Transcript for Ep. 292: Single-Purpose Notebooks

So Jesse, we're finally back to post book tour, I guess post phase one of the book tour recording in our normal setup once again, which makes me happy.

Quick report on the book, slow productivity, the best seller list we're all announced last week for launch week, and we've done well. Now, HSC, we're gonna debut as number two on the New York Times best seller list. Wow, sitting only behind, or good friend James Clear's atomic habits, monster book. So, just my third time on the New York Times list, but I've never been in a top spot before, so that's exciting. Another first, We made it to the Sunday Times best seller list. That's the main best seller list in the UK. So our European readers are showing up, Jesse, and the indie-bound independent bookstore best seller list. So we have our independent bookstore representations going well and particularly happy about that one. I think I've signed something like 400 copies of the book so far at People's Book here in Tacoma Park. So people are showing up for the indie bookstores. which I really appreciate. So here's the thing, the first week of a book being out. This is really about an existing audience showing up for an author. So that's you. So thank you for showing up and supporting this book. And of course, if you liked it, leave a review. And if you didn't like it, you shouldn't be on your computer so much. I would go outside. I think you need to take a walk. Don't worry about leaving a review. I think that's what all work over. Our deep dive today is not going to be about slow productivity. There's only so much I can talk about this book in one period. But what we are doing during the Q&A for those who are interested in learning more, instead of having a single slow productivity corner question, the whole Q&A will be slow productivity themed. So it's a slow productivity corner takeover. during the Q&A session and then we'll have something interesting for the third segment. Before we get into that, I want to actually ask you my listeners to help out. I want to get more feedback on topics. I actually learned this. If you know this, Jesse, it was Andrew Huberman was telling me about he's really responsive. He really is interested in what potential topics is catching his audiences attention or not. So I think it's an important bit of feedback. He does it on social media. I don't use social media. So here's what I'm going to suggest. If you have a particular topic you're interested in, email Jesse, should we use jesseaccountnewport.com? Yeah, yeah. Or a particular topic you like, send those. Jesse's going to keep track of those and we'll keep that feedback in the hopper. If you're curious about the general topic areas we cover, here's the way I think about it. We have this overall theme of cultivating a deep life in a high-tech world, so we have all this digital disruption and diversion, and how in the midst of all of this, do we still build a life that's deep? I break this when I'm thinking about our deep dives. I break this in the three general categories of topics. There's digital knowledge work, sort of our struggles to do good work, even with the current age of email and Slack and Zoom. So we talk a lot about that. The second of the third categories is, I think it was like the Protestant parallel of new technology. What's happening with social media? What's happening with artificial intelligence? What's happening with augmented reality? What are the potential negative effects it has? What are the potential opportunities to do something really cool in terms of building a deeper life? That's sort of the second category. And the third category is the intentionally analog. So how do we find areas in our life to be very meaningful and intentionally analog as a bull walk? against the otherwise powerful forces of digital revolution in the digital wave. So there's a sort of the three main categories. Today's deep dive, for example, is going to come from that last category dwelling in the analogous response to the digital. So anyways, within those categories, what do you like? What don't you like? What do you want to hear more of, et cetera, Jesse at calmeryport.com. We're going to try to keep that feedback more serious. Final logistical note. There are some visuals and today's deep dive. So if you're listening and want to see what I'm talking about, go to the deeplife.com. This is episode 292. Roughly a day or so after each episode goes live, we post a video of the episode on the episode page. So you can find the video on there. All right, Jesse, what do you think? Ready for deep dive? Yep. Now let's do it. So my recent book tour, I didn't have room. And my bag says packing for two weeks. I didn't have room to bring my normal remarkable digital notebook. But I knew there is a particular idea that I wanted to work on related to a new book that I'm just starting to ideate about. So at the last minute, as I was running out the door, I grabbed the fields note notebook. say a small pocket size notebook that I had line around the first 10 pages were already taken up with actually sketches from my kids by just grab this and I brought it with me to work on and it worked remarkably well. I brought it with me in my pocket, almost everywhere I went. I worked on this book idea in bars at hotel breakfasts, waiting in recording studios to start recording interviews in my hotel room on the beach in Santa Monica, as well as walking next to Ladyberg Lake in Austin. I ended up capturing some really interesting thoughts in here. I thought it was very successful. So this idea of a small notebook dedicated to a single creative idea, what I'm calling a single purpose notebook, is something that's now starting to fascinate me. So I want to explore it in today's deep dive. What's going on with this idea? Why does it work? Where does it not work? And what should you take away? So I was start by noting, I'm not the first to discover this. This idea of having single purpose notebooks that you use to develop particular ideas is quite common. I have a couple visuals here for those who are watching. So I'm pulling up on the screen right now. These are notebooks from Picasso. He had these sketchbooks. I have one loaded on the screen right now. He's doing an ink sketches of workers in the water with some annotation. Here's another Picasso sketch page. He would bring a mull skin style notebook, mull skin being a sort of, it's a brand now, but it was a general type of notebook. It was especially in Paris was available with an oil skin cover. He just had these notebooks with him. The developers are just the ideas. The work through sketches. Let me try this. Let me try that. Let me annotate this. All right. Now he wasn't alone in that. Here's another example, Bruce Chatwin, the famous British travel rider. Actually, very dashing. So we got a picture of him here. It's sort of like a dashing adventurous guy. I want to read some Bruce Chatwin. But he famously carried around these style of notebooks as well. of a picture of one loaded up here. He would get them from a particular notebook store in Paris and he would buy them in bulk and he would bring them on his adventure travels and just take notes on the trip. And then we convert these into his sort of fame book. So we see one of these notebooks here. Here's another picture of some chat when style notebooks or these might be his exact notebook. Some of these are in museums you can see. So again, you have this idea, this romantic idea of the traveler, you know, his first book was on Journey to Patagonia with his small notebook, just working on this one idea. What I am encountering in learning a single purpose notebook, perhaps the the most famous example, Miles Finch from the movie, Elf, the Will Farrell movie, Elf. as portrayed by Peter Dinklage. I'm showing you here on the screen. He had this famous idea notebook. It's right there. You can kind of see it on the screen as zoom in. This was the notebook that was contained all of his ideas for children's book. So the Miles Finch character was this hired gun that you could bring in to write fantastic picture books. And so he had this notebook where all of his ideas were. I actually found just an analysis of online from a notebook enthusiast website. where they actually went through and tried to understand from these still footage is exactly what sort of notebook Peter Dinklage was using in the movie elf. But then again, here's the point though, single purpose. It's just ideas for children's book. I have a single purpose for the notebook. So I didn't discover this idea. It's also not the only type of way to take notes, obviously. We've talked about this on the show before. It's one of multiple ways to take notes. draw some, let's draw these here, throw caution to the wind here. All right, so we have this way we just talked about, which I'll illustrate on this screen by drawing a sort of field notes style notebook, expertly drawn. But there's other ways to take notes as well. So like an episode 287, I'm just trying to put this single purpose notebook in a larger context of note taking. In episode 287, I talked about how I take notes professionally. that the main way I take notes, and I'm enjoying a laptop here because the key idea about how I take notes for articles, books, or academic research as well is my whole argument in episode 287 is you're really just go straight to the tool you use to do that work. for books or New Yorker articles capture notes in the research folder in a script or project that you're going to eventually use the right that book or write that article for an academic article go straight the the late hack and mark it up and have it straight in the collaborative document you're going to use the right the paper for various reasons that's what I recommended there there's also this whole other approach which is popular, the sort of zettle cast in based, second brain approach. So just kind of draw a brain here where you have a sort of all powerful system that captures all notes and all things. And if the zettle cast in inspired versions of second brain systems, you can also have serendipitous discovery of new ideas from this collection of notes. So there's other dominant ways that people think about taking notes in a current digital world. Justin, would you say that picture of a brain is something detailed enough that you could do like anatomy studies on? I think it's pretty much. It's that accurate.

