Desk Inspiration Quotes

Despite my ghoulish reputation, I really have the heart of a small boy. I keep it in a jar on my desk.

If you get stuck, get away from your desk. Take a walk, take a bath, go to sleep, make a pie, draw, listen to ­music, meditate, exercise; whatever you do, don't just stick there scowling at the problem. But don't make telephone calls or go to a party; if you do, other people's words will pour in where your lost words should be. Open a gap for them, create a space. Be patient.

Why did she do it? Nobody dared to ask. Because - what courage! Who had the courage to burn herself? Twenty aspirin, a little slit alongside the veins of the arm, maybe even a bad half hour standing on a roof: We've all had those. And somewhat more dangerous things, like putting a gun in your mouth. But you put it there, you taste it, it's cold and greasy, your finger is on the trigger, and you find that a whole world lies between this moment and the moment you've been planning, when you'll pull the trigger. That world defeats you. You put the gun back in the drawer. You'll have to find another way. What was that moment like for her? The moment she lit the match. Had she already tried roofs and guns and aspirins? Or was it just an inspiration? I had an inspiration once. I woke up one morning and I knew that today I had to swallow fifty aspirin. It was my task: my job for the day. I lined them up on my desk and took them one by one, counting. But it's not the same as what she did. I could have stopped, at ten, or at thirty. And I could have done what I did do, which was go onto the street and faint. Fifty aspirin is a lot of aspirin, but going onto the street and fainting is like putting the gun back in the drawer. She lit the match.

If you want to concentrate deeply on some problem, and especially some piece of writing or paper-work, you should acquire a cat. Alone with the cat in the room where you work ... the cat will invariably get up on your desk and settle placidly under the desk lamp ... The cat will settle down and be serene, with a serenity that passes all understanding. And the tranquility of the cat will gradually come to affect you, sitting there at your desk, so that all the excitable qualities that impede your concentration compose themselves and give your mind back the self-command it has lost. You need not watch the cat all the time. Its presence alone is enough. The effect of a cat on your concentration is remarkable, very mysterious.

In writing The Invention of Wings, I was inspired by the words of Professor Julius Lester, which I kept propped on my desk: “History is not just facts and events. History is also a pain in the heart and we repeat history until we are able to make another’s pain in the heart our own.

I have a special pair of poop shoes under my desk. Whenever I need to drop a deuce, I slip them on and scurry to the restroom, and no one ever knows it's me. Like, if I'm wearing Louboutins that day, and my producer sees Earth shoes in the stall....well, you get the idea. It was truly a lightbulb moment when that came to me.

Your job is to be the hardest motherfucker in your platoon," he said while pointing at me across the desk. "Do that, and everything else will fall into place." He added that I was assigned to Bravo Company, call sign Hitman, and wished me luck.

Inside the mirrored elevator, Mulch used a telescopic pointer to push P for the penthouse. For the first few months he had jumped to reach the button, but that was undignified behavior for a millionaire. And besides, he was certain that Art could hear the thumping from the security desk.

Writing is not a job or activity. Nor do I sit at a desk writing for inspiration to strike. Writing is like a different kind of existence. In my life, for some of the time, I am in an alternative world, which I enter through day-dreaming or imagination. That world seems as real to me as the more tangible one of relationships and work, cars and taxes. I don't know that they're much different from each other.

Doubt is just another color of fear.

So what do you do when you are stuck? The first thing I do when I am stuck is pray. But I’m not talking about a quick, Help me Lord, Sunday’s a comin’ prayer. When I get stuck I get up from my desk to head for my closet. Literally. If I‘m at the office I go over to a corner that I have deemed my closet away from home. I get on my knees and remind God that this was not my idea, it was His… None of this is new information to God… Then I ask God to show me if there is something He wants to say to prepare me for what He wants me to communicate to our congregation. I surrender my ideas, my outline and my topic. Then I just stay in that quiet place until God quiets my heart… Many times I will have a breakthrough thought or idea that brings clarity to my message. . . Like you, I am simply a mouthpiece. Getting stuck is one way God keeps me ever conscious of that fact.

Religion was supposed to be a matter of faith. Gods were not supposed to jump on your desk and snarl at you. They weren't supposed to sit in your office smoking cigarettes. God's didn't do anything. They were supposed to ignore you and let you suffer and die having never known whether your religion was a waste of time. Faith.

Seeing yourself as part of a creative lineage will help you feel less alone as you start making your own stuff. I hang pictures of my favourite artists in my studio. They're like friendly ghosts. I can almost feel them pushing me forward as I'm hunched over my desk.

Our first night in the house, my wife and I were lying in bed. I was thanking God for my blessings. Thanking God for not having to pull aside a dining room curain to have my children near—that they were right down the hall, asleep in their Superman underwear, their little chests rising and falling to the pulse of their dreams. I thought how some blessings are fickle guests. Just when we think they're here to stay, they pack their bags and move. When we're in the midst of blessing, we think it's our due—that blessing lasts forever. Next thing you know we're sitting helpless beside a hospital bed. All we're left with is a name on a wall, a toy in a desk, and memories that haunt our sleep. Sometimes we come to gratitute too late. It's only after blessing has passed on that we realize what we had.

You’ll be looking to make a niche for yourself in whatever dim, echoing caverns of academia may still exist by your time. I situate you at your desk, your hair tucked back behind your ears, your nail polish chipped—for nail polish will have returned, it always does. You’re frowning slightly, a habit that will increase as you age. I hover behind you, peering over your shoulder: your muse, your unseen inspiration, urging you on. You’ll labour over this manuscript of mine, reading and rereading, picking nits as you go, developing the fascinated but also bored hatred biographers so often come to feel for their subjects.

Ivanov: I am a bad, pathetic and worthless individual. One needs to be pathetic, too, worn out and drained by drink, like Pasha, to be still fond of me and to respect me. My God, how I despise myself! I so deeply loathe my voice, my walk, my hands, these clothes, my thoughts. Well, isn't that funny, isn't that shocking? Less than a year ago I was healthy and strong, I was cheerful, tireless, passionate, I worked with these very hands, I could speak to move even Philistines to tears, I could cry when I saw grief, I became indignant when I encountered evil. I knew inspiration, I knew the charm and poetry of quiet nights when from dusk to dawn you sit at your desk or indulge you mind with dreams. I believed, I looked into the future as into the eyes of my own mother... And now, my God, I am exhausted, I do not believe, I spend my days and nights in idleness.

Many a forenoon have I stolen away, preferring to spend thus the most valued part of the day; for I was rich, if not in money, in sunny hours and summer days, and spent them lavishly; nor do I regret that I did not waste more of them in the workshop or the teacher’s desk.

Just forget for a minute that you have spectacles on your nose and autumn in your heart. Stop being tough at your desk and stammering with timidity in the presence of people. Imagine for one second that you raise hell in public and stammer on paper. You’re a tiger, a lion, a cat. You spend a night with a Russian woman and leave her satisfied. You’re twenty five. If rings had been fastened to the earth and sky, you’d have seized them and pulled the sky down to earth

Take time for yourself. If you feel guilty eating lunch away from your desk or lingering in a bath, let the deprogramming begin.

Catharine’s office had two plants, three chairs, two desks, one hutch, six personal photos in standing frames, one of those clichéd motivational posters on the wall that had two crows tearing out the insides of a reasonably sized forest cat with the cheesy inspirational caption, “Unremittingly, you must stare into the sun,” and a clay paperweight most likely made by Catharine’s daughter (it was signed by your seed in adorable small-child handwriting).

