Writing

This Might Be the Most Important Work You’ll Ever Do

When John Elway retired in May 1999, he had just finished one of the greatest careers in NFL history.

Two consecutive Super Bowl titles.

Super Bowl MVP.

Nine Pro Bowls.

Forty-seven fourth-quarter comebacks, the most in league history.

148 wins as a starting quarterback—the most anyone had ever won.

He was thirty-eight years old, the reigning champion, walking away at the very top.

How proud he must have felt. How fulfilled. He had spent sixteen years proving himself; surely the proving was over. Now he could enjoy what he had earned.

If he did feel that way, it didn’t last.

Because do you know how he admitted to actually feeling when he retired?

Behind.

His peers had spent those same sixteen years building careers in business. Elway worried that outside football, he had no transferable skills beyond his name.

Jackass star Steve-O reached a similar summit and found something equally unsettling.

In 2006, Jackass Number Two had catapulted him into mega-stardom. At the red-carpeted movie premiere, he was on top of the world. Or so one would have thought.

Instead, he felt like he was at his own funeral.

He worried he and his team would never again produce something as good, that it would be downhill from there.

His fears spiraled into addictions, arrests, an intervention, and eventually a 72-hour involuntary psychiatric hold after he emailed friends that he was “ready to die.” It would take him eight years to climb out.

One man got almost everything he had worked for and felt behind. Another reached the height of his fame and felt as though he were at his own funeral.

For both, success had delivered what it promised but failed to deliver what mattered.

Which is why we all need to spend more time cultivating something less visible and far more durable: a rich inner life.

Life is too uncertain, and our interpretation of it too consequential, to leave our well-being entirely in the hands of circumstance or our ever-changing feelings.

Without a rich inner life, we become the person Seneca described as needing “another happiness to safeguard the happiness one has,” forever saying prayers “on behalf of prayers already fulfilled.”

A rich inner life is what keeps the outside world from having the final say.

Few people demonstrate this more powerfully than Etty Hillesum.

As the Nazi occupation tightened around Amsterdam in 1942, Etty’s physical world shrank almost to nothing. The young Dutch Jewish woman was banned from public transportation and parks and forced to wear the yellow star.

Yet, in the midst of this, she wrote in her diary:

“Is this really my life? So full, so rich, so intense and so beautiful?”

Those words seem almost impossible for someone in her situation.

But Etty had learned how to meet life inwardly. Through relentless reflection, she developed what she called an “uninterrupted dialogue” with beauty—even inside a room she was legally forbidden to leave.

“Within these four walls or within four other ones,” she wrote of her impending internment, “what does it matter? If you have a rich inner life [. . . .] there probably isn’t all that much difference between the inside and outside of camp.”

It reminds me of Epictetus’s challenge: show me someone who can be equally happy on the podium or in prison, and I’ll show you a wise person.

What makes Etty’s example especially inspiring is that she wasn’t born that way. She had to work really, really hard.

In one entry she writes: “In the past I would live chaotically in the future, because I refused to live in the here and now… I had the feeling that nothing I did was the ‘real’ thing, that it was all a preparation for something else, something ‘greater’… But that feeling has dropped away from me completely.”

Etty learned to bring herself back.

To the dishes. To a lesson. To a conversation. To one minute lived all the way through instead of mentally abandoning it for the next.

One of her most profound realizations came when she noticed how much of her anxiety came from trying to possess what could never really belong to her.

She would look at a beautiful landscape and feel a pang of sadness because she wanted to own it—to write it down, capture it, make it hers before it disappeared.

She did something similar with people. Her attachment to her mentor Julius Spier could become jealous and possessive: she loved him, so she wanted to make him hers.

And here’s the paradox: loosening that grip didn’t make her feel less connected to him. It made her feel more connected.

“Now that I don’t want to own anything anymore and am free, now I suddenly own everything, now my inner riches are immeasurable.”

The less she tried to force life into the shape she wanted, the more connected she became to other people, to the world, and to herself.

Again, none of this happened automatically. She practiced.

Instead of praying for circumstances to change, she prayed that she could change. She prayed not to become preoccupied with food or clothing or the cold. She reminded herself that sleeping on a hard floor or being forbidden from certain streets didn’t need to consume her.

“These are minor vexations,” she wrote. “So insignificant compared with the infinite riches and possibilities we carry within us. […] Let every day be something more than a thousand everyday cares.”

She sat quietly in the mornings and listened. She picked up a pen and set her thoughts down on paper.

Because to journal is to reason and to reason is to free ourselves.