Absolutely. Absolutely. That's not my best brain. Not my best brain. So we have different approaches for taking notes. I want to put this in context, right? And each of these approaches have their own, they have their own context in which they make sense, right? So this is my professional note system. I'm going to label it. You know, this is good for big projects. I'm working on a project. I'm writing an article or a paper or a book. I'm working on a project. I got to have to collect a huge amount of information relevant to this project and then eventually make make sense of it. Professional note taking is about organization, right? The actual thinking about this information is going to occur in a very structured way. You're going to have like long, deep work blocks put aside for you to work on this project. I'm going to go for a long walk to do nothing but think about how to make sense of all this information. So it's note taking as organizational system. The second brain, you know, I think this approach is there's two things it's good for. One is if you collect a lot of unstructured information. Meaning, stuff that's interesting, but you don't know what to do with it yet. Something like a second brain system could be beneficial because that's what's really good at. Just put this in here. We'll find connections between information. So if you're someone who sifts through a lot of information, wants to hold on to a lot of information, maybe wants to serendipitously surface ideas. Something like a second brain system makes sense. It's also good for people who like that technology. Some people really like building these sort of digital information management systems. It's a hobby and it's a cool one. So it's good for that. So what is the single purpose notebook method we're talking about today? What is it good for? And I'm going to label this creative exploration. I'm going to write there right here on the screen. As an aid for exploring a single idea, that's going to require extended thinking and creative insight to come together. This is where I think the single purpose notebook can play a big role. So why is this method? Just having one notebook dedicated to a single thing you're trying to understand better or think about or have creative insight. Why is this method works so well? Well, there's a couple things you get working with a dedicated notebook. One is neuroscientific is focuses your context, your cognitive context. Everything in this notebook will be related to the one thing you're trying to develop. So when you open this notebook and flip through it and start writing, all your brain associates with this notebook is that one topic you're working on. So I was working on a book idea in this notebook. That's what my brain associated it with. So when I pulled out this notebook, that's what I'm thinking about. This project, and I can slip into that cognitive context quicker, meaning I can get insights that are higher quality faster. This is different, for example, than pulling out your phone and talking into the notes application. Your phone represents all sorts of cognitive contexters. Email, there's games, your social media on there. Your brain starts going all over the place, right? It's the dog salivating when the digital feed bowl is being brought in from the kitchen. Same thing when you go into a professional note-taking system, you associate this with work and all the different types of things you work on. It puts you in a work mode, but maybe that's not where you want to be. We're trying to develop an idea creatively. You're trying to be original. Same thing with the second brain system. It puts you in the sort of, not just brain-storming mode, but mode that's associated with everything. You're so much unstructured information. Single-purpose notebook. This is for this one thing. So it puts your brain into the right mindset for not just capturing thoughts, but developing them. It's also extremely low friction. So when you're working on a new idea that's non-trivial, serendipity plays a big role. I'm walking them in the car and ooh, I just had a flash. The friction and getting that idea into this notebook is minimal. You take it out of your pocket, you open it, you write. Nothing's turned on, you're not opening any apps, you're not typing with your thumbs. And so it's very well suited for exactly the information flow that describes this type of creative development of a focused idea, which has these moments of serendipity and quick capture. The third reason why this method works well is ritualistic. There's a ritual around it, right? I mean, the shape of the notebook. The associations you have between this and Bruce Chatwin, you know, on an iceberg somewhere in Patagonia, romantically writing his thoughts down. It's a ritual of pulling out a notebook, a well-worn notebook that you You just like the shape and the feel of and a pin that you really like, that rich wool also helps puts you in a mindset for, in this case, creative exploration. In a way that just loading up your laptop does not, or taking out your phone does not, or looking into an interface for an unstructured information storage system does not. Right? It's a ritualistic aspect to this that puts you into that mindset. So when you put these three things together, the focus cognitive context of ritualistic aspect, the extremely low friction, it becomes a very effective tool for the creative exploration of a single topic. It's something you deploy for a single topic. It works very well for them. What's the protocol here? Well, if you do create a work as part of your job or your leisure life, things that require extended thought and creative insight, Buy a bunch of notebooks, small, you know, like molescan or even I like these field note ones even better because it's flexible, very thin, so it fits right in your pocket. Get a pin you like that writes really well on the paper. I still use my Uniball Micro's 0.3 millimeters, but whatever you like. And start bringing them with you to tackle a particular problem. This is my notebook for this. I wanted wrap my mind around this new idea and maybe write an article about it. I will carry this notebook with me until I have something smart to say about it. I need to figure out a product doesn't feel right. A product market fit here is not right. I'm going to bring a notebook with me. and tell I feel like I have my arms around it. There's something going, there's not might be non-professional. There's something about my life that's not feeling good. What's happening in my career, I feel this is something non-deep here. I'm not resonating here. Something is not right. I'm going to bring this notebook with me till I have an idea about what is. Right, that's the protocol. You have a stack of these. When a problem comes up, it requires extended thought and creative insight. You grab one, dedicated to that. And when you're done, you're done with that notebook. Don't use it for multiple things. Don't say, well, you only use five pages. So now I want to use the rest for another problem. Let's say, no, this notebook is for this idea. That's what it is. It is a, in the end, will be an artifact reflecting my thinking on that particular idea. It is a hack for extracting more creative insight out of the human brain. We are by far not the first people to think of it, but this idea which used to become and I think is being less common in age of digital tools and a lot of these digital tools just don't serve the same purpose. Picasso on an iPad or Bruce Chat when you know, type it into Obsidian would not be the same. as just having the single purpose notebook that you can romantically and creatively just pull out as needed and develop your thoughts. So I like this idea. I'm going to do more of it. I'm going to buy a bunch of field notes and I'm going to have a stack and I'm just going to grab them. Hey, this week, I'm using this notebook for this idea one at a time. I'm excited about it. I've done this off and on before, but I'm excited to have an official protocol here to actually pull from.

