not just sending out spam emails. And so meeting the right person at the right time is "lucky". But if you're not out there luck can't work with you. You need to give luck a chance.

“Be patient toward all that is unsolved in your heart and try to love the questions themselves, like locked rooms and like books that are now written in a very foreign tongue. Do not now seek the answers, which cannot be given you because you would not be able to live them. And the point is, to live everything. Live the questions now. Perhaps you will then gradually, without noticing it, live along some distant day into the answer.”

This doesn’t mean that everything that has happened to you is a result of your actions. It means that you develop an ability to respond to whatever happens to you, even if you don’t control the consequences of your actions. It means exerting maximal agency towards the things you can directly change (your behavior), and maximum acceptance towards things you can influence but not control (external circumstances, other people’s behavior).

Our responses typically come from patterns and scripts handed down from our parents and our pasts. We are not hostage to those patterns, we can update them. A pattern that's run through your family for generations can stop with you. Vision is bigger than baggage.

A pattern like anxiety may have been helpful in a previous unsafe environment but is maladaptive for our current safe environment.

Cognitive behavior therapy or Byron Katie’s work helps us get new training data by asking questions like: “are you absolutely sure that’s true? How do you react when you believe that thought? Who would you be without that thought?“ This is great for updating limiting beliefs, of which we have many that are often mostly incorrect and holding us back.

loving people and wanting other people to flourish on their own terms, independent of what’s in it for you—even when it’s at your expense.

Write down a list of what you want in your relationships and the types of people you want personal and professional relationships with and then make sure you are bringing those attributes to the table too. e.g. If you want loyal friends, *be* a loyal friend. Focus on “being” rather than “having”, because you can only control the former, and by doing so you can influence the latter.

We want to get that job because we want respect, autonomy, recognition, connection. But there are thousands of ways to meet that need. Acknowledging this makes you more flexible to what life throws at you, and makes it more likely you’ll get what you actually want deep down. A lot of stress in my life came from being set on certain strategies when if I appreciated what need I was trying to meet, I could have been more flexible in switching strategies.

“I’ll be happy once I hit X goal” may be motivating, but it won’t be true—you’ll just move the goalposts. If this is how you’re motivated now, it’s unlikely to last because at some point you’ll figure out that your pattern is unfulfilling and you’ll stop following it. Then you’ll need to find a new way to motivate yourself. A more durable motivation comes from genuinely enjoying the process and the contributions and the relationships that stem from it.

You can’t be in your body and be stuck in your brain at the same time. The way out of the brain loop is through the body. If you feel feel the feelings it might take a few minutes or hours to pass them, whereas if you repress it it might take months or years.

Keep in touch with old friends more broadly. Call them randomly, even if it’s been years. Keep track of what they care about.

Be able to acknowledge when you are not in a secure place, and be able to reset by working out, taking a walk, listening to music, talking with a friend, etc. Wait until the anger or trigger passes before acting. And never fight over text. And if you ever find yourself in a fight, realize you’re in one and calm down and ask yourself why you’re fighting.

Deposits into your own bank account look like being proud of yourself — contributing to others, gaining competence at something that matters, doing the right thing, keeping promises to yourself and others, and taking good care of yourself.

Track what people and activities and habits make you feel better and which drain you. Track when you get triggered or or when you trigger others and see if you can identify patterns.

Do a weekly audit where you can look backwards and reflect on what brings you closer to yourself or and vice versa and readjust how you spend time accordingly.

Although rewiring is worth doing, it's easier to change your environment than to change your insides. Change your environment & then let the new cues do the work.

If you’re going to offend someone, do it on something you care about. Not on an off hand remark or action that didn’t mean anting to you. If you’re unsure, wait a couple days to see if you still mean it. Usually you don’t.

Grudges are ankle weights on your soul.

If you have extended anger with someone, even if they’re in the wrong, you’re both losing.

Empathize with what needs they were trying to meet through their actions and then either reconcile with them or move on with the levity of being grudge-free.