The act of setting down words is the act of setting down weight. She could see what had been burdening her, and she could question it, reframe it, release it.

Where a less reflective person can become a consumer of circumstance—waiting for the outside world to provide reassurance, meaning, excitement, adequacy—Etty became a generator of meaning.

When the Nazis stripped away more and more of her external world, she kept producing meaning from within.

But that inner work did not end with her. By rooting out personal desires and trivial preoccupations, she made more room in herself for others. She became a haven—a person able to absorb sorrow, offer comfort, and remain present to those around her.

She famously wrote that she wanted to become “the thinking heart of the barracks.”

“I so wish I could put it all into words. Those two months behind barbed wire have been the two richest and most intense months of my life, in which my highest values were so deeply confirmed. I have learned to love Westerbork.”

She didn’t wait for Westerbork to give her peace. She brought peace to Westerbork.

She did the inner work. And it was the most important work she ever did.

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Austin Kleon Made Me Want to Make Things Again: 9 things I learned from Don’t Call It Art about making bad art, wasting things, and finding my creative energy again

1. If you can’t write 1 book, write 100 books

If you’re struggling to write a book, here’s a great way to get unstuck:

Write hundreds of tiny books instead.

Inspired by Austin Kleon’s new book Don’t Call It Art, the words poured out of me when I changed my tools (paper scraps instead of Google Docs), scaled down the size, and decided not to call it a book.

2. What would this look like if it were fun?

If you want to be more efficient, you could ask: What would this look like if it were easy?

If you want to be more creative, you could ask: What would this look like if it were fun?

I taped that question to my monitor as a reminder.

3. Play is the important work!

I used to be too busy to play. I had too much important stuff to do.

But one of the best things I’m continuing to learn is that play is the important work!

Part of my office wall—the part that’s not covered floor to ceiling in books—used to have a random picture and an unused whiteboard. No fun allowed was apparently the message I was going for.

But after reading Don’t Call It Art, I broke out of my mental prison.

I tossed the picture and the whiteboard and put up a pegboard and paper holders. Then I took my art supplies out of the drawers they’d been crammed into and gave them a home—one where I can see them, reach for them, and interact with them every day.

And that’s exactly what I do now: create every day.

Just looking at it makes me smile.

4. Throw out the instructions

Some of the best, most original work gets made when the creator is not aware of the “right” way to do things. They aren’t trying to be groundbreaking. They just don’t know the rules yet.

Forget the instructions. Erase them from memory if needed.

Remember: elephants have great memories—it’s why they get stuck in place.

5. Waste things

The urge to save my materials—paper, stories, markers, pens, time—for the best ideas has no doubt deprived me of some of my best ideas.

I’ve come to learn: materials are not precious things.

They’re important, sure, but they’re not the point. They’re there to serve your craft and enrich your life.

Art is for life—not the other way around.

Use your best stuff now. It’s the only way.

6. Quantity leads to quality

Most often, the reason you feel stuck is because you’re thinking about quality.

The only way to get unstuck is to forget about quality and focus on quantity…which, inevitably, leads to quality.

7. Problems of output are usually problems of input

Ray Bradbury said he never had problems with output because he spent so much time on his input.

“If you stuff yourself full of poems, essays, plays, stories, novels, films, comic strips, magazines, music,” he said, “you automatically explode every morning like Old Faithful.”

We, too, must feed ourselves “to the point of bursting.”

8. You don’t need a vision—just create with what you have right now

Think of one of the best things that has ever happened to you.

Odds are you didn’t plan it. Odds are you couldn’t have planned it, because it was something beyond anything you could have dreamed of. The universe, fate, God, randomness—whatever you want to call it—worked on your behalf.

I’ve learned to let go and stop planning everything.

I had to stop obsessing over “vision.” Not only because vision is laughably limited, but because it keeps me from the only thing that matters: what I do in this very moment.

9. Make bad art and share it with the world

We don’t sing because we can’t hold a tune. We don’t paint because we’re not that good at it. In school, we learn to draw human forms with anatomical exactness and when you clearly don’t have a knack for it you spend the next 25 years not drawing because why bother when you suck at it?

The biggest thing I got from Don’t Call It Art is that it’s a great thing to make bad art.

I draw like a 4-year-old. And guess what? No one cares! Actually, I bet people would care if I shared it with them. There’s nothing more inspiring than art that looks like a 4-year-old could have made it.

It’s just so not that serious.

Create the things that make you feel alive, and share them with the world.

That’s your only task.

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