Yeah, or I'd have two notebooks in your pocket. Yeah, but maybe I'd only bring I'd probably just bring one with me in a time. You know, hey, I'm going to be gone all day doing X. This is the idea I'm going to work on. So let me pull that notebook with me. Yeah. Yeah. That's what I would do it. I wouldn't have two notebooks with me at the same time.

Yeah, I think a capture notebook's another good idea. That's a David Allen idea. You want to have something to capture stuff you have to do as soon as you think of it so that it's not just in your head. They're not as common now because most people spend so much of their day near a digital device where they can do that capture that it doesn't come up that often. But if you spend a lot of time away from such a device, I think that's a great idea. So you could definitely have two of these things. Capture and idea notebook. The other question people often have is when do I read it? And I would say weekly plan. Right, so if you're using a single purpose idea notebook, when you do your weekly plan each week, that's a good time to sort of go through this, take stock, where am I, that I reach some conclusion that I now want to put into my strategic plan, or do I want to put aside time now to actually like take the ideas and build a plan and start a new project, just confront it every week. And it might just be, nope, still working on it. That's my ideas, nothing great yet. And there's nothing else to do. But knowing that you will look at these active ideas, single purpose idea notebooks, knowing that you will look at them each week will also give you confidence to let these ideas leave your mind, or they will otherwise be a source of stress. Don't forget. Don't forget. Don't forget. We had this great idea about this book. Don't forget. Don't forget. You really need a way to offload that into a notebook that you trust you will check. So I would say use your weekly plan as we just checked in on whatever notebooks you were actively using that week. And if you're ready to act on it, that's a great time to actually figure out what you're going to do. This might be a task goes into your Trello board. Time is put aside on your calendar, a project is started, but you really need the trust that the notebooks won't be forgotten, that the ones you're using will be checked. I think the weekly scales probably the right scale.

Yes, and that's all they had back then. Yeah. Yeah. I mean, it's interesting as part of integrating the digital, we're in this new digital age, we're trying to live deep lives. Half of this is, I don't know, I can do halves. Let me do thirds. Like a third of this is like knowing what not to use. Don't get stuck. using TikTok all the time. A third of it is knowing what to use, right? Okay. I need to take advantage of the opportunities that new technologies make possible. This is like us with a podcast. This didn't exist 15 years ago and now it could be like the cornerstone of me reaching an audience and making a living. And the other third is like knowing the analog stuff to really embrace that make sure that the digital isn't completely pushing you around. And this is like one of those cases. For ideating, this is much better than what we're doing digital. So like the intentional use of analog is really critical when you try to analyze the digital. We forget the analog when we think about what to do or don't do in the digital. But you know, having the right analog bull walks against the digital incursion is just as important as just focusing on the incursion itself and trying to pick and choose what you're getting involved with. Also, it's cool. Bruce Chapman's a cooler writer than I am. That's what I'm thinking.

Where where AV interglasses and like a leather jacket. But kids smoke smoke marble reds. I think that's what's going to do it. stay deep in that first. It's looking really great. French accent, a lot of French, a lot of buries. All right, so there's we got a lot of questions coming up. It's going to be a slow productivity corner takeover. Before we get there, I'll first mention one of the sponsors that makes it so possible. I'll talk about our friends here at Kozy Earth. Kozy Earth, their sheets. Their best-selling bamboo sheets made from viscous bamboo is probably one of the favorite things I own. I 100% love these sheets. They originally sent me a set. We've bought more because we never wanted to have a time in which we did not have cozy or sheets on our bed. They are that comfortable. They are that temperature regulating. I had never thought about sheets before until we got these. In my God, they are fantastic. I mean, we have other stuff as well. I just got a shirt, which is great. Like a crew, kind of like sweatshirt, crew cut sweatshirt, that feels like the sheets and regulates the temperatures. Like cold, I love that, but the sheets, oh my god, tell you. I have never thought about sheets, and now it's like the beta my existence, because when I travel, I'm like these aren't cozy or the sheets. They're really good. They come with a hundred-night sleep trial, which means you have to a hundred nights to sleep on them. watch them try them out. If you're not completely in love, you can return them for a full refund. They also have a tinier warranty. It's a great gift. If you already have cozier sheets, give it as a gift, the spread, the love, but man. I'll tell you the secret about him, Jesse, is every time you wash him, more comfortable. Yeah. They are fantastic. So if you've never tried Kozy Earth, I've got awesome news. You can save up to 35% off Kozy Earth right now. go to kozir.com and enter my promo code cal c-a-l at checkout for up to 35% off that's kozir.com promo code cal kozir.com also when talk about our friends at notion if you have to manage information in your business or your job notion is the tool to use It allows you to combine your notes, your documents, your projects all together in one beautiful space from just simple management of your ideas to complicated collaborative workflow systems of the type I talked about in my book, a world without email. Notion is how you build smart tools and access to your information. So you know that we've talked about Notion. A lot of deep question users use Notion. We've used Notion with our ad agency to keep track of our ads, fantastic tool. They have this new feature I want to mention though. which is Q&A and AI assistant that can answer questions about your information in your notion setup. Talking questions about next quarter's roadmap, finding the marketing campaign proposal you're working for, digging up a long lost link. So as your notion systems get fuller of more and more information, notion Q&A's AI assistant makes it easier to find what you need. It's a really cool tool. And answers any question you have, making use of your entire database of knowledge, to make sure your answers are actually helpful. So try Notion AI for free when you go to Notion.com slash cow. That's all lowercase letters. Notion.com slash cow to try the powerful easy to use Notion AI today. And when you use our link with that slash cow, you are supporting our show. So check that out at Notion.com slash cow. All right, let's move on some questions. Now my temptation and just you talk me out of this was that we should play the slow productivity theme song the entire time because every question in today's Q&A is slow productivity themed. All right, you talk me out of it because we at least get the theme song at the beginning of our Q&A segment for today. For sure. All right, here we go. All right, every question today will be slow productivity themed.

