“‘The important thing about imagination is that it gives you optimism,’ said Martin Seligman, a professor of psychology at the University of Pennsylvania and the director of the Positive Psychology Center there.
His work is dedicated to studying human agency, which is predicated on efficacy, optimism and imagination. …
The hours spent fantasizing and daydreaming about future plans are valuable, Dr. Seligman said. They allow people to escape routine, and cultivate hope and resilience. …
‘Imagining the future — we call this skill prospection — and prospection is subserved by a set of brain circuits that juxtapose time and space and get you imagining things well and beyond the here and now,’ Dr. Seligman said. ‘The essence of resilience about the future is: How good a prospector are you?’
And that’s the case regardless of whether one’s imaginings of the future are over-the-top and unbelievable, or seemingly mundane. …
…Dr. April Toure, a psychiatrist who specializes in working with children and adolescents at Maimonides Medical Center in Brooklyn [said] ‘Even though it’s not considered a core symptom of depression, the absence of hope is a common symptom.’ … Future thinking, or “the imagination and belief that something better is coming,” is crucial to getting through hard times.Tariro Mzezewa, “Go Ahead. Fantasize.” NY Times (January 16, 2021)
“I was not quite 40 but felt, in many ways, older. My hair, once as heroically thick as the David’s, had begun to thin visibly, and I felt sad about this, and I also considered my sadness to be its own failure, because I wanted to be the kind of person who didn’t care about superficial, middle-age things….
“My youthful pursuit of David-like perfection had gone, shall we say, not terribly well. I had turned out to be a strange person, not anything like an ideal. My life was littered with awkwardnesses, estrangements, mutual disillusionments, abandoned projects….
“Perfection, it turns out, is no way to try to live. It is a child’s idea, a cartoon — this desire not to be merely good, not to do merely well, but to be faultless, to transcend everything, including the limits of yourself. It is less heroic than neurotic, and it doesn’t take much analysis to get to its ugly side: a lust for control, pseudofascist purity, self-destruction. Perfection makes you flinch at yourself, flinch at the world, flinch at any contact between the two. Soon what you want, above all, is escape: to be gone, elsewhere, annihilated.”Sam Anderson, “David’s Ankles,” NY Times, August 17, 2016
I’m doing an Instagram Live studio tour/artist’s talk/Q&A with the San Francisco Center for the Book today at 3pm Pacific/6pm Eastern. Some question’s I’ve received in advance are:
- How do you keep motivated?
- Please share admin/organization/project management skills.
I’m posting some notes with links here.
Journaling helps me be resilient.
There can be a perception that journaling is for self-obsessed, angst-ridden teens. I do not only write in my journal when I feel shitty. In fact, I limit how much I write when I’m distressed, because venting or “processing” can actually be rumination, which decreases mood and prolongs pain (Guy Winch, Emotional First Aid).
Journaling provides space for self-reflection—space for me to listen to myself. When I listen to myself, I can celebrate my wins, so I can need less external validation. I can be grateful by recognizing the good in my life and in other people. I name my feelings (which itself can bring relief) and sort out my needs, priorities, goals, and action steps. When I properly reframe an event, and when I find meaning, it makes me feel energized and purposeful.
There are many ways to keep a gratitude journal. A great introduction to a simple practice can be found at “The Science of Happiness, Episode 1: Three Good Things.” This podcast is produced by the Greater Good Science Center at UC Berkeley, so it is a legit, science-backed, positive psychology podcast.
I have been using a “what went well and why” method described by Martin E.P. Seligman. It’s easy: just write about what went well in your day, and why you think it happened. Sometimes I’ll keep asking “why,” drilling down deeper, or expanding wider. This has helped me recognize my own agency in situations, or the kindness of others, or the conditions or privileges broader than my immediate reality. I’ve also used this practice on great days, and it’s helped me identify particularities and savor them, multiplying my joy. A caveat: I’m careful not to mindlessly re-list my day’s to-do items.
Goal-setting, Habit Tracking, & Purpose
It’s easier to stay motivated when your actions and goals feel aligned with your values and life’s purpose.
Informed by Creative Capital’s Professional Development workshops, I set three professional goals, each with three action steps, for myself as an artist every year. I schedule weekly and quarterly check-ins.
I sometimes set intentions at the beginning of each month. These can be related to personal, mental, or physical health. I only do this as the spirit moves me.