Yesterday it was sun outside. The sky was blue and people were lying under blooming cherry trees in the park. It was Friday, so records were released, that people have been working on for years. Friends around me find success and level up, do fancy photo shoots and get featured on big, white, movie screens. There were parties and lovers, hand in hand, laughing perfectly loud, but I walked numbly through the park, round and round, 40 times for 4 hours just wanting to make it through the day. There's a weight that inhabits my chest some times. Like a lock in my throat, making it hard to breathe. A little less air got through and the sky was so blue I couldn’t look at it because it made me sad, swelling tears in my eyes and they dripped quietly on the floor as I got on with my day. I tried to keep my focus, ticked off the to-do list, did my chores. Packed orders, wrote emails, paid bills and rewrote stories, but the panic kept growing, exploding in my chest. Tears falling on the desk tick tick tick me not making a sound and some days I just don't know what to do. Where to go or who to see and I try to be gentle, soft and kind, but anxiety eats you up and I just want to be fine. This is not beautiful. This is not useful. You can not do anything with it and it tries to control you, throw you off your balance and lovely ways but you can not let it. I cleaned up. Took myself for a walk. Tried to keep my eyes on the sky. Stayed away from the alcohol, stayed away from the destructive tools we learn to use. the smoking and the starving, the running, the madness, thinking it will help but it only feeds the fire and I don't want to hurt myself anymore. I made it through and today I woke up, lighter and proud because I'm still here. There are flowers growing outside my window. The coffee is warm, the air is pure. In a few hours I'll be on a train on my way to sing for people who invited me to come, to sing, for them. My own songs, that I created. Me—little me. From nowhere at all. And I have people around that I like and can laugh with, and it's spring again. It will always be spring again. And there will always be a new day.

The hours spent forming a written work can make one obsessive, distracted, compulsive, and neurotic even, especially when it comes to those rare, precious occasions of streaming pure inspiration. To have a muse moment interrupted - to watch her scuttle back into hiding with unshared insight remaining on the tip of her tongue - is a wicked irritation. When a writer's eyes glaze over, when she stares off at nothing or appears to be memorizing the lines on a blank page, when she falls asleep at the desk... tiptoe softly. For a writer's greatest desire is to receive inspiration; her greatest nightmare, to have tossed to the wind what could have been captured in words.

Rubbing salt in my wound won't change what I did.

Desks are terrible places, no matter how many wheels a chair might have. You can't do much about how drawers fill up.

I had no study in those days, not even a desk or file or bookcase to call mine alone....It might have happened sooner [the writing of work worthy of publication] had I had a room of my own and fewer children, but somehow I doubt it. For as I look back on what I have written, I can see that the very persons who took away my time and space are those who have given me something to say.

school-boy. The spectators thou regardest as on work-days they regard each other. For thee, then, it may be well to wish thyself behind a desk, over ruled ledgers, collecting tolls, and picking out reversions. Thou feelest not the co-operating, co-inspiring

I do not write every day. I write to the questions and issues before me. I write to deadlines. I write out of my passions. And I write to make peace with my own contradictory nature. For me, writing is a spiritual practice. A small bowl of water sits on my desk, a reminder that even if nothing is happening on the page, something is happening in the room--evaporation. And I always light a candle when I begin to write, a reminder that I have now entered another realm, call it the realm of the Spirit. I am mindful that when one writes, one leaves this world and enters another. My books are collages made from journals, research, and personal experience. I love the images rendered in journal entries, the immediacy that is captured on the page, the handwritten notes. I love the depth of ideas and perspective that research brings to a story, be it biological or anthropological studies or the insights brought to the page by the scholarly work of art historians. When I go into a library, I feel like I am a sleuth looking to solve a mystery. I am completely inspired by the pursuit of knowledge through various references. I read newpapers voraciously. I love what newspapers say about contemporary culture. And then you go back to your own perceptions, your own words, and weigh them against all you have brought together. I am interested in the kaleidoscope of ideas, how you bring many strands of thought into a book and weave them together as one piece of coherent fabric, while at the same time trying to create beautiful language in the service of the story. This is the blood work of the writer. Writing is also about a life engaged. And so, for me, community work, working in the schools or with grassroots conservation organizations is another critical component of my life as a writer. I cannot separate the writing life from a spiritual life, from a life as a teacher or activist or my life intertwined with family and the responsibilities we carry within our own homes. Writing is daring to feel what nurtures and breaks our hearts. Bearing witness is its own form of advocacy. It is a dance with pain and beauty.

Oranges and unicorns say the bells of St. . . .” She looked to Harriet for inspiration. “Clunicorns?” “Somehow I don’t think so.” “Moonicorns.” Sarah cocked her head to the side. “Better,” she judged. “Spoonicorns? Zoomicorns.” And . . . that was enough. Sarah turned back to her book. “We’re done now, Harriet.” “Parunicorns.” Sarah couldn’t even imagine where that one had come from. But still, she found herself humming as she read. Oranges and lemons say the bells of St. Clements. Meanwhile, Harriet was muttering to herself at the desk. “Pontoonicorns xyloonicorns . . .” You owe me five farthings say the bells of St. Martins. “Oh, oh, oh, I have it! Hughnicorns!” Sarah froze. This she could not ignore. With great deliberation, she placed her index finger in her book to mark her place and looked up. “What did you just say?” “Hughnicorns,” Harriet replied, as if nothing could have been more ordinary. She gave Sarah a sly look. “Named for Lord Hugh, of course. He does seem to be a frequent topic of conversation.

and fit, and he carried himself with a confident poise that inspired trust and respect. He gestured at one of the two seats in front of his glass-and-chrome desk and waited until I sat to settle into his Aeron chair. Against the backdrop of sky and skyscrapers, Mark looked accomplished and powerful.

For myself I have now no faith in miraculous conception. I have given it every chance. I have spent many mornings at Lord’s hoping that inspiration would come, many days on golf courses; I have even gone to sleep in the afternoon, in case inspiration cared to take me by surprise. In vain. The only way I can get an "idea" is to sit at my desk and dredge for it. This is the real labour of authorship with which no other labour in the world is comparable.

I picture you as a young woman, bright, ambitious. You’ll be looking to make a niche for yourself in whatever dim, echoing caverns of academia may still exist by your time. I situate you at your desk, your hair tucked back behind your ears, your nail polish chipped—for nail polish will have returned, it always does. You’re frowning slightly, a habit that will increase as you age. I hover behind you, peering over your shoulder: your muse, your unseen inspiration, urging you on.

I'm not sure if people understand what it means to be a writer. It's not like it feels so great. I mean, most of the time you are sitting at your desk and bleeding out onto your computer screen, your notepad, your notebook... there's a lot of bleeding that goes on when you're a writer! You don't just work to sell books, you work to bind your wounds and put your skin back together again after opening yourself up all over the place! I don't know how other writers write... but this is how I write.

(I just used my Bible to smash a bug on my desk. That’s bad, isn’t it?) The

Make it a point, several times a day, to stop what you are doing and "find" God around you. Pick a moment, such as when you look at your watch, and make that a "God moment." Notice his presence in the obvious things like family pictures on your desk, or the not-so-obvious things like the mess of dishes in the sink - yet another day that he provided your family with food to eat.

At 4:32 I arrive at my desk, read what I have written the day before, rip it up, eat it, then sit, absolutely motionless for a period of six hours and eighteen minutes, waiting to be inspired

I picture you as a young woman, bright, ambitious. You’ll be looking to make a niche for yourself in whatever dim, echoing caverns of academia may still exist by your time. I situate you at your desk, your hair tucked back behind your ears, your nail polish chipped—for nail polish will have returned, it always does. You’re frowning slightly, a habit that will increase as you age. I hover behind you, peering over your shoulder: your muse, your unseen inspiration, urging you on. You’ll labour over this manuscript of mine, reading and rereading, picking nits as you go, developing the fascinated but also bored hatred biographers so often come to feel for their subjects. How can I have behaved so badly, so cruelly, so stupidly? you will ask. You yourself would never have done such things! But you yourself will never have had to.