Yeah, it's a great question. I mean, this is the key argument apart one of my book. Is that what happened in knowledge work? is it emerges as a major economic sector in the mid-20th century. They have this problem of how do we measure productivity? And the industrial sector was quantitative. Products produced per input hour. The agricultural sector was quantitative. How much bushels are cropped that we produce per acre land on the cultivation? That ratio quantitative ratio approach did not apply to knowledge work because now there's not a single thing you're producing individuals produce many different things and those sets are dynamic and often incomparable what I'm working on is different than what you're working on. And the systems by which I'm organizing to manage my work are internals. There's no clear or consistent workflow system that you can even optimize to see its impact. So we couldn't use traditional productivity. So what do we do instead? We fell back on this rough heuristic shooter productivity. What says we will use visible activity as a crude proxy for useful effort. So I'm just going to let's all gather in the same office. I want to see you working work while you're here. And at least something useful will be getting done. All right, and this worked okay. until we got the front office, IT revolution until we got networks and mobile computing. And then suddenly, suitor productivity plus the ability to demonstrate fine-tune work on your phone or laptop at any moment. That was a toxic combination that sparked the burnout crisis that we're all facing now. All right, so that's the whole setup. Sam is saying, well, suitor productivity is such a crude heuristic. How are companies still surviving? Well, there's a couple, there's a couple answers here. One is this notion of managerial capitalism. It's a notion that I really came to understand from Alfred Chandler's Pulitzer Prize when he booked the visible hand, where he looks at the rise of large companies with managers, which is newer than we think. Huge companies with managers is not something that was really widespread until the 20th century. And one of the things that Chandler argues in this book is that once you have a manager-based company, a large company that does different things managed by managers, as opposed to a smaller shop to sort of run by the owner, you begin to get a separation between how it internally operates and market signals. So the managers inside these companies, they optimize for things different than just what's going to produce the highest value overall. They optimize for things like stability. They optimize for things like risk reduction. They optimize for things like convenience or efficiency or flexibility and sort of how they run their own jobs, how they manage their employees. Because that's their incentive is not some vague bottom line. It has a complicated dynamic connection between what their individual employees are doing and how much money the company makes. Their incentive is like, I want to keep this job stable and understandable and get my arms around it. So managerial capitalism, I believe, is what helps keep things like suitor productivity and it's sort of terrifying steps, children like the hyperactive hive mind, evil, workflow, the zoom all day remote work strategies, the things that seem so absurd and terrible and distracting today. They can survive. Because they're also simple. They're stable. It's easy to deploy. You're not going to rock any boats by saying, everyone should have an email address. We all have a shared calendar. Let's just rock and roll. Right. So you can have operations with a knowledge work company, especially large ones that are somewhat insulated from market signals. The second reason is In and these complicated knowledge work organizations, most people are not directly connected to the bottom line in the same way that you might have if it's just here's an assembly line. And if like one person on the Model T assembly line is really slow, it directly affects the number of Model T's we're producing. Like you're really slow putting steering wheels on and it's really slowing down the rate at which model teas are produced. Knowledge work is not like that. In fact, in a lot of knowledge work, what you find is a small number of people actually producing the bulk of the cognitive capital on which the money itself is actually made. So in the book, I would call this like the Anthony Zukir effect from a story I tell in part one of the book about CBS. The television network, how they turned around their fortunes in the late 90s, early 2000s, right? So the story talks about how they were in third place, among the major networks. They hire less moon vests. You got to turn this ship around. And less moon vests turns up. He's a pseudo productivity guy. And he says, here's the problem. I am here at like three o'clock on a Friday and the offices are half empty. We need more visible activity. He sends out this memo at ABC. You better believe they're probably still in their offices at three o'clock on a Friday at NBC. You better believe they're in their offices at three o'clock on a Friday. You better be as well. like Dallas has approached the turning around their fortunes. And within a few years, they were number one. But the argument I make is they were not number one because Zuke here told the employees at television city to spend more hours in the office. I mean, Moon Ves, they were number one because of this eccentric show runner Anthony Zuke here, who came up with the idea for CSI. And CSI, plus Mark Burnett, this crazy Australian producer, who came to them with an idea for a show called Survivor, those two ideas turned around the whole the whole network. Huge ratings hits. Push them up to number one. So the reality here is, okay, the core cognitive capital on which the ultimate success of CBS depended was like the brains of two people. Those shows executed well, produced hundreds of millions of dollars with a value. Everyone else was sort of involved with just the logistics of how you actually since some sense gathered that money. You know, we have to keep the budgets of the shows running and the advertisers service and have to make sure that the memo here goes there, right? So it's a lot of what happens in knowledge work is supported in administrative, even if it's not directly administrative, really like, no, I'm the assistant sales of West Coast, you know, marketing directing, but the marketing itself, the ad sales. This is all sort of supporting The core capitalization, the knowledge work equivalent of the model T that's actually being sold in the end. So you have these huge asymmetries and knowledge work as well. The small number of 10X minds are producing the actual proverbial model T and everything else is around servicing, you know, making sure that then you're competently putting that thing to market and harvesting the money that comes back in its stead. So that also weakens the connection between how you're working and the ultimate bottom line. Like it doesn't super matter if the West Coast ad team at CBS is super efficient in the ultimate question of are they number one in the ratings. It could be annoying if they're really inefficient, but if they're efficient enough, which you can get with suitor productivity, it's like you're not a problem that's fine. So I think those are two of the reasons why this non-optimal way of work has persistent. Knowledge work is complicated. That's like the theme of like the Almost a decade now of spent studying digital age knowledge work is knowledge work as a complicated system. We underestimate how complicated it is. We look for simple stories when it's a complicated system. All right, who do we have next?