Try other tactics to get curious about other people instead of righteous. If you look at their childhood photos it’s hard to be mad at them. If you have your hands on your heart it’s hard to be angry at them. If you’re hugging your partner it’s harder to fight with them.

One self-connection exercise when triggered is: How do you feel? (vent) How does that feel on the inside? (connect with deeper feeling) What do you want? (suggest strategy, get action oriented) What would that give you? (connect with deeper need)

Use language that emphasizes the fact that people can change: Use verbs over adjectives and observations instead of judgments. For example, instead of saying, “X is always late”, say “X has been late the last three times.”

Don’t bring work mode to relationships and vice versa. For work, you want to be efficient, outcome oriented, and prioritize winning above all. With people, you want to be effective, process oriented, and prioritize connection above all. For work you want to be right (accurate), for relationships you want to be happy (connected).

Don’t keep score, your patience will run out. And equality doesn’t matter. On your death bed you won’t wish things were more fair, but you’ll regret that your insistence on fairness prevented you from connecting with an open heart.

everyone has a micro impact on their families, friends, and local communities and we don’t pay enough attention to making it great.

Use things like politics, sports, social media etc as ways to meet or get closer to other people, but don’t use it as something to make you angry or further from others.

Cultivate what makes you unique. The more distinct your path is, the less competition you’ll have, and the less you’ll compare yourself to others because you’re running your own race.

Envision the highest version of your own success and strive to get as close to it as possible while also being happy with wherever you land.

Your past was what you needed to get here (no regrets), and fretting about what will happen in the future bond what you need to prep for it won’t help either

Most ambitious people on their death beds wish they were less hard on themselves. The happiest people are best at focusing on what they can control and not letting past drama or future worries get in their way.

Asymmetric upside opportunities could lead to new relationships or forms of growth. Asymmetric downside opportunities could lead to sacrificing your health or your relationship or your reputation.

I will talk mainly about science because that is what I have studied. But so far as I know, and I've been told by others, much of what I say applies to many fields. Outstanding work is characterized very much the same way in most fields, but I will confine myself to science.

I spoke earlier about planting acorns so that oaks will grow. You can't always know exactly where to be, but you can keep active in places where something might happen. And even if you believe that great science is a matter of luck, you can stand on a mountain top where lightning strikes; you don't have to hide in the valley where you're safe.

Most great scientists know many important problems. They have something between 10 and 20 important problems for which they are looking for an attack. And when they see a new idea come up, one hears them say ``Well that bears on this problem.'' They drop all the other things and get after it.

The great scientists, when an opportunity opens up, get after it and they pursue it. They drop all other things. They get rid of other things and they get after an idea because they had already thought the thing through. Their minds are prepared; they see the opportunity and they go after it. Now of course lots of times it doesn't work out, but you don't have to hit many of them to do some great science. It's kind of easy. One of the chief tricks is to live a long time!

He who works with the door open gets all kinds of interruptions, but he also occasionally gets clues as to what the world is and what might be important. Now I cannot prove the cause and effect sequence because you might say, ``The closed door is symbolic of a closed mind.'' I don't know. But I can say there is a pretty good correlation between those who work with the doors open and those who ultimately do important things, although people who work with doors closed often work harder.

You should do your job in such a fashion that others can build on top of it, so they will indeed say, ``Yes, I've stood on so and so's shoulders and I saw further.'' The essence of science is cumulative. By changing a problem slightly you can often do great work rather than merely good work. Instead of attacking isolated problems, I made the resolution that I would never again solve an isolated problem except as characteristic of a class.

by altering the problem, by looking at the thing differently, you can make a great deal of difference in your final productivity because you can either do it in such a fashion that people can indeed build on what you've done, or you can do it in such a fashion that the next person has to essentially duplicate again what you've done. It isn't just a matter of the job, it's the way you write the report, the way you write the paper, the whole attitude. It's just as easy to do a broad, general job as one very special case. And it's much more satisfying and rewarding!

it is not sufficient to do a job, you have to sell it. `Selling' to a scientist is an awkward thing to do. It's very ugly; you shouldn't have to do it. The world is supposed to be waiting, and when you do something great, they should rush out and welcome it. But the fact is everyone is busy with their own work. You must present it so well that they will set aside what they are doing, look at what you've done, read it, and come back and say, ``Yes, that was good.'' I suggest that when you open a journal, as you turn the pages, you ask why you read some articles and not others. You had better write your report so when it is published in the Physical Review, or wherever else you want it, as the readers are turning the pages they won't just turn your pages but they will stop and read yours. If they don't stop and read it, you won't get credit.