All languages that derive fromLatin form the word 'compassion' by combining the prefix meaning 'with' (com-) and the root meaning 'suffering' (Late Latin, passio). In other languages- Czech, Polish, German, and Swedish, for instance- this word is translated by a noun formed of an equivalent prefixcombined with the word that means 'feeling' (Czech, sou-cit; Polish, wsspół-czucie; German, Mit-gefühl; Swedish, medkänsla). In languages that derive from Latin, 'compassion' means: we cannot look on coolly as others suffer; or, we sympathize with those who suffer. Another word with approximately the same meaning, 'pity' (French, pitié; Italian, pietà; etc.), connotes a certain condescension towards the sufferer. 'To take pity on a woman' means that we are better off than she, that we stoop to her level, lower ourselves. That is why the word 'compassion' generally inspires suspicion; it designates what is considered an inferior, second-rate sentiment that has little to do with love. To love someone out of compassion means not really to love. In languages that form the word 'compassion' not from the root 'suffering' but from the root 'feeling', the word is used in approximately the same way, but to contend that it designates a bad or inferior sentiment is difficult. The secret strength of its etymology floods the word with another light and gives it a broader meaning: to have compassion (co-feeling) means not only to be able to live with the other's misfortune but also to feel with him any emotion- joy, anxiety, happiness, pain. This kind of compassion (in the sense of soucit, współczucie, Mitgefühl, medkänsla) therefore signifies the maximal capacity of affective imagination, the art of emotional telepathy. In the hierarchy of sentiments, then, it is supreme. By revealing to Tomas her dream about jabbing needles under her fingernails, Tereza unwittingly revealed that she had gone through his desk. If Tereza had been any other woman, Tomas would never have spoken to her again. Aware of that, Tereza said to him, 'Throw me out!' But instead of throwing her out, he seized her and kissed the tips of her fingers, because at that moment he himself felt the pain under her fingernails as surely as if the nerves of her fingers led straight to his own brain. Anyone who has failed to benefit from the the Devil's gift of compassion (co-feeling) will condemn Tereza coldly for her deed, because privacy is sacred and drawers containing intimate correspondence are not to be opened. But because compassion was Tomas's fate (or curse), he felt that he himself had knelt before the open desk drawer, unable to tear his eyes from Sabina's letter. He understood Tereza, and not only was he incapable of being angry with her, he loved her all the more.

The Chicago literary tradition is born not out of its Universities, but out of the sports desk and the city desk of its newspapers. Hemingway revolutionized English prose. His inspiration was the telegraph, whose use, at Western Union, taught this: every word costs something, This, of course, is the essence of poetry, which is the essence of great prose. Chicagoan literature came from the newspaper, whose purpose, in those days, was to Tell What Happened. Hemingway's epiphany was reported, earlier, by Keats as " 'Beauty is truth, truth beauty' --that is all ye know earth, and all ye need to know." I would add to Keats' summation only this: "Don't let the other fellow piss on your back and tell you it's raining." I believe one might theoretically forgive one who cheats at business, but never one who cheats at cards; for business adversaries operate at arm's length, the cardplayer under the strict rules of the game, period. That was my first political epiphany. And now, I have written a political book. What are the qualifications for a Political Writer? They are, I believe, the same as those of an aspiring critic: an inability to write for the Sports Page.

If you’ve ever wondered what we’re missing by sitting at computers in cubicles all day, follow Jessica DuLong when she loses her desk job and embarks on this unlikely but fantastic voyage. Deeply original, riveting to read, and soul-bearingly honest, "My River Chronicles" is a surprisingly infectious romance about a young woman falling in love with a muscle-y old boat. As DuLong learns to navigate her way through a man’s world of tools and engines, and across the swirling currents of a temperamental river, her book also becomes a love letter to a nation. In tune with the challenges of our times, DuLong reminds us of the skills and dedication that built America, and inspires us to renew ourselves once again.

If you prefer sitting in traffic to sitting at your desk, if you pass office hours waiting for closing time, if you spend more time on Facebook than you do attending to important emails then perhaps it's time for you to consider quitting your job.

I was inspired by the words of Professor Julius Lester, which I kept propped on my desk: “History is not just facts and events. History is also a pain in the heart and we repeat history until we are able to make another’s pain in the heart our own.

Vane, you okay in there?” my mom calls through my door. I jump so hard I crash into my desk and knock off some books and video game cases. If my mom comes in and finds a gorgeous girl in a skimpy dress passed out on my worn gray rug, I’ll be grounded for the rest of eternity. Especially since all I have on at the moment are my Batman boxers. Pretty sure she won’t buy my ghost-guardian angel/freak-of-nature theories either. I stumble toward the door, prepared to barricade it with my dresser if I have to. “I’m fine, Mom,” I say as I grab the first T-shirt I see off my floor and throw it on, along with my gym shorts. “Then what’s all that banging?” Come on, Vane. Think! Inspiration strikes. “I found a date roach in my bed.” “Did you kill it?” My mom sounds farther away, like she jumped back. “I tried to, but now I can’t find it.” I don’t need to worry about my mom offering to help. She’s a big believer in the whole boys should kill all the bugs philosophy. “Well, I won’t distract you, then,” she says, and I can’t help smiling.

I have a sticky note on my desk with a quote written on it that I read somewhere. I don’t remember where I read it or who said it. I catch myself reading it sometimes. “Comfort my lonely soul and still my trembling heart.” For someone to say that means I’m not the only one who feels lonely.

In writing The Invention of Wings, I was inspired by the words of Professor Julius Lester, which I kept propped on my desk: “History is not just facts and events. History is also a pain in the heart and we repeat history until we are able to make another’s pain in the heart our own.” ACKNOWLEDGMENTS My deepest thanks to . . .

​He turned to pull the door closed and the warm air from the hall rushed through the narrow opening again. As he saw the yellow paper, the pencil flying, scooped off the desk and, unimpeded by the glassless window, sail out into the night and out of his life, Tom Benecke burst into laughter and then closed the door behind him.

Nabokov, Heinrich von Kleist, Raymond Carver, Jane Bowles, James Baldwin, Alice Munro, Mavis Gallant—the list goes on and on. They are the teachers to whom I go, the authorities I consult, the models that still help to inspire me with the energy and courage it takes to sit down at a desk each day and resume the process of learning, anew, to write.

Humans are not made for sitting at a desk all day. We have been evolving for millions of years to hunt animals through dense forest and vast plains. To walk huge distances in search of water. To spend hours searching for edible fruit to bring home to our families. The sedentary lifestyle many of us lead these days is no more than a by-product of the last few centuries.

I acknowledge the challenge of believing in a supernatural divinity. After all, in the natural a rock is a rock; a desk is a desk; my skin is my skin. Or are they? That rock you pick up and feel on your skin and place on the desk is 99.9% empty space—between atoms; as is your skin and the desk. So, perhaps it is our perception of the natural or “real” world that needs tweaking, not the supernatural.

It’s a strange irony that most people who are truly creative don’t really know where their ideas come from. To be a writer, just like all crafts, is an art form. You can take evening classes in writing at the local library, where you go along every Tuesday night and read out your weekly piece, and that can serve to improve your expertise a little, but to be a Wrong Planet writer you have to first of all be an artist. The art of searching for words radiates from deep inside the writer, and I truly feel that when a true writer is sitting quietly at his desk his movements are beautifully interwoven. His breathing will even come with an effortless grace. The ability to move fluidly in his study in this manner begins with a truly intuitive knowledge, although if the truth were known, there’s a little bit of insanity in the writer that does everyone an awful lot of good.

What do you even want a double pendulum for?” “It’s a comforting metaphor,” Draco answers. “I’d like to have one on my desk.” “You find chaos comforting?” “I find the certainty of uncertainty comforting. Existence is meaningless, no one knows what’s going on, and we are all eternally at the mercy of an uncaring universe. I just find it easier to embrace it than to hide behind our abstract concepts of order like they can really protect me.

What I remember most clearly is how it felt. I’d just finished painting a red fire engine-like the one I often walked past near my grandparents’ house. Suddenly the teachers, whose names I've long forgotten, closed in on my desk. They seemed unusually impressed, and my still dripping fire engine was immediately and ceremoniously pinned up. I don’t know what they might have said, but their unexpected attention and having something I’d made given a place of honor on the wall created an overwhelming and totally unfamiliar sense of pride inside me. I loved that feeling, and I wanted to feel it again and again. That desire, I suppose, was the beginning of my career. I have no idea where my fire engine painting ended up, but I never forgot the basic layout. Several decades later, it served as the inspiration for this sketch for an illustration in a book called Why the chicken crossed the Road.