So this comes from part two of the book in the chapter dedicated to the principle, do fewer things. And one of the propositions in that chapter, so I have these things called propositions, which each has an idea related to the principle that I then discuss all sorts of concrete tactics for putting in the action. And so one of these propositions is about limit what you work on, and I get more specific about that and said, think about your work at three scales. So you have at the the high scale your mission like what what's the thing I'm trying to do I'm lineman well Miranda I want to be a celebrated playwright you know on the West Coast ad director for CBS I want to have you know the highest ad rate sales of each of the regions I try to whatever make a modernized shop here you have missions at the top that then leads the projects, okay, here's the specific projects I'm working on now, that advance my mission. And then underneath the projects you have daily goals, here's what I'm doing today, that is advancing the projects which themselves are advancing my higher level mission. So we have these three levels. And what I argue is, you want to limit each of these levels. Now the problem is, and this was the point of this section of the book. The problem is, when we feel like we're too crowded, We want to solve overload. We tend to focus only at the bottom level. We say, I'm working on too much each day. So let me just cut back and work on fewer things each day. I'm too busy. I need more breathing room. I need more time in my schedule. But the problem I point out is that that will prove difficult if you don't also limit the levels above. So if you have a ton of ongoing projects, it's very difficult to limit how many goals you're making progress on each day because you have all these projects that you need to make progress on. I have six things I'm doing, these six big projects. And if I only work on one per day, that's too slow. Because then I'm only, I'm not even touching on every project each week. Of course I have to work on multiple ones each day. So you have to reduce your projects before you can reduce your daily goals. But if you have a ton of missions, like here's my four things I'm trying to do. Well, any mission is going to have at least some projects going on if it's really one of your missions. And so if you have 20 missions, you'll have a hard time limiting your projects. So you have to start at the top. Focus your missions down to like, this is the one or two things I'm trying to do. That'll then allow you to reduce the number of active projects you're working on because there's less missions to service. And with fewer projects, now you can be more selective each day and not be running around so phonetically. So Carol, when it comes to your asking about limiting daily goals, make sure that's the final thing you do. Start with the mission, then reduce the projects. How do you know you've done enough? That when you then say I'm only going to work on one major goal per day, that's not hard. You don't say oh man, this is not going to work. That's how you know you've limited things enough. How do you choose which daily goal to work on? Your weekly plan will help this. Right? Because where are these projects where these missions captured? And your semester or strategic accordingly plan, where everyone will call it. So when you do your weekly planning, you review that, like, what am I going to make progress on this week? Like these two things. All right. So maybe the first half of the week I'll work on this, the second half I'll work on that. So you can kind of figure this out during your weekly plan when you're able to take into whole landscape of the week ahead of you and your big picture vision for the current, the current quarter. And beyond that, don't sweat it too much, right? There's no perfect choice. This is the exact right project to work on. You just want to be making progress on one serious thing per day. So what then happens with the rest of your day? Well, that's all the administrative overhead stuff, right? So you make one deep progress on one thing is pretty good. The rest of your day is going to be meetings and emails and they're talking about projects that are going to generate daily goals in the future. But like one substantial, deep work per day is good. Sometimes maybe two. And you should be happy with that. If you're not happy with that, you need to move up the chain of limiting because all these things connect together. So yeah, that's a cool part in the book. So Carol, thanks for asking that question. All right, what do we got next?

I found that notebook, too. I should have brought that in. My $50 lab notebook. Yeah. I talked about it in some, one of the mini podcasts interviews I did recently. We got into it. I can't remember who it was now though. I've been doing too many of these Jesse. Yeah.

I will bring it in. So for people who don't know, I talk about how it MIT, during my postdoc, I bought a lab notebook. Lab notebooks are very expensive because maybe I talked about that with Adam Grant. Well, whatever. Live notebooks are very expensive because they're archival, right? So for like patent disputes, et cetera, this is how you record this was the day when I had this idea, right? So like you end up inventing the telephone. you have your lab notebook will actually be how you establish priority. So it's very, this thick paper, they're all stamped with numbers, uniquely stamped, very thick covers because these are meant to be stored for potentially decades, really good spiral binding. They're very high quality notebooks. And so I had this experiment at MIT where I bought one of those. And I think it was $50, might've been $70 on a remember. But I bought one because my thought was, I'm going to take this notebook more seriously. So when I'm working on proofs, I'm gonna, it's gonna make me be more careful because I don't want to just scribble in something that costs so much money. And in the book, I talk about how I went back recently and I went through that $50 notebook. And counted up every idea in that notebook that either became a peer reviewed published paper or an NSF grant. And it was a really big number. I forgot exactly what it was. I think it was like seven or eight different papers in grants. Came out of this one notebook. And it's all very, all my handwriting's very uncharacteristically neat in the diagrams are careful. So the idea here, the bigger idea is, when it comes to the most important thing you do, if you're a knowledge worker, so the most value producing skilled cognitive labor that you do, invest in your tools, spend money on your tools. Because the signals to yourself, I take this really seriously. And then your mind just like, this is for real, let's go, let's rock and roll. Like we're doing something really serious here, right? It's like a radio people, I used to hear radio people had a hard time at first when they shifted to the podcast format. Even when they were getting bigger audiences on their podcast, because when they were doing radio, it was a much more expensive studio setup. And here's the soundproof room and the engineer and the big soundboard. And just the seriousness of the context made it seem like a more serious endeavor than when they just had, you know, an SM7 in their attic. It's the tools can really matter. So this means, for example, don't use free software, pay for the full version of whatever you're using, get the best tool. If you're, if screenwriting's what you do, you should have the final, whatever the, what do they call? What do they use? Final draft. I don't know what the big screenwriting software is.

It's not a cut.