I also set physical goals. Exercise is my most reliable mood-booster. I exercise as much for my mental health as physical health. I’ve learned so much about myself and gained much community from martial arts and running. Sheltering in the pandemic has made me grateful for knowledge I have gained and can implement on my own.
I have an app to log my physical therapy and cardio. This is helpful for reinforcing good habits and holding myself accountable. It helps me see the connections with how my body feels. You can use a plain notebook or a habit-tracking notebook, too—whatever works.
If you’re dealing with an injury or health side effects, tracking the frequency and intensity of different dimensions of your experiences can help you can recognize the process you’re making over time. It can give you reasons to celebrate, instead of only seeing loss. Not to mention that it can give you more data to discuss with your doctor.
No one can give you a sense of life purpose. In Grit by Angela Duckworth, you can learn exercises to identify what your life purpose might be, and how your small and medium goals relate to your purpose. When you are able to see your short-term actions in concordance with your values and your purpose, it feels integrated, which is very powerful.
I loved this episode of On Being with Krista Tippett, interview with Pauline Boss, “Navigating Loss Without Closure.” Here are some of my key take-aways:
- Closure is a myth. Americans are too focused on problem-solving negative emotions.
- Expectations or time limits on sadness, grief, or loss can be harmful. Humans can and do live with sadness, oscillating over time. That’s OK!
- Find meaning. When nonsensical events happen, and you can’t make sense of that event, you can find “good enough” meaning in another area of your life.
While I’ve been very fortunate to have not been directly affected by coronavirus, the pandemic has entailed coping with fear, loss, grief, uncertainty, and stress in a drawn-out, fatiguing way (I liked my friend KQB’s phrase: “low-key horrified”). It found it helpful to recognize that Americans and the media love predictable narrative arcs (beginning, middle, end) and that’s cognitively dissonant from the realities of the pandemic (no end in sight). It’s good practices to let go of perfectionism and the urge to fix everything now, to get more comfortable with holding opposing ideas, and to find meaning where you can.
This episode is also really great: On Being with Krista Tippett, interview with Resmaa Menakem, “‘Notice the Rage; Notice the Silence.’” I especially loved this:
“..all adults need to learn how to soothe and anchor themselves rather than expect or demand that others soothe them. And all adults need to heal and grow up.”
A great way to self-soothe is through grounding practices—being in your body, focusing on your breath, or your feet’s connection to the ground, or visually on the room around you. The idea is to practice this, even on your good days, until it becomes second nature, so that it’s easy to implement on your bad days. Often, emotional distress is tied up with physiological stress reactions, and grounding helps regulate those physiological reactions, which can shorten the duration and decrease the pain of emotional distress.
I think this idea of practice is helpful across all these resilience strategies. I think these practices are how you incrementally increase your subjective wellbeing over years, so that your happiness set-point gets a little higher, and your ability to bounce back becomes stronger.
This is going to be super nerdy and ‘brass tacks.’ Well, artists wear a lot of hats outside of making art—administrators, bookkeepers, registrars, archivists, art handlers, fund raisers, marketers and PR people, etc. Administration is legit labor. It could be a time-suck or you can try to be more effective where you can. Since the pandemic started, I’ve spent a lot more time on the computer, and I realized that there are some basic things we do everyday—such as email and managing files—which everyone sort of figures out on their own. These are some best practices I’ve found.
I like to use Mac Mail, and I try to reserve my inbox for items that require follow-up. I try to keep folders to a minimum with a hybrid system:
- project-specific folders (for important art projects, exhibitions, and freelance gigs, etc.)
- time-delimited folders (the time stamp indicates when it’s safe to delete emails. It’s like the principle of cleaning out your closet—if you haven’t worn it in a year, get rid of it):
- Deep storage (this is for stuff like taxes)
- 1-year keep
- 3-month keep
- hold/1-month keep (for temporary things like shipping notifications)
Receipts for deductible expenses get saved as PDFs to a folder in my sidebar. Then I delete the email.
I like to keep two Finder windows in Mac’s column view, stacked one on top of each other. This allows me to find a file and file it in its destination folder more quickly. This is super helpful when resizing images for my website, for example.
Three navigational shortcuts:
- For switching between studio, professional practices, and day-job work: I keep multiple tabs in each Finder window open. This helps me switch quickly and pick up where I left off. It’s a little like the beauty of having a studio (or a dedicated studio table) where you can leave your messy work-in-progress, as opposed to clearing the table for dinner and then setting up your art project again.