Wars are won by men like Bill Darby, storming up the beach with all guns blazing, and by men like Leverton, sipping his tea as the bombs fell. They are won by planners correctly calculating how many rations and contraceptives an invading force will need; by tacticians laying out grand strategy; by generals inspiring the men they command; by politicians galvanizing the will to fight; and by writers putting war into words. They are won by acts of strength, bravery, and guile. But they are also won by feats of imagination. Amateur, unpublished novelists, the framers of Operation Mincemeat, dreamed up the most unlikely concatenation of events, rendered them believable, and sent them off to war, changing reality through lateral thinking and proving that it is possible to win a battle fought in the mind, from behind a desk, and from beyond the grave. Operation Mincemeat was pure make-believe; and it made Hitler believe something that changed the course of history.

Every morning, as I walk into Pixar Animation Studios—past the twenty-foot-high sculpture of Luxo Jr., our friendly desk lamp mascot, through the double doors and into a spectacular glass-ceilinged atrium where a man-sized Buzz Lightyear and Woody, made entirely of Lego bricks, stand at attention, up the stairs past sketches and paintings of the characters that have populated our fourteen films—I am struck by the unique culture that defines this place. Although I’ve made this walk thousands of times, it never gets old.

The words of his various writing instructors and professional mentors over the years came back to him at times like these, and he found a new understanding in their advice: Writing is rewriting. The rough draft is just that. You can’t polish what you haven’t written. Things that made for a normal life—like a daily routine that followed the sun—took a back seat to times like these, and he exulted in that change because it served as proof that his writing was indeed the most important thing in his life. It wasn’t a conscious choice on his part, like deciding to repaint the bathroom or go buy the groceries, but an overarching reallocation of his existence that was as undeniable as breathing. Day turned into night, breakfast turned into dinner, and the laptop or the writing tablet beckoned even when he was asleep. He would often awake with a new idea—as if he’d merely been on a break and not unconscious—and he would see the empty seat before the desk not as his station in some pointless assembly line, but as the pilot’s seat in a ship that could go anywhere.

Where do you get your inspiration? What sorts of things do you fill your head with? What do you read? Do you subscribe to anything? What sites do you visit on the Internet? What music do you listen to? What movies do you see? Do you look at art? What do you collect? What’s inside your scrapbook? What do you pin to the corkboard above your desk? What do you stick on your refrigerator? Who’s done work that you admire? Who do you steal ideas from? Do you have any heroes? Who do you follow online? Who are the practitioners you look up to in your field?

Instead of storing those countless microfilmed pages alphabetically, or according to subject, or by any of the other indexing methods in common use—all of which he found hopelessly rigid and arbitrary—Bush proposed a system based on the structure of thought itself. "The human mind . . . operates by association," he noted. "With one item in its grasp, it snaps instantly to the next that is suggested by the association of thoughts, in accordance with some intricate web of trails carried by the cells of the brain. . . . The speed of action, the intricacy of trails, the detail of mental pictures [are] awe-inspiring beyond all else in nature." By analogy, he continued, the desk library would allow its user to forge a link between any two items that seemed to have an association (the example he used was an article on the English long bow, which would be linked to a separate article on the Turkish short bow; the actual mechanism of the link would be a symbolic code imprinted on the microfilm next to the two items). "Thereafter," wrote Bush, "when one of these items is in view, the other can be instantly recalled merely by tapping a button. . . . It is exactly as though the physical items had been gathered together from widely separated sources and bound together to form a new book. It is more than this, for any item can be joined into numerous trails." Such a device needed a name, added Bush, and the analogy to human memory suggested one: "Memex." This name also appeared for the first time in the 1939 draft. In any case, Bush continued, once a Memex user had created an associative trail, he or she could copy it and exchange it with others. This meant that the construction of trails would quickly become a community endeavor, which would over time produce a vast, ever-expanding, and ever more richly cross-linked web of all human knowledge. Bush never explained where this notion of associative trails had come from (if he even knew; sometimes things just pop into our heads). But there is no doubt that it ranks as the Yankee Inventor's most profoundly original idea. Today we know it as hypertext. And that vast, hyperlinked web of knowledge is called the World Wide Web.

He narrowed his eyes at me, pushed out of the booth and stomped over to the cash desk where Ash had returned and was playing a game on his mobile phone. "Sorry, sir," he echoed, dead-pan, and then added: "She is the owner." He dropped his voice to a stage whisper. "And she's righ' crazy, so I wouldn't mess with her. She stabbed someone with a plastic fork just last week." "A--a plastic fork?" the man said, looking over at me nervously. "Yeah, and you would not believe the mess. A carving knife woulda made cleaner work of it." The man slapped a few coins on the counter near the cash and, clutching the remains of his paper, dashed out the door. "Thanks, Ash," I said, absently. "No probs," he said. "Chasing zombies on my phone--fair inspirational, aye?

If you want to write and can't figure out how to do it, try this: Pick an amount of time to sit at your desk every day. Start with 20 minutes, say, and work up as quickly as possible to as much time as you can spare. Do you really want to write? Sit for two hours a day. During that time, you don't have to write, but you must stay at your desk without distraction: no phone, no Internet, no books. Sit. Still. Quietly. Do this for a week, for two weeks. Do not nap or check your e-mail. Keep on sitting for as long as you remain interested in writing. Sooner or later you will write because you will no longer be able to stand not writing—or you'll get up and turn the television on because you will no longer be able to stand all the sitting. Either way, you'll have your answer.

The definition of superb animation is that each character on the screen makes you believe it is a thinking being. Whether it’s a T-Rex or a slinky dog or a desk lamp, if viewers sense not just movement but intention—or, put another way, emotion—then the animator has done his or her job. It’s not just lines on paper anymore; it’s a living, feeling entity. This is what I experienced that night, for the first time, as I watched Donald leap off the page. The transformation from a static line drawing to a fully dimensional, animated image was sleight of hand, nothing more, but the mystery of how it was done—not just the technical process but the way the art was imbued with such emotion—was the most interesting problem I’d ever considered. I wanted to climb through the TV screen and be part of this world.

And yet to possess a young soul that has barely developed is a source of very deep delight. It is like a flower whose richest perfume goes out to meet the first ray of the sun. One must pluck it at that very moment and, after inhaling its perfume to one's heart's content, discard it along the wayside on the chance that someone will pick it up. I sense in myself that insatiable avidity that devours everything in its path. And I regard the sufferings and joys of others merely in relation to myself, as food to sustain my spiritual strength. Passion is no longer capable of robbing me of my sanity. My ambition has been crushed by circumstances, but it has manifested itself in a new form, for ambition is nothing but lust for power, and my greatest pleasure I derive from subordinating everything around me to my will. Is it not both the first token of power and its supreme triumph to inspire in others the emotions of love, devotion and fear? Is it not the sweetest fare for our vanity to be the cause of pain or joy for someone without the least claim thereto? And what is happiness? Pride gratified. Could I consider myself better and more powerful than anyone else in the world, I would be happy. Were everybody to love me, I'd find in myself unending wellsprings of love. Evil begets evil; one's first suffering awakens a realization of the pleasure of tormenting another. The idea of evil cannot take root in the mind of man without his desiring to apply it in practice. Someone has said that ideas are organic entities: their very birth imparts them form, and this form is action. He in whose brain the most ideas are born is more active than others, and because of this a genius shackled to an office desk must either die or lose his mind, just as a man with a powerful body who leads a modest, sedentary life dies from an apoplectic stroke