You know, like have the good software, right? You scriptener, if you're doing non-fiction or novel writing, like, and pay for it, you know, if you're a scientist, have a really good, you know, late tech or like, editor, like, mark up editor that you use, really good notebooks. If you're podcasting once your audience starts to grow, get a really good, you invest that money back into your sound equipment to make it better. It's like a logical as much as it is practical. So Thomas is asking, how do you know if you're taking this too far? I was going to say invested proportion to the value you're creating, but I actually want to edit that. Invest in proportion to the value you could credibly be creating in the near future. So I want it, for example, if I was just turning a podcast by a $700 because you're like, I'm probably not going to be generating enough value and enough ad revenue, et cetera, to really justify that yet. But maybe I will buy the new sure product that has the built in DDA converter. The thing I use when I'm on the road, it's like 130 bucks. I don't know. I think the audience I might grow the next six months is big enough that it's worth having spent 150 bucks on the mic and 50 bucks on good headphones. Because it signals I'm taking this seriously, but it's kind of in proportion to what I'm doing. But I'm not going to spend $2,000 a month on a studio lease and have a $5,000 worth of equipment yet. Now, on the other hand, if your show is starting to produce $1,000 a month, $500 a month, then add revenue. This is in proportion. Actually, let me make this investment to be six months worth of the ad revenue. That's in proportion to what I'm doing. So you want to keep it the investment into proportion to the value you are creating or conceivably will be creating in the near future. And it's not always a clear cut number of course. You could be working for a large organization, invested in a new tool. You might not have a specific revenue number. They say you generate it. But you're like, this thing I'm doing in this company is really important is moving my stock, my proverbial stock higher in this company. So I'm going to invest in getting the better version of this tool. I'm going to get a better whatever it is, right? So yeah, you don't want to just go crazy. What's the most expensive thing I can get? But you also don't want to go free. So stay in proportion, whatever that means to you, with the value you could credibly be creating now or in the near future. I think office space is a tool. Yeah, like having a studio for podcasting, but also if you're a knowledge worker, like you're a writer or something like this, and you're doing well at it, like investing in I have a place to go to write. I think that's like investing in a tool that makes sense.

Yeah, he loves the details. Right. And I was saying like this is a reasonable if you can afford it. It's a reasonable investment. And afford it means, I mean, I sometimes use to 5% number. Like if you're a, especially if you're a creative, like you all you do is creatively produced stuff that is then sold for money. You should be in reinvesting 5% at least of your take home pay. in your tools and context. When I see someone who has a pretty successful podcast or there's successful writer, they're still working in difficult circumstances. I was like, this is part of the business of what you're doing. Yes, it's true. You can, you can't in theory do all of your writing at the kitchen table or do your podcasting in the closet. It's fine, right? And you're just, I watched one every dollar to come, but You have to think the spin money to make money type of mentality. Take five to ten percent of what your earnings. How can I use this to make my situation? My tools and situations better. A lot of people did that. They would have co-working spaces. They would have, you know, I write here not just here. I have better tools. I'm going to podcast. I'm going to rent the studio for my podcast each week for as opposed to doing in my house. It will lead you ultimately to producing better stuff and also just enjoying the process of doing it better. So maybe that's another rule. Five to 10% of your take-home income if you're a high level creative producer should be reinvested in all the tools and contexts you used to produce that work. I think Brandon Sanderson followed that rule, right? Because he makes a lot of money. His books are very successful and he built the underground layer that we've talked about. Yeah. Like the hidden underground Victorian Gothic layer where he goes to write.

I don't understand. I think he might be making.

I mean, how much do you think it would cost to make? There's completely underground. It's got to be expensive, right? And it's completely looked like custom furnished with woodwork. You think a million, I was going to say like half a million dollars.

Yes, I mean, like, it was in New York. Yeah. So that's probably more than five percent. I'm trying to think about that. It's been $500,000. I don't think it makes $2 million a year. All right. So he's spending a little bit more, but you know, he might make

Yeah.

I hope she has an awesome workspace. She followed this rule.

Well, so you can think about it both in terms of a new mental model. You can also think about it in terms of a collection of new first principles. So mental model for those who don't know, at least the way I use the term, is a cognitive structure you use for understanding a concept. So when you shift your mental models, it can give you a whole new understanding of how some part of the world or your life actually works, which can completely change the way you approach it. Principles are first principles. I think of as core ideas that are generative. From these ideas, you can generate new decisions about what to do and what not to do. It's a core principle from which I can didn't derive action. I should stop doing this. I should do more of that. So use it to judge or evaluate potential actions. So I think if that is like a generative idea, sometimes called those. So the mental model shift embedded in slow productivity is this idea that pseudo productivity The thing that we have been implicitly referring to when we talk about being productive and knowledge work is not actually that productive. If we really mean my productive production of stuff that matters, right? That's a big mental model shift. The prior mental model shift, I think the mental model we have for knowledge work is we try to without realizing it adapt the industrial agricultural ideas of productivity to knowledge work. even though they don't fit. And remember, the agricultural and industrial notions of productivity are all about output per input. So the B more productive is the more efficiently transformed inputs and the outputs. the assembly line increase the model T's per labor hour by a factor of 10, for example. So then when we thought about being productive in knowledge work, we had this model of trying to squeeze more model T's out, which meant that in a assembly line is more efficient way of putting together a model T. So it was a mental model of productivity based on efficiency and speed. It's why when we hear critiques of hustle culture for magazine writers, they're always talking about Frederick Winslow Taylor. The creator of scientific management, which is the epitome of industrial productivity. How do we get the movements that are producing the thing that this foundry or factory produces as efficient as possible? And so we just assume, well, that's what productivity is. And so if we say I want to be productive in knowledge, work it's about efficiency and optimization and hacks and all these type of things. But it's not really, right? So my book's slope productivity shifts the mental model. That's not actually what we've been doing because we don't have we we can't bring Frederick Winslow Taylor into a knowledge work office. What is he measuring with his stopwatch? How fast you type when you answer emails? You know, like how you put stuff on your calendar's no clear thing you're doing. And so this mental model shifts is like, no, what we've been doing instead of student productivity, which is just activity, you just need to demonstrate that you're here in doing things, which in the model world means sending emails, replying to Slack, jumping on calls and going to meetings. This is how what we mean by productivity is it has very little to do with like efficiency or squeezing the speed at which we do things. And it has, it's not good, right? Test them at the biology. We're not doing Winslow Taylor. We're doing suitor productivity. Suitor productivity does actually up the produce a lot of valuable stuff in the in any way. It's actually a slower approach to work with more careful workload management and variation and a real care for quality. That'll produce in the end more stuff than matters. That'll push CBS from number three to number one. Not how active we are. So that's the key mental model shift. What are the key first principles for achieving that shift? Well, that's my three principles of slow productivity. Do fewer things work at a natural pace, obsess over quality. These are generative first principles. I introduce the concepts in the chapter dedicated to each. And then from that principle, we move to a wide variety of practical advice. They're generative principles from which actionable specific ideas, suggestions, and filters can be derived. So good terminology, so you'll I appreciate it. That's a good way of trying to capture what's new and what's interesting about this concept. All right, let's do one more question here. It looks like a long one. Yeah, go. All right.