I think it is very definitely worth the struggle to try and do first-class work because the truth is, the value is in the struggle more than it is in the result. The struggle to make something of yourself seems to be worthwhile in itself. The success and fame are sort of dividends, in my opinion.

He had his personality defect of wanting total control and was not willing to recognize that you need the support of the system. You find this happening again and again; good scientists will fight the system rather than learn to work with the system and take advantage of all the system has to offer. It has a lot, if you learn how to use it. It takes patience, but you can learn how to use the system pretty well, and you can learn how to get around it. After all, if you want a decision `No', you just go to your boss and get a `No' easy. If you want to do something, don't ask, do it. Present him with an accomplished fact. Don't give him a chance to tell you `No'. But if you want a `No', it's easy to get a `No'.

Amusement, yes, anger, no. Anger is misdirected. You should follow and cooperate rather than struggle against the system all the time.

I found out many times, like a cornered rat in a real trap, I was surprisingly capable. I have found that it paid to say, ``Oh yes, I'll get the answer for you Tuesday,'' not having any idea how to do it. By Sunday night I was really hard thinking on how I was going to deliver by Tuesday. I often put my pride on the line and sometimes I failed, but as I said, like a cornered rat I'm surprised how often I did a good job. I think you need to learn to use yourself. I think you need to know how to convert a situation from one view to another which would increase the chance of success.

I do go in to strictly talk to somebody and say, ``Look, I think there has to be something here. Here's what I think I see ...'' and then begin talking back and forth. But you want to pick capable people. To use another analogy, you know the idea called the `critical mass.' If you have enough stuff you have critical mass. There is also the idea I used to call `sound absorbers'. When you get too many sound absorbers, you give out an idea and they merely say, ``Yes, yes, yes.'' What you want to do is get that critical mass in action; ``Yes, that reminds me of so and so,'' or, ``Have you thought about that or this?'' When you talk to other people, you want to get rid of those sound absorbers who are nice people but merely say, ``Oh yes,'' and to find those who will stimulate you right back.

I believed, in my early days, that you should spend at least as much time in the polish and presentation as you did in the original research. Now at least 50% of the time must go for the presentation. It's a big, big number.

Luck favors a prepared mind; luck favors a prepared person. It is not guaranteed; I don't guarantee success as being absolutely certain. I'd say luck changes the odds, but there is some definite control on the part of the individual.

If you read all the time what other people have done you will think the way they thought. If you want to think new thoughts that are different, then do what a lot of creative people do - get the problem reasonably clear and then refuse to look at any answers until you've thought the problem through carefully how you would do it, how you could slightly change the problem to be the correct one. So yes, you need to keep up. You need to keep up more to find out what the problems are than to read to find the solutions. The reading is necessary to know what is going on and what is possible. But reading to get the solutions does not seem to be the way to do great research. So I'll give you two answers. You read; but it is not the amount, it is the way you read that counts.

your dreams are, to a fair extent, a reworking of the experiences of the day. If you are deeply immersed and committed to a topic, day after day after day, your subconscious has nothing to do but work on your problem. And so you wake up one morning, or on some afternoon, and there's the answer.

You can't directly control where your thoughts drift. If you're controlling them, they're not drifting. But you can control them indirectly, by controlling what situations you let yourself get into. That has been the lesson for me: be careful what you let become critical to you. Try to get yourself into situations where the most urgent problems are ones you want to think about.

barring emergencies you have a good deal of indirect control over what becomes the top idea in your mind.