Qualities such as honesty, determination, and a cheerful acceptance of stress, which can all be identified through probing questionnaires and interviews, may be more important to the company in the long run than one's college grade-point average or years of "related experience." Every business is only as good as the people it brings into the organization. The corporate trainer should feel his job is the most important in the company, because it is. Exalt seniority-publicly, shamelessly, and with enough fanfare to raise goosebumps on the flesh of the most cynical spectator. And, after the ceremony, there should be some sort of permanent display so that employees passing by are continuously reminded of their own achievements and the achievements of others. The manager must freely share his expertise-not only about company procedures and products and services but also with regard to the supervisory skills he has worked so hard to acquire. If his attitude is, "Let them go out and get their own MBAs," the personnel under his authority will never have the full benefit of his experience. Without it, they will perform at a lower standard than is possible, jeopardizing the manager's own success. Should a CEO proclaim that there is no higher calling than being an employee of his organization? Perhaps not-for fear of being misunderstood-but it's certainly all right to think it. In fact, a CEO who does not feel this way should look for another company to manage-one that actually does contribute toward a better life for all. Every corporate leader should communicate to his workforce that its efforts are important and that employees should be very proud of what they do-for the company, for themselves, and, literally, for the world. If any employee is embarrassed to tell his friends what he does for a living, there has been a failure of leadership at his workplace. Loyalty is not demanded; it is created. Why can't a CEO put out his own suggested reading list to reinforce the corporate vision and core values? An attractive display at every employee lounge of books to be freely borrowed, or purchased, will generate interest and participation. Of course, the program has to be purely voluntary, but many employees will wish to be conversant with the material others are talking about. The books will be another point of contact between individuals, who might find themselves conversing on topics other than the weekend football games. By simply distributing the list and displaying the books prominently, the CEO will set into motion a chain of events that can greatly benefit the workplace. For a very cost-effective investment, management will have yet another way to strengthen the corporate message. The very existence of many companies hangs not on the decisions of their visionary CEOs and energetic managers but on the behavior of its receptionists, retail clerks, delivery drivers, and service personnel. The manager must put himself and his people through progressively challenging courage-building experiences. He must make these a mandatory group experience, and he must lead the way. People who have confronted the fear of public speaking, and have learned to master it, find that their new confidence manifests itself in every other facet of the professional and personal lives. Managers who hold weekly meetings in which everyone takes on progressively more difficult speaking or presentation assignments will see personalities revolutionized before their eyes. Command from a forward position, which means from the thick of it. No soldier will ever be inspired to advance into a hail of bullets by orders phoned in on the radio from the safety of a remote command post; he is inspired to follow the officer in front of him. It is much more effective to get your personnel to follow you than to push them forward from behind a desk. The more important the mission, the more important it is to be at the front.

Before he could answer, it started. It sounded like a murmur, and then someone said it out loud, and the whisper became outright laughter. “Is eht Gaylord?” said a rat-faced boy at the front. The room erupted. “Big Bobby Bender?” said another. Shuggie tried to talk over them. His face burned red. “It’s Shuggie, sir. Hugh Bain. I’m transferred here from Saint Luke’s.” “Listen tae that voice!” said another boy, with tight curly hair. He opened his eyes wide like he had hit the bullying jackpot. “Ere, posh boy. Whaur did ye get that fuckin’ accent? Are ye a wee ballet dancer, or whit?” This went down the best of all. It was a divine inspiration to the others. “Gies a wee dance!” they squealed with laughter. “Twirl for us, ye wee bender!” Shuggie sat there listening to them amuse themselves. He took the red football book and dropped it into the dark drawer of this strange school desk. He was glad, at least, to be done with that. It was clear now: nobody would get to be made brand new.

And that had led to all the trouble with How to Dynamically Manage People for Dynamic Results in a Caring Empowering Way in Quite a Short Time Dynamically. Ponder didn't know when this book would be written, or even in which world it might be published, but it was obviously going to be popular because random trawls in the depths of L-space often turned up fragments. Perhaps it wasn't even just one book. And the fragments had been on Ponder's desk when Ridcully had been poking around. Unfortunately, like many people who are instinctively bad at something, the Archchancellor prided himself on how good at it he was. Ridcully was to management what King Herod was to the Bethlehem Playgroup Association. His mental approach to it could be visualized as a sort of business flowchart with, at the top, a circle entitled "Me, who does the telling" and, connected below it by a line, a large circle entitled "Everyone else." Until now this had worked quite well, because, although Ridcully was an impossible manager, the University was impossible to manage and so everything worked seamlessly. And it would have continued to do so if he hadn't suddenly started to see the point in preparing career development packages and, worst of all, job descriptions.

Once I leave — once I start the car or catch the bus to the airport, by which the voyage is initiated — my brain starts to relax at the absence of my things, and thus the familiar thoughts that they inspire. And it is not just about the books and trinkets on my desk, because a real trip usually means leaving behind innumerable other forms of familiarity: the faces and the voices that we know well, and which cause their own cataracts of memories and associations through their long histories with us. There are the sounds we always hear, and the recognition of what caused them, like the scraping of the gate at the construction site across the square from my apartment, which arrives every morning at 7 a.m. There are the quotidian streets of daily life, lined with memories of events at each address. The shops and offices we visit most often; the foods we buy, with their familiar tastes as we eat them. But as we go away from these things, our own thoughts change, or grow into the space previously occupied by the familiar. The light itself becomes different once we start to travel, as we change setting, latitude, or geography. And with these changes, with the disappearance of the familiar and its many calls upon our thoughts, we finally begin to think differently, or even just begin to think at all.

Our time together is drawing short, my reader. Possibly you will view these pages of mine as a fragile treasure box, to be opened with the utmost care. Possibly you will tear them apart, or burn them: that often happens to words. Perhaps you’ll be a student of history, in which case I hope you’ll make something useful of me: a warts-and-all portrait, a definitive account of my life and times, suitably footnoted; though if you don’t accuse me of bad faith I will be astonished. Or, in fact, not astonished: I will be dead, and the dead are hard to astonish. I picture you as a young woman, bright, ambitious. You’ll be looking to make a niche for yourself in whatever dim, echoing caverns of academia may still exist by your time. I situate you at your desk, your hair tucked back behind your ears, your nail polish chipped—for nail polish will have returned, it always does. You’re frowning slightly, a habit that will increase as you age. I hover behind you, peering over your shoulder: your muse, your unseen inspiration, urging you on. You’ll labour over this manuscript of mine, reading and rereading, picking nits as you go, developing the fascinated but also bored hatred biographers so often come to feel for their subjects. How can I have behaved so badly, so cruelly, so stupidly? you will ask. You yourself would never have done such things! But you yourself will never have had to.

Because we were raised in a bigoted and hate-filled home, we simply assumed that calling someone a “cheap Jew” or saying someone “Jewed him down” were perfectly acceptable ways to communicate. Or at least we did until the day came when I called one of the cousins, a Neanderthal DeRosa boy, “a little Jew,” and he told me he wasn’t the Jew, that I was the Jew, and he even got Helen and Nana to confirm it for him. It came as a shock to me to find out we were a part of this obviously terrible tribe of skinflint, trouble-making, double-dealing, shrewdly smart desert people. When Denny found out, he was crestfallen because he had assumed that being Jewish meant, according to what his former foster family the Skodiens had taught him, a life behind a desk crunching numbers. “And I hate math,” he said, shaking his head. So here we were, accused Jews living in a hotbed of anti-Semitism. Not a good situation. Walter’s father was the worst. Learning about our few drops of Jewish blood seemed to ignite a special, long-held hatred in him. He became vile over nothing, finding any excuse to deride the Jews in front of us until Helen made him stop. We didn’t know what to make of it, except to write it off as another case of Wozniak-inspired insanity, but as young as we were, we could tell that at some point in his life he had crossed swords with a Jew someplace and came out on the losing end and we were going to pay for it. But because we really didn’t feel ourselves to be Jews, it didn’t sink in that he intended to hurt us with his crazy tirades. As I said, it’s hard to insult somebody when they don’t understand the insult, and it’s equally hard to insult them when they out and out refuse to be insulted. Word got around quickly.