That's a good question, Peter. Good Greek mythology reference. That's like old school. Old school deep questions. I appreciate that. So here's how I would recommend reading slow productivity. This part one part two part one is this whole concept of pseudo productivity. How do we get here? What's the real problem? The mental model shift part two. Here's the three principles. Let's explain each to break them down in the concrete action. I would read both parts all the way through first. I don't particularly care on the speed, but I would read the whole thing first. Why? The principles relate to each other. that when we get the principal three obsessive equality, I sort of end up revealing this is actually the glue that holds the first two together. And like without this, the first two are not going to do well in isolation. So I would just read the whole thing completely shift your mental model. And then you can go back through more carefully and say, okay, so where do I want to start and you actually might start with principal three and you might go back to that. Let me let me go back to it this week and look through the advice and like where do I want to start what do I want to actually try here and and maybe get that going for a few weeks and then so okay now I'm going to work on the workload that doing fewer things now I'm going to go back to that chapter let me give it a few weeks to experiment with it so I would read the whole thing. And then I would go through principle by principle in the order that makes most sense to what resonates with you. And you could spend a month per principle really. Because a lot of it's experimental. Let me try this. Let me get some feedback. Let me adjust this. You're sort of experimenting with each of these principles. Once you've done that for all three, it's now we're like three months out from your first getting the book. That's when you're going to start to feel the synergy. of the stuff starting to click. Like my obsession over quality is helping me do fewer things and the natural pace now feels inevitable as opposed to contrive. And everything starts to work together and you're going to begin to get that feeling and relieve that slow productivity advantage. So that's a good question, Peter. That's how I would do it. All right. We have a call. Yep. All right. Let's hear that. Okay.