- For quickly accessing active projects: I also put folders for active projects in the sidebar. For example, when I’m working on an application for an art competition, I’ll put the folder there, even if it’s just for a few days.
- For quickly accessing current projects: Alternatively, I make aliases of current project folders, and put them in a folder called “_Current Projects.” (I use an underscore at the start of names for folders I want to keep at the top of a list.)
Naming conventions for files and folders
I use multiple strategies to make sense of all my files:
- Project code. I try to assign every project a name or code, and then start the file name of every digital art file with that. This makes it much easier when searching for files.
- Iteration number-letter system. When I work on digital art files, I iterate a lot. Saving lots of versions forces me to save often, keep earlier options, and have recent back-ups in case a file gets corrupted (especially true when working on large PSDs!). To make sense of all of these, I use a number followed by a letter, (“1a,” “1b,” “2a,” etc.) The number usually refers to the design round, the letter usually refers to a variation, like the same design in different colors.
- I never name anything “final.” When you use that system, if you have to change that file, and then have to name it “final-final,” or “final-2,” and then what’s the point?
- I just keep every previous version in a “_Drafts” folder, and the one most recent file outside of that drafts folder. That, plus the iteration code, means it’s always clear what’s the most recent file.
- Pixel dimensions. For any file saved for the web, I append the pixel dimensions, width x height (example: ACB8j-AnnieYee-p3-01a-889×1080) to the end of the file name. This is much more descriptive and useful than “-web” or “-small.” In web design, dimensions are always width first, then height (though it’s reversed in art handling).
- YYYYMMDD. Starting names with the date in an 8-digit code keeps files or folders chronological and easier to search. I use this for folders for exhibitions, for example, for receipt PDFs, Google Drive folders, etc.
- 01, 02, 03. Another way to keep folders tidy is to start the name of sub-folders with numbers, so they stay in the order of a process. For example, if you have different files from different stages in a process, you might have folders named “01 Text content,” “02 Image references,” “03 Digital mock-ups,” “04 Scans,” “05 Composite PSDs,” “06 JPGs.”
For my photo documentation, I keep the source/raw files in a projects folder. Then after I make my selections, I copy and rename them, and place them in nesting folders that looks basically like this:
Documentation > Projects > YYYY Project name > Artwork Name--[pixel-dimensions].[file extension]
The code can indicate different shots of the same artwork. I've found this is a nice way to manage lots of installation views (as opposed to "detail of X" and "detail of Y"). After these are renamed consistently, then I'll do the resizing.
I generally keep three to four resolutions of files:
- high-res (source res at 300 dpi)
- medium-res files for screen display for competitions (these files are usually 1-2 MB JPGs, I'd say 1920x1080 is a good new standard nowadays)
- two sizes of web-res (which is specific to my own website, but obviously at 72 DPI).
I use Photoshop actions to batch process resizing. I've set up different destination folders for different sized images. I use the Finder renaming tool to update the file names as needed.
Artist's Inventory Software & Estate Planning
It's important to manage your inventory: to track inventory numbers, framed and unframed dimensions, prices, where the actual artwork is (whether on loan or in storage), etc.
There are lots of options for inventory software. I don't know what's good out there as I don't have time to test and review them. Many of the options now are cloud-based. I don't love the software I currently use, so I'm not going to name it here. The reason I use it is because it's a desktop version, and I like the permanence of that for reasons I'll explain below.
Artist's inventory software is for your own studio management, but more importantly, it's also part of your estate planning. Each of us will die. Making plans and putting systems into place are act of care for our loved ones, to make it easier for them to deal with our stuff after we're gone.
If you need to start or improve your digital or physical artist's inventory, I recommend the Joan Mitchell Foundation's Creating Artist's Living Legacy "Career Documentation for the Visual Artist: An Archive Planning Workbook and Resource Guide." It's free.
While we're on the subject, I also recommend:
- Everyone should write a will. I found Nolo Press' Online Will to be an easy and cheap way to draft one. Note: Print it out and take it to a notary public to make it legally binding.
- It's a good idea to discuss your end-of-life wishes with your loved ones, and to fill out an advanced health care directive. Kaiser Permanente offers info and forms in multiple languages—you don't have to be a patient to access them. You'll also need to print this out and take it to a notary public to make it legally binding.