A serious reader of fiction is an adult who reads, let's say, two or more hours a night, three or four nights a week, and by the end of two or three weeks he has read the book. A serious reader is not someone who reads for half an hour at a time and then picks the book up again on the beach a week later. While reading, serious readers aren't distracted by anything else. They put the kids to bed, and then they read. They don't watch TV intermittently or stop off and on to shop on-line or to talk on the phone. There is, indisputably, a rapidly diminishing number of serious readers, certainly in America. Of course, the cause is something more than just the multitudinous distractions of contemporary life. One must acknowledge the triumph the screen. Reading, whether serious or frivolous, doesn't stand a chance against the screen: first, the movie screen, then the television screen, now the proliferating computer screen, one in your pocket, one on your desk, one in your hand, and soon one imbedded between your eyes. Why can't serious reading compete? Because the gratifications of the screen are far more immediate, graspable, gigantically gripping. Alas, the screen is not only fantastically useful, it's fun, and what beats fun? There was never a Golden Age of Serious Reading in America but I don't remember ever in my lifetime the situation being as sad for books – with all the steady focus and uninterrupted concentration they require – as it is today. And it will be worse tomorrow and even worse the day after. My prediction is that in thirty years, if not sooner, there will be just as many people reading serious fiction in America as now read Latin poetry. A percentage do. But the number of people who find in literature a highly desirable source of sustaining pleasure and mental stimulation is sadly diminished.

I sat at my desk, poured myself a glass of wine, and pondered life...my profession...was it meaningless? I took a long, drawn-back swig of the bourbon and slammed down the glass. I only then noticed the stream of filtered light illuminating through the window, through the partially drawn shades. It was beautiful. I thought to myself, "I am a critic. My life is criticizing the works of others, the joys of others, the very essence of what others have toiled, agonized and gone mad over. "I am a critic. I write in a magazine about how I don't like what someone else likes, merely because they wrote it." Write what you love, they always say. "I am a hater," I said, pondering the beautiful sunlight and my glass of alcohol, "...but I hate for the enjoyment of others.

You can tell the number of hours spent on a work by counting the number of coffee rings on your desk.

Each word that she left behind is precious, including the simple three I rediscovered a few days after Marina’s memorial service. Her long-forgotten note, scrawled with a dry-erase marker on the back of a BB&N book slip and left on my desk when she was visiting from college, simply read, “Marina was here!” Marina was here. Yes, she was, in so many ways. And with an exclamation point. My hope is that through this book and Marina’s many legacies, we may all still hear her and be inspired by how she used her fleeting time to be passionately, vibrantly, fully here. —Beth McNamara August 2014

FOR MY SPIRITUAL LIFE... What’s the ONE Thing I can do to help others... ? What’s the ONE Thing I can do to improve my relationship with God... ? FOR MY PHYSICAL HEALTH... What’s the ONE Thing I can do to achieve my diet goals... ? What’s the ONE Thing I can do to ensure that I exercise... ? What’s the ONE Thing I can do to relieve my stress... ? FOR MY PERSONAL LIFE... What’s the ONE Thing I can do to improve my skill at ________... ? What’s the ONE Thing I can do to find time for myself... ? FOR MY KEY RELATIONSHIPS... What’s the ONE Thing I can do to improve my relationship with my spouse/partner... ? What’s the ONE Thing I can do to improve my children’s school performance... ? What’s the ONE Thing I can do to show my appreciation to my parents... ? What’s the ONE Thing I can do to make my family stronger... ? FOR MY JOB... What’s the ONE Thing I can do to ensure that I hit my goals... ? What’s the ONE Thing I can do to improve my skills... ? What’s the ONE Thing I can do to help my team succeed... ? What’s the ONE Thing I can do to further my career... ? FOR MY BUSINESS... What’s the ONE Thing I can do to make us more competitive... ? What’s the ONE Thing I can do to make our product the best... ? What’s the ONE Thing I can do to make us more profitable... ? What’s the ONE Thing I can do to improve our customer experience... ? FOR MY FINANCES... What’s the ONE Thing I can do to increase my net worth... ? What’s the ONE Thing I can do to improve my investment cash flow... ? What’s the ONE Thing I can do to eliminate my credit card debt... ? BIG IDEAS So how do you make The ONE Thing part of your daily routine? How do you make it strong enough to get extraordinary results at work and in the other areas of your life? Here’s a starter list drawn from our experience and our work with others. Understand and believe it. The first step is to understand the concept of the ONE Thing, then to believe that it can make a difference in your life. If you don’t understand and believe, you won’t take action. Use it. Ask yourself the Focusing Question. Start each day by asking, “What’s the ONE Thing I can do today for [whatever you want] such that by doing it everything else will be easier or even unnecessary?” When you do this, your direction will become clear. Your work will be more productive and your personal life more rewarding. Make it a habit. When you make asking the Focusing Question a habit, you fully engage its power to get the extraordinary results you want. It’s a difference maker. Research says this will take about 66 days. Whether it takes you a few weeks or a few months, stick with it until it becomes your routine. If you’re not serious about learning the Success Habit, you’re not serious about getting extraordinary results. Leverage reminders. Set up ways to remind yourself to use the Focusing Question. One of the best ways to do this is to put up a sign at work that says, “Until my ONE Thing is done—everything else is a distraction.” We designed the back cover of this book to be a trigger —set it on the corner of your desk so that it’s the first thing you see when you get to work. Use notes, screen savers, and calendar cues to keep making the connection between the Success Habit and the results you seek. Put up reminders like, “The ONE Thing = Extraordinary Results” or “The Success Habit Will Get Me to My Goal.” Recruit support. Research shows that those around you can influence you tremendously. Starting a success support group with some of your work colleagues can help inspire all of you to practice the Success Habit every day. Get your family involved. Share your ONE Thing. Get them on board. Use the Focusing Question around them to show them how the Success Habit can make a difference in their school work, their personal achievements, or any other part of their lives.

Damien arrived home after his usual Saturday afternoon visit to the Botolph Museum. He lay down on the living room couch before supper. Just as he was about to slip into a doze, a key rattled in the front door. He sat up, alert and eager, sleepiness gone, “What did the doctor say?” “More tests,” his wife Adita replied. “And more waiting,” Damien sighed as she stooped to embrace him. He lay back down afterwards. “We’ll get through it.” He had a few minutes before supper and went to the third floor study of the house they rented from his father when they moved to Botolph. Old Professor Higginbotham was now living in Florida, Damien ran a hand along a half-shelf of books his father wrote or edited about Prabashtan, an ancient mountainous country in Central Asia. His great-grandfather, a merchant trader, had many contacts there. Adita’s parents left the country for Canada after a war started. These family connections, along with the fact that he and Adita had spent a two week holiday there earlier in the year, inspired Damien to visit the Prabashtan galleries at Botolph’s art museum on Saturday afternoons and whenever he felt adrift. The only thing that came of his gallery-haunting so far was a hundred or so unformed notes he meant as a present for Adita that he based on items in the exhibits. He sat at his father’s old desk and wrote another: Winsome Lady Well-proportioned figure at rest. Leafy fan, lark headdress, A smile that’s fading. Green and ochre, brown. He watched, pleased, Deceived by scenes He imagined taking place In a distant court.

I also received a note from the Unknown, the first in two days. I pounced on it eagerly, for receiving his letters had come to be the most important part of my day. Instead of the long letter I had come to anticipate, it was short. I thank you for the fine ring. It was thoughtfully chosen and I appreciate the generous gesture, for I have to admit I would rather impute generosity than mere caprice behind the giving of a gift that cannot be worn. Or is this a sign that you wish, after all, to alter the circumscriptions governing our correspondence? I thought--to make myself clear--that you preferred your admirer to remain secret. I am not convinced you really wish to relinquish this game and risk the involvement inherent in a contact face-to-face. I dropped the note on my desk, feeling as if I’d reached for a blossom and had been stung by an unseen nettle. My first reaction was to sling back an angry retort that if gifts were to inspire such an ungallant response, then he could just return it. Except it was I who had inveighed, and at great length, against mere gallantry. In a sense he’d done me the honor of telling the truth-- And it was then that I had the shiversome insight that is probably obvious by now to any of my progeny reading this record: that our correspondence had metamorphosed into a kind of courtship. A courtship. As I thought back, I realized that it was our discussion of this very subject that had changed the tenor of the letters from my asking advice of an invisible mentor to a kind of long-distance friendship. The other signs were all there--the gifts, the flowers. Everything but physical proximity. And it wasn’t the unknown gentleman who could not court me in person--it was I who couldn’t be courted in person, and he knew it. So in the end I sent back only two lines: You have given me much to think about. Will you wear the ring, then, if I ask you to? I received no answer that day, or even that night. And so I sat through the beautiful concert of blended children’s voices and tried not to stare at Elenet’s profile next to the Marquis of Shevraeth, while feeling a profound sense of unhappiness, which I attributed to the silence from my Unknown. The next morning brought no note, but a single white rose.