Turning the other cheek turns out to have selfish advantages. Someone who does you an injury hurts you twice: first by the injury itself, and second by taking up your time afterward thinking about it. If you learn to ignore injuries you can at least avoid the second half. I've found I can to some extent avoid thinking about nasty things people have done to me by telling myself: this doesn't deserve space in my head.

just take a shower. What topic do your thoughts keep returning to? If it's not what you want to be thinking about, you may want to change something.

all the cliches of bad managers apply internally as well: “My manager doesn’t listen to me, keeps making promises of me he can’t keep, drives me too hard, never gives me a break, doesn’t praise me when I DO get things done, infinitely critical, is somehow both paranoid and clueless, is no help at all, keeps increasing my workload…”

people mix up two very different types of pivots and that it’s important to differentiate which path you’re on: Ideation pivots: This is when an early-stage startup changes its idea before having a fully formed product or meaningful traction. These pivots are easy to make, normally happen quickly after launch, and the new idea is often completely unrelated to the previous one. For example, Brex went from VR headsets to business banking, Retool went from Venmo for the U.K. to a no-code internal tools app, and Okta went from reliability monitoring to identity management all in under three months. YouTube changed direction from a dating site to a video streaming platform in less than a week. Hard pivots: This is when a company with a live product and real users/customers changes direction. In these cases, you are truly “pivoting”—keeping one element of the previous idea and doubling down on it. For example, Instagram stripped down its check-in app and went all in on its photo-sharing feature, Slack on its internal chat tool, and Loom on its screen recording feature. Occasionally a pivot is a mix of the two (i.e. you’re pivoting multiple times over 1+ years), but generally, when you’re following the advice below, make sure you’re clear on which category you’re in.

When looking at the data, a few interesting trends emerged: Ideation pivots generally happen within three months of launching your original idea. Note, a launch at this stage is typically just telling a bunch of your friends and colleagues about it. Hard pivots generally happen within two years after launch, and most around the one-year mark. I suspect the small number of companies that took longer regret not changing course earlier.

ou should have a hard conversation with your co-founder around the three-month mark, and depending on how it’s going (see below), either re-commit or change the idea. Then schedule a yearly check-in. If things are clicking, full speed ahead. If things feel meh, at least spend a few days talking about other potential directions.

Brex: “We applied to YC with this VR idea, which, looking back, it was pretty bad, but at the time we thought it was great. And within YC, we were like, ‘Yeah, we don’t even know where to start to build this.’” —Henrique Dubugras, co-founder and CEO

It's crazy how so much industry conf content is an ad these days. Ads obfuscate and conflate truth and opinion.

This is why events like Handmade Seattle or Strange Loop get so much love. They are about technology and people and values, not tools and companies.

When I write a talk, I almost always just want you to walk away thinking about the technology you create as an instrument for advancing your values, and a lens through which to view the world with those values.

if I do my job right, you won't go back and use the library I talked about, or whatever. You'll think about the values you're advancing when you build your technology, and think about the perspective it reveals to its users and audiences.

People pay you for doing what they want, not what you want. But there's an obvious exception: when you both want the same thing. For example, if you love football, and you're good enough at it, you can get paid a lot to play it.

it's clear that Bill Gates truly loved running a software company. He didn't just love programming, which a lot of people do. He loved writing software for customers. That is a very strange taste indeed, but if you have it, you can make a lot by indulging it.

If you want to make a really huge amount of money — hundreds of millions or even billions of dollars — it turns out to be very useful to work on what interests you the most. The reason is not the extra motivation you get from doing this, but that the way to make a really large amount of money is to start a startup, and working on what interests you is an excellent way to discover startup ideas.

Many if not most of the biggest startups began as projects the founders were doing for fun. Apple, Google, and Facebook all began that way. Why is this pattern so common? Because the best ideas tend to be such outliers that you'd overlook them if you were consciously looking for ways to make money.

there's something like a midwit peak for making money. If you don't need to make much, you can work on whatever you're most interested in; if you want to become moderately rich, you can't usually afford to; but if you want to become super rich, and you're young and good at technology, working on what you're most interested in becomes a good idea again.

