Once, in an experiment, the Harvard University social psychologist Daniel Gilbert and a colleague gave hundreds of people the opportunity to pick a free poster from a selection of art prints. Then he divided the participants into two groups. The first group was told that they had a month in which they could exchange their poster for any other one; the second group was told that the decision they’d already made had been final. In follow-up surveys, it was the latter group — those who were stuck with their decision, and who thus weren’t distracted by the thought that it might still be possible to make a better choice — who showed by far the greater appreciation for the work of art they’d selected.
The final principle is that, more often than not, originality lies on the far side of unoriginality. The Finnish American photographer Arno Minkkinen dramatises this deep truth about the power of patience with a parable about Helsinki’, main bus station. There are two dozen platforms there, he explains, with several different bus lines departing from each one — and for the first part of its journey, each busk leaving from any given platform takes the same route through the city as all the others, making identical stops. Thinly’. each stop as representing one year of your career, Minkkinen advises photography students. You pick an artistic direction — perhaps you start working on platinum prints of nudes — and you begin to accumulate a portfolio of work. Three years (or bus stops) later, you proudly present it to the owner of a gallery. But you’re dismayed to be told that your pictures aren’t as original as you thought, because they look like knock-offs of the work of the photographer Irving Penn; Penn’s bus, it turns out, had been on the same route as yours. Annoyed at yourself for having wasted three years following somebody else’s path, you jump off that bus, hail a taxi, and return to where you started at the bus station. This time, you board a different bus, choosing a different genre of photography in which to specialise. But a few stops later, the same thing happens: you’re informed that your new body of work seems derivative, too. Back you go to the bus station. But the pattern keeps on repeating: nothing you produce ever gets recognised as being truly your own.
What’s the solution? ‘It’s simple,’ Minkkinen says. ‘Stay on the bus. Stay on the fucking bus.’ A little further out on their journeys through the city, Helsinki’s bus routes diverge, plunging off to unique destinations as they head through the suburbs and into the countryside beyond. That’s where the distinctive work begins. But it begins at all only for those who can muster the patience to immerse themselves in the earlier stage — the trial-and-error phase of copying others, learning new skills and accumulating experience.
In my days as a paid-up productivity geek, it was this aspect of the whole scenario that troubled me the most. Despite my thinking of myself as the kind of person who got things done, it grew painfully clear that the things I got done most diligently were the unimportant ones, while the important ones got postponed — either forever or until an imminent deadline forced me to complete them, to a mediocre standard and in a stressful rush. The email from my news-paper’s IT department about the importance of regularly changing my password would provoke me to speedy action, though I could have ignored it entirely. (The clue was in the subject line, where the words ‘PLEASE READ’ are generally a sign you needn’t bother reading what follows.) Mean-while, the long message from an old friend now living in New Delhi and research for the major article I’d been planning for months would get ignored, because I told myself that such tasks needed my full focus, which meant waiting until I had a good chunk of free time and fewer small-but-urgent tasks tugging at my attention. And so, instead, like the dutiful and efficient worker I was, I’d put my energy into clearing the decks, cranking through the smaller stuff to get it out of the way — only to discover that doing so took the Whole day, that the decks filled up again overnight anyway, and that the moment for responding to the New Delhi email or for researching the milestone article never arrived. One can waste years this way, systematically postponing precisely the things one cares about the most.
What’s needed instead in such situations, I gradually came to understand, is a kind of anti-skill: not the counter-productive strategy of trying to make yourself more efficient, but rather a willingness to resist such urges — to learn to stay with the anxiety of feeling overwhelmed, of not being on top of everything, without automatically responding by trying to fit more in. To approach your days in this fashion means, instead of clearing the decks, declining to clear the decks, focusing instead on what’s truly of greatest consequence while tolerating the discomfort of knowing that, as you do so, the decks will be filling up further, with emails and errands and other to-dos, many of which you may never get round to at all. You’ll sometimes still decide to drive yourself hard in an effort to squeeze more in, when circumstances absolutely re-quire it. But that won’t be your default mode, because you’ll no longer be operating under the illusion of one day making time for everything.
The same goes for chores: in her book More Work for Mother, the American historian Ruth Schwarty Cowan shows that when housewives first got access to ‘laboursaving’ devices like washing machines and vacuum cleaners, no time was saved at all, because society’s standards of cleanliness simply rose to offset the benefits; now that you could return each of your husband’s shirts to a spotless condition after a single wearing, it began to feel like you should, to show how much you loved him. Work expands so as to fill the time available for its completion, the English humorist and historian C. Northcote Parkinson wrote in 1955, coining w became known as Parkinson’s law. But it’s not merely a joke and it doesn’t apply only to work. It applies to everything that needs doing. In fact, it’s the definition of what needs doing that expands to fill the time available.
The same logic, Abel points out, applies to time. If you try to find time for your most valued activities by first dealing with all the other important demands on your time, in the hope that there’ll be some left over at the end, you’ll be disappointed. So if a certain activity really matters to you – a creative project, say, though it could just as easily be nurturing a relationship, or activism in the service of some cause – the only way to be sure it will happen is to do some of it today, no matter how little, and no matter how many other genuinely big rocks may be begging for your attention. After years of trying and failing to make time for her illustration work, by taming her to-do list and shuffling her schedule, Abel saw that her only viable option was to claim time instead – to just start drawing, for an hour or two, every day, and to accept the consequences, even if those included neglecting other activities she sincerely valued. If you don’t save a bit of your time for you, now, out of every week,’ as she puts it, ‘there is no moment in the future when you’ll magically be done with everything and have loads of free time.’ This is the same insight embodied in two venerable pieces of time management advice: to work on your most important project for the first hour of each day, and to protect your time by scheduling ‘meetings’ with your-self, marking them in your calendar so that other commitments can’t intrude. Thinking in terms of ‘paying yourself first’ transforms these one-off tips into a philosophy of life, at the core of which lies this simple insight: if you plan to spend some of your four thousand weeks doing what matters most to you, then at some point you’re just going to have to start doing it.