- CALL also has an Estate Planning Workbook. This is a next step for me.
I use Quickbooks Desktop. It's a little bit of labor to manage it, but it's less painful than doing a year's worth of bookkeeping in the spring before taxes are due. More than just tracking your receipts, though, bookkeeping software helps track when art institutions and universities have (or haven't) paid your invoices.
How did I learn this admin stuff?
- From working at no- or low-paid office positions in non-profit art organizations.
- From working as a freelance graphic designer/sole proprietor.
- From co-workers, partners, colleagues, mentors.
- From trying different things and evolving over time.
Some potentially useful skills and abilities of resilience.
I’ve been studying resilience over the past few months, and a few concepts with have been useful to me recently.
Putting It In Perspective
Seeing the bigger picture, and paying attention to those who have it worse than us, can help make our problems seem relatively minor.
For example, if you or your loved ones aren’t among the most vulnerable, and your priorities right now are non-life threatening, nor about serious economic hardship, it could be possible that they’re first-world problems. Trying to stick too stubbornly to your plans, being upset and inflexible about disruptions, and prioritizing personal gains or achievement goals might be over-investing in relatively minor concerns (over which you probably have limited control anyway).
It’s important for everyone to work together to flatten the curve of COVID-19. Personally, I’m relieved that employers, businesses, and organizations are temporarily closing to mitigate the spread of the pandemic. (This is a great example of society leading when government is flailing.) It’s a time for cooperation and making sacrifices for the vulnerable—as well as their caretakers and all health care workers.
Recognizing when to be optimistic, and what we can control.
When to use optimism
Everyday, we’re evaluating risks and making decisions.
I love optimism, optimists, and being optimistic whenever possible. Still, I recognize the limits of optimism. When grave consequences are at stake, be wary of being too optimistic. (Trump’s bluster and uninformed overconfidence are so disrespectful of people’s intelligence and the gravity of COVID-19.) If you’re making a decision that could impact health—yours or society’s as whole—err on the side of caution.
On the other hand, if you’re making a decision with lower consequences, choose optimism. For example, maybe you want to check in on an elderly neighbor but you’re worried about social awkwardness. In the best case scenario, it’s welcome and helpful, and you both feel good. In the worst case, it’ll be awkward, not that big a deal.
What we can control
As Karen Reivich, PhD and Andrew Shatté, PhD, define it in “The Resilience Factor,” being optimistic is to believe we control the direction of our lives.
There is a lot we can’t control right now—travel restrictions, closures of businesses and schools, and diverted plans.
So what can we control?
We can be creative in fostering connection despite the disruptions. For example, sharing photos of families instead of photos of empty shelves and commiseration memes (H/T artist Risa Puno).
We can try to use time at home productively, such as brainstorming ways to generate income. [Artists can work on applications, update websites and CVs, and improve art storage and inventory records. For example, I recently make boxes for art that I’ve been meaning to pack.]
Or, we can choose to see the restrictions on movement as a chance to rest, reflect, and practice self-care (such as using yoga instructional videos on YouTube instead of going to the gym), or doubling down on our support of neighbors and our communities.
For Reivich and Shatté, reaching out is both a skill of resilience as well as a use of resilience. One definition they offer is to enhance the positive aspects of life.
We are in an unprecedented time, when everyday brings scary news, anxiety is high, and everyone is coping with uncertainty. This is a recipe for poor mental health. Balance the negative with positive: connection, joy, humor, generosity. I love the videos of Italians singing from balconies, and Iranian doctors dancing. These are much-needed reminders of the human spirit and resilience.
About the first third of a nine-month residency.
In October, I started the 2019-2020 Lower Manhattan Cultural Council’s Workspace Artist-in-Residence program. It’s a huge honor. I first applied like 10 years ago. The application pool is quite competitive. I’m very humbled and grateful that it’s working out this year.
This year’s Workspace residents receive:
- A semi-private studio space.
- Weekly salon evenings consisting of studio visits with curators and arts professionals, studio visits with the cohort, professional development workshops, cohort-led activities, and more.
- An open studio in June 2020.
- A materials stipend of $1,300.
This is pretty typical of the program, with some variation in the fee depending on funding, and slight differences in timeline and studio space, depending on the space available.