When you have trouble choosing between following your interests and making money, it's never because you have complete knowledge of yourself and of the types of work you're choosing between, and the options are perfectly balanced. When you can't decide which path to take, it's almost always due to ignorance. In fact you're usually suffering from three kinds of ignorance simultaneously: you don't know what makes you happy, what the various kinds of work are really like, or how well you could do them

Don't wait till the end of college to figure out what to work on. Don't even wait for internships during college. You don't necessarily need a job doing x in order to work on x; often you can just start doing it in some form yourself. And since figuring out what to work on is a problem that could take years to solve, the sooner you start, the better.

You'll become like whoever you work with. Do you want to become like these people?

If you choose a kind of work mainly for how well it pays, you'll be surrounded by other people who chose it for the same reason, and that will make it even more soul-sucking than it seems from the outside. Whereas if you choose work you're genuinely interested in, you'll be surrounded mostly by other people who are genuinely interested in it, and that will make it extra inspiring

The less sure you are about what to do, the more important it is to choose options that give you more options in the future. I call this "staying upwind." If you're unsure whether to major in math or economics, for example, choose math; math is upwind of economics in the sense that it will be easier to switch later from math to economics than from economics to math

The root of great work is a sort of ambitious curiosity, and you can't manufacture that.

I find it tremendously hopeful that “Stoner” is thriving in a world in which capitalist energies are so hellbent on distracting us from the necessary anguish of our inner lives. “Stoner” argues that we are measured ultimately by our capacity to face the truth of who we are in private moments, not by the burnishing of our public selves.

The story of his life is not a neat crescendo of industry and triumph, but something more akin to our own lives: a muddle of desires and inhibitions and compromises.

The deepest lesson of “Stoner” is this: What makes a life heroic is the quality of attention paid to it.

Americans worship athletes and moguls and movie stars, those who possess the glittering gifts we equate with worth and happiness. The stories that flash across our screens tend to be paeans to reckless ambition.

It’s the staggering acceleration of our intellectual and emotional metabolisms: our hunger for sensation and narcissistic reward, our readiness to privilege action over contemplation. And, most of all, our desperate compulsion to be known by the world rather than seeking to know ourselves.

The emergence of a robust advertising culture reinforced the notion that Americans were more or less always on stage and thus in constant need of suitable costumes and props.

Consider our nightly parade of prime-time talent shows and ginned-up documentaries in which chefs and pawn brokers and bored housewives reinvent their private lives as theater.

If you want to be among those who count, and you don’t happen to be endowed with divine talents or a royal lineage, well then, make some noise. Put your wit — or your craft projects or your rants or your pranks — on public display.

Our most profound acts of virtue and vice, of heroism and villainy, will be known by only those closest to us and forgotten soon enough. Even our deepest feelings will, for the most part, lay concealed within the vault of our hearts. Much of the reason we construct garish fantasies of fame is to distract ourselves from these painful truths. We confess so much to so many, as if by these disclosures we might escape the terror of confronting our hidden selves.

revelation is triggered by literature. The novel is notable as art because it places such profound faith in art.

We can finally define what it means for someone to be differently free from you. They are people who are playing just a slightly different game than you are. That difference makes them a reliable sources of non sequiturs in your life. Waiting for nature to present you with a parrot or a piece of corn to awaken you out of a finite game is a tricky, chancy business.

Differently free people change the equation in an interesting way. When you include a person in your life, it is because they have a definite worth (possibly negative) in whatever finite game you’re asleep in at the time. This means there is at least some overlap between their game and yours; some similarity between how you keep score and how they do. Some meaningful relationship (possibly adversarial)  between how you define winning and how they do.

This means you have a model of the person in your head. One that predicts how they will value things.

it is the parts that don’t overlap that matter. There are things that have a defined worth in their lives that are non sequiturs in yours, and vice versa. When you see through the eyes of a differently free person, you expect to see a landscape of presumptively valued things. A landscape based on your predictions of how they value things. When the other person appears to value something that doesn’t even register with you, for a moment, that thing turns into a non sequitur, a candidate parrot. It lingers just a little bit longer in your own mind than it would if you yourself saw it. Long enough that you do a double take and notice it consciously.