There's nothing I can say on perfect. All right, so what do we got next? That's a good question. I think people often get me backwards. So they think like I have all of these perfected systems and this goes back to my our mental model discussion that I have these like perfected systems that like optimize what I produce. It is the exact opposite. The philosophies I deploy in my life are trying to deal with all of the sort of imperfections and stubborn inefficiencies that are intrinsic to me as a person. So I'm not just slow to get ready, though that's definitely a big thing. I don't, I'm not fast with stuff. I really deal poorly with having a lot to do, like a crowded calendar day. I talked about this some on Andrew Huberman's podcast. that in grad school I developed this acute insomnia that would episodic would come and go. Right. And it was a real, it really shook me up because it was, oh, I don't control this. So it like something else can just come in and like take away my ability to, you know, do work. So I'll just be like really tired or something like this. And a lot of my ideas and strategies, for example, a case in point, is dealing with that reality. Like a lot of my slow productivity approach was dealing with this idea of, well, I can't be someone that just gets after it every day because what if I'm really tired or I'm not sleeping? And so I reoriented my whole creative life around pursuits where it doesn't really matter what you do tomorrow, but it does matter that over the next few months you do make a lot of progress. So I began to get this allergy to crowded schedules because if I have crowded schedules every day, what happens when I'm tired or I'm sick? It's a problem. But if I'm riding a book over like a four month period, I can have periods in there where I'm not, yeah, I didn't write for two days. It's fine. And I can come back on the other days when I'm doing better. Why do I, why do I have a shutdown routine? Because the anxiety of thinking about my doctoral dissertation was keeping me distracted me in the evening. I had to invent the shutdown routine to try to train the, to tame that. Why do I have fixed schedule productivity to make sure that I don't work too much? Like in the keep things, the keep things reasonable, right? Why do I limit the number of projects I work on? I know we joke I have seven jobs, but what do I do? I'm a professor and I write and I even made those the same thing now because now I write about the things that I study as a professor. I don't use social media. It took me 10 years to start a podcast. I only give it a half a week and even that stresses me out. So like my whole life is dealing with, I'm not someone that can work 15 hour days. I'm not the smartest person in the room. Stuff takes time. I'm not always the best visionary. I come to Insight Slow. And so my whole idea is like, don't do too many things, give yourself flexibility and just try to work very steadily on the things that matter. It's a Steve Martin's advice, you know, be so good at the category, you eventually go things will become. That's my whole motto. So all of my systems are really trying to deal with an imperfect reality. You know, because I can't sit there and crank on math equations all day or write 50 hours a day. So you shouldn't think about things that way. It should be about there's only so much I can do. Let me like and we're imperfect and we're variable. So how do I make sure given all that reality and all that chaos? How do I make sure that I'm still making forward progress on the things to matter so that even if last week was a disaster last year will be something that I'm proud of. And all this ideas was I've been working on for 20 years now is all sort of consolidated in slow productivity. That's where that philosophy came from. It's like how to produce cool stuff if you're a human. So I appreciate the, appreciate the call. Let's do a quick case study. Let's see. All right, so the case study's not slow productivity theme. So let's let's call this the end of the slow productivity takeover and get that theme music one more time, Jesse. All right, that's great. Slow productivity case over by the book. If you haven't read it, review the book if you read it and liked it. All right, case studies from M. High Cal, I'm a diplomat with the U.S. Department of State currently stationed overseas. I use your ideas to plan my next career move within my organization. In the foreign service, we rotate assignments every two to three years and I had been feeling a bit burnt out with my current position and not motivated to start looking for my next job. Using your lifestyle center career planning, I set criteria for the types of positions I would target. I wanted to move back to DC and avoid positions involving emergency or after hours duties. I had accepted that this could be a career detour and not great for promotion, but to my surprise, I found many intriguing positions that match my criteria. Last month, I happily accepted an offer at the State Department's Diplomatic Training Institute. I will be leading a medium-sized team, so it will still be a substantive role, but it offers an element of seasonality, flexibility, and hopefully no after-hours emergencies. I think this position will be a great fit as I transition back to the US with my family. What I like about this case study is that it really does highlight the power of lifestyle centered career planning too often especially if you're high achieving. You just let the criteria of like what is objectively the most impressive job of my options. Be what drives you. As you imagine it's going to sound great when I say I'm now the senior diplomat in the such and such conflict. But it turns out the the opportunities you have to say that and receive praise, you know, it's like seven times in the year. and then you're stuck with the reality of that job and it might have elements to it that you hate. So by far the the more sane thing to do if you're trying to build a sustainable career is to say, what do I want in my lifestyle in general? What type of place do I want to live in? What is the rhythm of my day like? What's the feel of my work like? What else is going on in my life? And work backwards from that to figure out your career. This is a great example of that. So our correspondent here has a good sense from the State Department Foreign Service. What it's like to have these after hours or emergency duties. He knows he doesn't want that. He wants seasonality, flexibility, type of stuff. I like more of a slow, productive, compatible role. Knowing that, working backwards from that lifestyle, led him to choices that want to just be the obvious next thing to choose. And I think this is a really cool choice he made. You know, I became a professor in part because of a lifestyle strategic career planning. I wanted the flexibility, the ability to write and have seasonality. There's less money in this than going to the tech jobs I had offers for out of college. But I wasn't trying to do the most impressive thing. I was trying to do the thing to fit my lifestyle vision better. So I think it was a great case study of lifestyle centered career planning and action. If you're new and you want to know more about that, probably the best book of mind to read is so good they can ignore you from 2012. That's my contrary intake on building a career that you love. We have a final segment coming up where I'm going to react to something interesting. But first, let's hear from another sponsor. 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Let me say between Bradley Cooper and me, so like the the the Georgetown spokespeople for midmobile between us, we earned three Academy Award nominations. So that's pretty good. Look, I mean, that's three more than a lot of people. All right, enough that nonsense. Let's do our final segment. So for a final segment I like to react to something interesting I've encountered recently and today I want to talk about an article that many of you sent me from the Wall Street Journal. I'll bring to headline up here on the screen. Cool graphic here of the TikTok logo with a cage below it and someone walking out of the cage. The article is written by a reporter who has an awesome name for writing tech articles, Julie jargon. It's an awesome name. The article is titled, why some 20-somethings are saying no to TikTok? I also wrote about this article in my newsletter. So if you don't subscribe, you should at calendarport.com. So here's the thing they're talking about. The newshook for this article is that TikTok reported a near 10% drop in users between 18 and 24. That's a lot for one year to lose 10% of a user group, especially when you're a service that is advertising yourself to investors as being on the rise. So Julie jargon went to talk to some of these users. Some of these young 20 something users, a TikTok and say, why did you quit? What she found was they were getting uneasy with their addictive relationship to the tool. She profiled one reader in particular, who couldn't put it down. So he would hold it, he can only take garbage bags to the outside to the can one at a time because he had to hold TikTok while he's putting out the garbage. The cook, he would hold the phone with one hand and chop with the other. He literally couldn't have it out and be watching it. And at some point he realized like this is probably not great. I think this is probably not maximizing my chances of the full and healthy life. And he got off of it and it's hard. And a lot of them say like the addictive thing meant they had to try multiple times. It was very much reminiscent of the way you hear people talking about quitting smoking. The fourth time at stuck, the sixth time at stuck. So it was interesting. It was definitely the terminology of addiction when people are talking about leaving the service. But what I thought was relevant about this was it is a demonstration of the idea that I talked about in this article, and the New Yorker from 2022, just as a similar graphic, I'm looking at this. Interesting. My article is First Ladies and Gentlemen. So this article also has a graphic of people leaving curved cages. So I wrote this article in the summer of 2022 called TikTok in the fall of the social media giants. And I'm going to argue that in this New Yorker piece, I predicted a dynamic that we are now seen reported on in this more recent Wall Street Journal piece. What I said in this New Yorker piece, is TikTok is making a bit of a faulty in bargain. They're going all in on being as addictive as possible, which means the straight-up algorithmic curation of the most addictive possible content they can give for each possible user. As a result, they've got very fast user growth in their users' use of the lot. But in doing so, they abandoned the model of the legacy social media giants in which their value proposition depends on a hard one's social graph. Twitter, Facebook, Instagram, a big part of their value proposition was over the years. Their users have painstakingly built up these social graphs. So who their friends are and who they follow. There's a huge first mover advantage here. No other company will ever get users to spend so much time creating these graphs. So only they have these giant social graphs. No one else will have them again. So the legacy social media players have these social, the social graphs that are a first mover advantage that they can entrench on. Now, TikTok said, those are great, but depending just on a social graph, doesn't give you the most addictive possible experience. So we're going to give you the most addictive possible experience. Here's the Fausty in bargain. The social graph might not give you the most addictive possible experience, but I have a hard time leaving that service. Because it's not just providing me an abstract stream of distraction. It has all my friends on there that I've said, it has these follower networks on click. I don't want to leave that behind. There's something there of value that doesn't exist elsewhere. TikTok doesn't have that. So what's saying is people can walk away without losing anything. Now it's hard because it's addictive, but once they break the addiction, they have not left behind a social graph, a collection of followers, people, friends that they've indicated. It's just an abstract stream of brain stream stimulation, which they could replace with any other stream of brain stream stimulation. They could with a video games or with podcasts or with high-end streaming things or drug use, right? I mean, it's all kind of doing the same, it's all that are changeable. This is the direction that the social media markets going in because you get more engagement with addiction, but it makes it more dynamic. It makes it more tenuous. And that's what I argued in this 2022 article. We're going to start to see a more tumultuous attention economy, digital attention economy landscape with services coming to go and and big sweeps and as people jump around the various things. And I think with this migration of 20 somethings away from TikTok all at once where you're seeing that thesis start to play out. So I think those are the key dynamics to understand. Social graph is a entrenched advantage that produced content that was more addictive than just straight news, straight production. Pure algorithmic distraction is even more addicting and compelling, but doesn't have the entrenchment of the social graph. And so we're seeing the sort of in-game, I think, of the long-standing legacy players that we can get lots more dynamic shifting in the market. Ultimately, I think that's good. Because when you don't have a small number of things that everyone feels compelled to use, you as a pursuant of the deep life have a lot more social flexibility to construct the online life that you want. The more variety there is out there, the more easy and acceptable it is for you to create something that you really like. So I think ultimately it's good news and it's cool to see the theories I predicted starting to actually play out in reality. All right, Jesse, that's it. I think that's our episode for today. Thank you everyone for listening and watching. We'll be back next week with another normal episode of the Deep Questions podcast. Remember to send your ideas for topics you like or want to hear about the Jesse at calnewport.com. And otherwise, I'll see you next week. And until then, as always, stay deep. Hi, it's Cal here. One more thing before you go. If you like the deep questions podcast, you will love my email newsletter, which you can sign up for at calnewport.com. Each week I send out a new essay about the theory or practice of living deeply. I've been writing this newsletter since 2007 and over 70,000 subscribers get sent to their inboxes each week. 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