This year’s cohort consists of 10 visual artists (learn more on lmcc.net). (The number of residents depends on the space available. LMCC residency programs are usually open to dance, theater, and literary arts, too; check for next year’s application in mid-January 2020.) An on-site assistant, who was a Workspace resident last year, also has a studio.
I really like the cohort! It’s an interesting group of artists working in sculpture, installation, performance, works on paper, and textiles. My cohorts are clearly invested in their practices and in building a respectful, serious, and friendly community.
The program is managed by Bora Kim. Other LMCC staff and interns help out with the program as well as marketing and events.
Building & Location
The studio is located in a corporate building near Wall Street. The building itself is quite impressive. The guards and maintenance team are friendly and helpful. It’s secure and clean.
LMCC encourages residents to learn more about lower Manhattan. One salon evenings was a walking tour led by a member of the city’s landmarks commission. I especially loved visiting 70 Pine, a stellar example of Art Deco. (As a landmarked building, there is a public mandate to make the lobby accessible to the public. Anyone can visit. Don’t miss the bas-relief on the elevator doors.) I’ve also been going on walks, exploring Oculus, the 9/11 Memorial, and longtime neighborhood businesses.
The transportation options are ridiculously convenient: the N/W, 1, and 4/5 subway stations are all very close. I’ve also taken the ferry, rode Citibike, and walked to the studio from Queens.
The cohort shares a large carpeted office space, which is divided into studios with tension-pole partitions sheathed with Homasote.
My studio is about 16′ long by 8′ wide. It’s sunny, with a large window facing east. LMCC provided two work tables and two office chairs.
Two residents have enclosed offices with glass doors. In a large open space in the center, we’ve put a table and chairs to gather for meals. There’s also smaller lounge areas and a conference room. There’s a kitchen with a fridge, electric kettle, microwave, dishes, silverware, and sink (there is no separate work sink). There is a computer and scanner/printer available (it’s been useful for me lately for making copies of drawings to do quick color studies). Residents occasionally work in common spaces when they need to spread out. It feels like there’s plenty of space.
Having an art studio in a corporate building entails a little extra coordination when moving large items in or out, and using the one small, staff-operated freight elevator. LMCC has a dolly we can borrow, which helps.
Our first day was October 7. We received immediately received IDs, access codes, and permission to move in. (I love it when there’s no delay!) The program ends after the open studios at the end of June 2020.
Residents have 24/7 access to space.
Salon evenings are held weekly, except on holidays. I’m happy to be there each week, especially because a former resident told me about how much he looked forward to them. There’s a great variety of programming and cohort-building activities.
I really like the program for its combination of space and programmatic support. They invest in community-building. The first salon evening was speed intros, where residents got to introduce ourselves and our practices to each other via projected images of our work. Some LMCC staff attended too (which is nice considering that it’s after work for them). LMCC often supplies refreshments, which help lend conviviality.
LMCC asked us to suggest potential guests to invite for studio visits. The final line-up includes many curators from major NYC institutions. Studio visit evenings usually feature a few guests. Each guest are scheduled for four, thirty-minute, one-on-one visits with residents. Residents may have one to three visits per evening. When you aren’t paired with an outside guest, you do studio visits with other cohort members.
Early in the program, when a salon evening was canceled due to a holiday, I asked the cohort if they’d like to have a potluck anyway. We did. It was fun to get to know the other artists in a more relaxed setting. I’m really grateful everyone shares an interest in getting to know and support each other.
I had the opportunity to lead an activity one salon evening. I made up an activity called Skill Share Pictionary (learn more on my Glint Project Instagram takeover).
Fellow resident Naomi Safran-Hon initiated the idea of having a group exhibition in the foyer. It was pretty impressive that the cohort organized our group show in about 20 minutes. I appreciate our group’s cooperation, initiative, and flexibility.
Here’s why I applied, as written my application. (My brevity is due to LMCC’s strict word count limits.)
I’ll develop new works exploring resilience, vulnerability, authenticity, and connectedness.
I’ll research and present findings via calligraphy, sign painting, and drawings. Then, I’ll create garments with pockets that reveal or secure aspects of one’s identity, and hybrid books-games-interactive objects in textiles and paper for fostering brave spaces.
I need different perspectives to ground these subjective concepts, and mutual support and rigorous feedback.
It’s time to grow my craftsmanship, my fluidity between thinking and making, and my ethics of social engagement.