At a desk, in front of a computer, my mind goes blank, but as soon as I take off (to the supermarket, to Australia), inspiration strikes. Journeys are the midwives of books. — ALAIN DE BOTTON

My faith gives me the ability to say, whatever is next, I'm ready. If it is Hillary or Trump I am ready because they might sit on the desk but they do not sit on the throne.

The names of your informers, what backstabbing campaigns you’re embarking on, where you store your guns, your drugs, your money, the location of your hideout, the interchangeable lists of your friends and enemies, your contacts, the fences, your escape plans—all things you need to keep to yourself, and you will reveal every one if you are in love. Love is the Ultimate Informer because of the conviction it inspires that your love is eternal and immutable—you can no more imagine the end of your love than you can imagine the end of your own head. And because love is nothing without intimacy, and intimacy is nothing without sharing, and sharing is nothing without honesty, you must inevitably spill the beans, every last bean, because dishonesty in intimacy is unworkable and will slowly poison your precious love. When it ends—and it will end (even the most risk-embracing gambler wouldn’t touch those odds)—he or she, the love object, has your secrets. And can use them. And if the relationship ends acrimoniously, he or she will use them, viciously and maliciously—will use them against you. Furthermore, it is highly probable that the secrets you reveal when your soul has all its clothes off will be the cause of the end of love. Your intimate revelations will be the flame that lights the fuse that ignites the dynamite that blows your love to kingdom come. No, you say. She understands my violent ways. She understands that the end justifies the means. Think about this. Being in love is a process of idealization. Now ask yourself, how long can a woman be expected to idealize a man who held his foot on the head of a drowning man? Not too long, believe me. And cold nights in front of the fire, when you get up and slice off another piece of cheese, you don’t think she’s dwelling on that moment of unflinching honesty when you revealed sawing off the feet of your enemy? Well, she is. If a man could be counted on to dispose of his partner the moment the relationship is over, this chapter wouldn’t be necessary. But he can’t be counted on for that. Hope of reconciliation keeps many an ex alive who should be at the bottom of a deep gorge. So, lawbreakers, whoever you are, you need to keep your secrets for your survival, to keep your enemies at bay and your body out of the justice system. Sadly—and this is the lonely responsibility we all have to accept—the only way to do this is to stay single. If you need sexual relief, go to a hooker. If you need an intimate embrace, go to your mother. If you need a bed warmer during cold winter months, get a dog that is not a Chihuahua or a Pekingese. But know this: to give up your secrets is to give up your security, your freedom, your life. The truth will kill your love, then it will kill you. It’s rotten, I know. But so is the sound of the judge’s gavel pounding a mahogany desk.

Every morning and evening at Lakefield, the fruit bats would come and go from the trees near our campsite. During the day, you could hear them in the distance as they squabbled over territory. Each fruit bat wanted to jockey for the best position on a branch. But when evening came, as if by silent agreement, all the bats knew to fly off at the same time. Steve grabbed me and the kids one evening just at dusk, and we went out into the river to watch the bats. I would rank that night as one of the most incredible experiences of my life, right up there with catching crocs and swimming with manatees. Sitting at dusk with the kids in the boat, all of a sudden the trees came alive. The bats took flight, skimming over the water to delicately dip for a drink, flying directly over our heads. It was as if we had gone back in time and pterodactyls flew once again. It was such an awe-inspiring event that we all fell quiet, the children included. The water was absolutely still, like an inky mirror, almost like oil. Not a single fish jumped, not a croc moved. All we heard were the wings of these ancient mammals in the darkening sky. We lay quietly in the bottom of the boat, floating in the middle of this paradise. We knew that we were completely and totally safe. We were in a small dinghy in the middle of some of the most prolifically populated crocodile water, yet we were absolutely comfortable knowing that Steve was there with us. “One day, babe,” Steve said softly to me, “we’ll look back on wildlife harvesting projects and things like croc farming the same way we look back on slavery and cannibalism. It will be simply an unbelievable part of human history. We’ll get so beyond it that it will be something we will never, ever return to.” “We aren’t there yet,” I said. He sighed. “No, we aren’t.” I thought of the sign Steve had over his desk back home. It bore the word “warrior” and its definition: “One who is engaged in battle.” And it was a battle. It was a battle to protect fragile ecosystems like Lakefield from the wildlife perpetrators, from people who sought to kill anything that could turn a profit. These same people were out collecting croc eggs and safari-hunting crocodiles. They were working to legalize a whole host of illicit and destructive activities. They were lobbying to farm or export everything that moved, from these beautiful fruit bats we were watching, to magpie geese, turtles, and even whales.

There was never a doubt in my mind that I’d keep working toward stopping the destruction of our environment and wildlife that was spiraling out of control. There were so many triumphs that Steve had already worked so hard for. I sat down with Wes. “First, we’re going to work on everything Steve wanted to achieve,” I said. “Then we’ll move on to everything that we were collectively working toward. And finally, I want to continue with my own goals, in terms of our conservation work.” We strategized about the expansion of the zoo. I didn’t want to just maintain the zoo as it was, I wanted to follow Steve’s plans for the future. I felt that I was still having this wonderful, cheeky, competitive relationship with Steve. Wes and I took the stacks of plans, blueprints, and manila folders from Steve’s desk. I assembled them and laid them out on a conference table. “This was Steve’s plan for Australia Zoo over the next ten years,” I said. “I want to do it in five.” We would secure more land. I remember the first two acres we ever bought to enlarge the zoo, how Steve and I sat with our arms around each other, looking at the property next door and dreaming. Now we were negotiating for an additional five hundred acres of forestry land. This tract would join the existing zoo property with the five hundred acres of our conservation property, bringing our total to fifteen hundred acres at Australia Zoo. This winter we christened Steve’s Whale One, a whale-watching excursion boat that will realize another of his long-held dreams. He always wanted to expand the experience of the zoo to include whales. Steve’s Whale One is a way for people to see firsthand some of the most amazing creatures on earth. The humpbacks in Australian waters approach whale-watching boats with curiosity and openness. It is a delightful experience, and one that I am confident will work to help inspire people and end the inhumane practice of whaling.

Because of the constant media surveillance, I could not venture out to see the countless tributes that mourners laid down in front of the zoo. But all the items were collected and stored safely, and we now display a lovely memorial selection. The public response to Steve’s death would have overwhelmed him most of all--the kind thoughts, prayers, sympathy, and tears. I wasn’t facing this grief on my own. So many people from around the world were trying to come to terms with it as well. The process seemed particularly difficult for children who had not had the opportunity to experience the circle of life as Bindi had. I felt it was important to get a message out to them. When your hero dies, everything he stood for does not end. Everything he stood for must continue. There was never a doubt in my mind that I’d keep working toward stopping the destruction of our environment and wildlife that was spiraling out of control. There were so many triumphs that Steve had already worked so hard for. I sat down with Wes. “First, we’re going to work on everything Steve wanted to achieve,” I said. “Then we’ll move on to everything that we were collectively working toward. And finally, I want to continue with my own goals, in terms of our conservation work.” We strategized about the expansion of the zoo. I didn’t want to just maintain the zoo as it was, I wanted to follow Steve’s plans for the future. I felt that I was still having this wonderful, cheeky, competitive relationship with Steve. Wes and I took the stacks of plans, blueprints, and manila folders from Steve’s desk. I assembled them and laid them out on a conference table. “This was Steve’s plan for Australia Zoo over the next ten years,” I said. “I want to do it in five.” We would secure more land. I remember the first two acres we ever bought to enlarge the zoo, how Steve and I sat with our arms around each other, looking at the property next door and dreaming. Now we were negotiating for an additional five hundred acres of forestry land. This tract would join the existing zoo property with the five hundred acres of our conservation property, bringing our total to fifteen hundred acres at Australia Zoo. This winter we christened Steve’s Whale One, a whale-watching excursion boat that will realize another of his long-held dreams. He always wanted to expand the experience of the zoo to include whales. Steve’s Whale One is a way for people to see firsthand some of the most amazing creatures on earth. The humpbacks in Australian waters approach whale-watching boats with curiosity and openness. It is a delightful experience, and one that I am confident will work to help inspire people and end the inhumane practice of whaling.