My alternative to the heuristic, which many of you have heard in off-blog conversations, is that I am only interested in people as long as they are unpredictable to me. If I can predict what you’ll do or say, I’ll lose interest in you rapidly. If you can keep regularly surprising me in some way, forcing me to actually think in unscripted ways in order to respond, I’ll stay interested. It’s reciprocal. I suspect the people with whom I develop long-term relationships are the ones I surprise regularly. The ones who find me predictable don’t stick around. We’re not talking any old kind of surprise, but non sequiturs. Surprises that you can’t really relate to anything else, and don’t know what to do with. Mind-expanding surprises rather than gap-closing surprises.

The useful thing about defining good design as a form-context fit is that it tells you where you will find the form. The form is in the context. To find a good relationship, you do not start by saying, “I want a relationship that looks like this”—that would be starting in the wrong end, by defining form. Instead you say, “I’m just going to pay attention to what happens when I hang out with various people and iterate toward something that feels alive”—you start from the context.

The context is smarter than you. It holds more nuance and information than you can fit in your head. Collaborate with it.

If you want to find a good design—be that the design of a house or an essay, a career or a marriage—what you want is some process that allows you to extract information from the context, and bake it into the form. That is what unfolding is.

The opposite of an unfolding is a vision. A vision springs, not from a careful understanding of a context, but from a fantasy

Anything that increases the rate and resolution of information you get from the context will help. And anything that makes it easier for you to act on the context.

A common reason we filter information and become blind to the context is that we bundle things when we think. Thinking about our career, we might think in abstractions like “a job.” But really a career is made up of a bunch of different things like a salary, an identity, relationships, status, a sense of meaning, and so on. It is often easier to find a fit if you unbundle these things, and think about the parts that matter to you individually. Do you actually need more status? Or can you find a better fit if you go low status?

Another common reason the feedback loop of unfolding often works poorly is that people have decided on a solution already. They have turned on their confirmation bias. They have decided that a certain solution is off-limits. Let’s say you are 34 and haven’t found a partner but want kids. If we unbundle this, it is clear that the problem of having a kid and the problem of love are not the same thing, so you could solve your problem by having a kid with your best friend instead. But this feels weird. It is not the vision you have for your life. And it seems dysfunctional. Observe that feeling—it is, perhaps, a part of the context. There is some information there. But to unfold, do not write off any solutions. Leave them all on the table; let them combine and recombine. Many good ideas look bad at first. To increase the rate at which you understand the context, you want to develop a certain detachment. When the context thrashes one of your ideas, you want to say, “Oh, that’s interesting.” It takes practice. But it is worth getting better at. Reality is shy—it only reveals itself to those who, like honest scientists, do not wish it to be something else.

The faster you can collide your ideas against reality, the faster you get feedback.

The school system is centered around visions, not unfolding. You are asked to make decisions about realities that are five, ten years down the line, and you get no feedback on your decisions.

you’re less torn by anxious attachments when you recognize how something must naturally and necessarily unfold.

Knowledge is freedom from getting mad at facts.

Detachment does not mean you don’t care what happens. It just means you don’t care whether a specific thing happens or not. You want to know the outcome of the coin-toss (you care), but you don’t care whether it is heads or tails even if you’ve bet on heads (you’re not attached to a specific outcome). The important thing is that something happens, which means you’ve successfully kept play going, but without keeping score.

Emotional Self-Management: I like to think of this as accepting the emotions you have instead of having emotions about having emotions in an endless stack.

Fear. Not fear, plus anxiety about fear, plus guilt about anxiety about fear, plus shame about displaying guilt about experiencing anxiety about having fear. This is emotional focus. Instead of retreating from an emotion through layers of additional emotions until you find one you can deal with, you experience the actual emotion for what it is.