WHAT ARE YOUR EXPECTATIONS?
To grow. To do my part to cultivate authenticity, vulnerability and connectedness.
What Have I Been Up To?
I started by trying to define what I meant by resilience, and how it is connected to authenticity and vulnerability. These latter two concepts are things I kept thinking about in my projects on belonging. Being able to express yourself authentically, and being able to be vulnerable, were often characteristic of spaces of belonging. At the same time, belonging allows you to be more vulnerable, and more authentic.
I have been working and re-working a large mind-map, trying to see these connections and fill in what else I know about related concepts about hope, growth mindset, belonging, sports psychology, shame, etc.
I’ve also been reading more mass market books by psychologists with academic affiliations or longtime clinical practices. I’m proud to say that this year I’ve been more intentional about supporting indie booksellers and libraries.
I read Emotional First Aid by Guy Winch, a longtime NYC therapist. I loved that it explains the logical sources behind squishy feelings (violation of rights results in anger, or a fear of violating other’s rights or standards results in shame) and logical responses to those feelings (reflective writing exercises that reframe situations, or deliberate, detailed strategies to repair relationships). (I first came across this book at the San Francisco Public Library, in the Chinese section. I wish more mental health books were translated into different languages. BTW the English version is available at the Queens Public Library.)
My suspicion that resilience relates to optimism was validated when I stumbled upon The Resilience Factor by Karen Reivich, PhD and Andrew Shatté, PhD via the Queens Library. Reivich and Shatté were students of Martin Seligman, whose book on optimism was the first positive psychology book I ever read, way back in 2010. Reivich and Shatté build upon Seligman’s explanatory style—the idea that people explain adversities with beliefs, which shape consequences or actions, therefore different responses become possible by examining the beliefs. This book organizes a lot of mental habits and strategies that I find insightful and worthy of sharing. I’ve been working on some drawings (see a few sketches on Instagram), with my Positive Signs series as an early predecessor.
I’m also reading Mindset by Carol Dweck, PhD (which I got with credit from selling books at the Strand). This is book has had a huge influence on education and I’ve been meaning to read it for a while. People with growth mindsets are willing to take risks in order to grow. People with fixed mindsets are afraid to be exposed as inadequate. I’m starting to see through-lines between optimism, resilience, vulnerability, and courage.
To take a break from reading, I practiced a lot of hand lettering and calligraphy using markers, dip pens, and brushes. It was fun to dive into different letterforms (my reference book: Hand Lettering by Thy Doan, also from the Strand).
All this note-taking, lettering practice, and drawing added up into completing a 250-page sketchbook in two months—a record time for me.
My proposal mentioned sewing. I have some ideas about textiles and garments. I’m letting those ideas marinate as I synthesize all this information and lettering forms. My sewing machine and materials are at the studio, and I’m looking forward to diving in over the next six months.
This is the type of excess I could get used to.
Why would anyone use two sewing machines?
To stitch different colored top and bottom threads while sewing two-tone materials.
Changing thread doesn’t take that long. And of course, had known that there’s a sewing machine here, I might not have shipped mine. Still, since it’s here, might as well use it, and enjoy double the fun.
The optimist demonstrates resilience after encountering negative events (setbacks). And in encountering positive events, unintentional or not, the wily hedonist savors. Abundance abounds.
For my fellow artists:
For [lifelong flow] it is necessary to invest energy in goals that are so persuasive that they justify effort even when our resources are exhausted and when fate is merciless in refusing us a chance at having a comfortable life.
Stay the course, fellow artists. Some words of wisdom from NY Mag art critic Jerry Saltz, via ArtInfo:
1. Go to an art school that doesn’t cost too much. Those who go to Yale and Columbia might get a nine-month career bump right after graduation, but you’ll all be back on the same level in a year, and you won’t be in as much debt.
2. Envy will eat you alive.
3. Stay up late with each other after all the professors go to sleep. Support one another.
4. You can’t think your way through an art problem. As John Cage said, “Work comes from work.”
5. Follow your obsessions. If you love the Cubs that much, maybe they need to be in your work.
6. Don’t take other people’s ideas of skill. Do brain surgery with an axe.
7. Don’t define success by money, but by time.
8. Do not let rejection define you.
9. Don’t worry about getting enough sleep. Worry about your work.
10. Be delusional. It’s okay to tell yourself you’re a genius sometimes.