We started in the basement, and the first thing I noticed was the strange lack of personal items on employees’ desks. At Pixar, people’s work areas are virtual shrines to individuality—decorated, adorned, modified in ways that express the quirks and passions of the person who occupies that space. But

He turned to pull the door closed and the warm air from the hall rushed through the narrow opening again. As he saw the yellow paper, the pencil flying, scooped off the desk and, unimpeded by the glassless window, sail out into the night and out of his life, Tom Benecke burst into laughter and then closed the door behind him.

God’s Word is the most critical tool you could use. The Bible is the inspired Word of God. This means that God spoke to everyone that wrote a book in the Bible on what he wanted an account of. In the same manner, God has inspired me to write this book and has helped me to know what to include. Scripture is meant to edify, teach, correct, encourage, inspire, and give hope to all who hear and read it. Throughout this book I have shared scripture to back up what I was saying. God reveals things in scripture to those who seek it out. You can read the same passage of scripture for years, and then one day it seems a light bulb goes on. He will show you something deeper about that verse. God is multifaceted. He is not limited to one way of speaking to you, nor does he limit His Word to one message. What I mean by that is one scripture can teach you something, and then at another time, God may reveal even more meaning to that scripture. It is like there are layers to passages of scripture, just as you may pull back layers of wallpaper. Each layer is different and reveals a bit more. As you seek to draw closer to God, He will start to peel back those layers and teach you more and more, as you are able to receive it. If you are new to reading the Bible, it may seem a bit intimidating at first. Where do you start? What should you read? I suggest researching scripture that applies to what you are going through. If you are suffering from fear, then research fear. Once you have found some scriptures, read a few of the verses before and after the verse you chose to help you learn the context in which it was written. You may also want to read from Proverbs daily, consider the Psalms and the Gospels: Matthew, Mark, Luke and John. May I also suggest you consider finding a Bible study group to join or at the very least purchase a beginner’s Bible study guide. Next, choose a few of the scriptures you researched that really spoke to you and write them down on a 3x5 index card. Or you may want to print each verse out on a sheet of paper. Then hang them up where you will see them, such as your bathroom mirror, above your desk at home, or even throughout your house. If you can, take a few to work with you. Each day, multiple times a day, speak those scriptures out loud. I suggest at a minimum speak them when you get up in the morning and before you go to bed at night. The spoken Word is so powerful. As I mentioned before, it is a weapon against the devil. He loses power every time you speak scripture. It also triggers your mind to believe what you say. That is why it is so important to be very careful about anything you speak. Negative thoughts start to become real to you when you speak them. These steps are things I have practiced through the years and found them to be very helpful. If you are struggling with multiple negative thoughts, it may be easier to find scripture for one at a time. Don’t overwhelm yourself with trying to deal with everything at once. You can switch out the verses or add to them as time goes on. Do what works for you.

When Gates founded Microsoft with Paul Allen in 1975, he did so to advance a higher cause: if you give people the right tools, and make them more productive, then everyone, no matter their lot in life, will have an opportunity to achieve their real potential. “A PC in every home and on every desk,” he envisioned; remarkable from a company that didn’t even make PCs. He saw the PC as the great equalizer. Microsoft’s most successful software, Windows, allowed anyone to have access to powerful technology. Tools like Word, Excel and PowerPoint gave everyone the power to realize the promise of the new technology—to become more efficient and productive. Small businesses, for example, could look and act like big businesses. Microsoft’s software helped Gates advance his cause to empower the “everyman.

Whether it’s a T-Rex or a slinky dog or a desk lamp, if viewers sense not just movement but intention—or, put another way, emotion—then the animator has done his or her job.

As an example, shifting your pencil from one side of your desk to the other today could change the gravitational forces on Jupiter enough to shift its position from one side of the Sun to the other a billion years from now. The unpredictability of the solar system over very long times is of course ironic since this was the prototypical system that inspired Laplacian determinism. (Tremaine, 2011)

You will make me work for it, won’t you?” Westhaven said with a faint smile. He pushed away from the desk and approached her silently. “That’s as it should be.” His arms closed around her, and Anna just bowed her head, knowing even more than his kisses and his wicked caresses, the comfort of his embrace had the power to paralyze her. He was warm, vital, and strong, and while it wasn’t his aim to protect her, the illusion that he could was irresistible. “Let me hold you,” he whispered, “or I’ll have a relapse of the chicken pox to inspire you to closer attendance of me.” “You can’t have a relapse.” “Actually, I can,” he murmured, his hands easing over her back, “but Fairly says it’s quite rare. Relax, Anna, I just want to feel you in my arms, hmm?” She

People who are intelligent are considered smarter than idiots. Intelligent people will not get distracted by piglets squealing and naysaying. With their deep understanding, their minds will continue to work, in pursuit of their craft, just like night owls at their desks in their quiet lairs; using the blood of the defeated piglets as ink for their writings.

Study does not engender wisdom,” he continued, his voice stern and challenging. “Analysis does not inspire insight.” He raised his eyebrows, exhorting Charles and his classmates to pay attention. “Only empathy allows us to see clearly. Only compassion brings lasting change.” Tom strode to his desk, hoisted himself up to sit on one corner. “I am going to ask you to imagine yourself into the history we read. I am going to ask you to feel it. Because only living it will convince you to stop it from happening again.

To keep the business going, Disney moved out of his apartment and into the Laugh-O-Gram offices, where he slept on a pile of pillows. This experience also inspired his most enduring creation. “They [mice] used to fight for crumbs in my wastebasket when I worked alone late at night,” he said. “I lifted them out and kept them in wire cages on my desk. I grew particularly fond of one brown house mouse. He was a timid little guy. By tapping him on the nose with my pencil, I trained him to run inside a black circle I drew on my drawing board.” Disney named the mouse Mortimer.

Finding the right mentor is not always easy. But we can locate role models in a more accessible place: the stories of great originals throughout history. Human rights advocate Malala Yousafzai was moved by reading biographies of Meena, an activist for equality in Afghanistan, and of Martin Luther King, Jr. King was inspired by Gandhi as was Nelson Mandela. In some cases, fictional characters can be even better role models. Growing up, many originals find their first heroes in their most beloved novels where protagonists exercise their creativity in pursuit of unique accomplishments. When asked to name their favorite books, Elon Musk and Peter Thiel each chose “Lord of the Rings“, the epic tale of a hobbit’s adventures to destroy a dangerous ring of power. Sheryl Sandberg and Jeff Bezos both pointed to “A Wrinkle in Time“ in which a young girl learns to bend the laws of physics and travels through time. Mark Zuckerberg was partial to “Enders Game“ where it’s up to a group of kids to save the planet from an alien attack. Jack Ma named his favorite childhood book as “Ali Baba and the Forty Thieves“, about a woodcutter who takes the initiative to change his own fate. … There are studies showing that when children’s stories emphasize original achievements, the next generation innovates more.… Unlike biographies, in fictional stories characters can perform actions that have never been accomplished before, making the impossible seem possible. The inventors of the modern submarine and helicopters were transfixed by Jules Vern’s visions in “20,000 Leagues Under the Sea” and “The Clippership of the Clouds”. One of the earliest rockets was built by a scientist who drew his motivation from an H.G. Wells novel. Some of the earliest mobile phones, tablets, GPS navigators, portable digital storage desks, and multimedia players were designed by people who watched “Star Trek” characters using similar devices. As we encounter these images of originality in history and fiction, the logic of consequence fades away we no longer worry as much about what will happen if we fail… Instead of causing us to rebel because traditional avenues are closed, the protagonist in our favorite stories may inspire originality by opening our minds to unconventional paths.

Our team at Start With Why is working hard to build a world where the vast majority of people wake up inspired to go to work, feel safe when they are there and return home at the end of the day fulfilled by the work they do. We are working hard to ensure that every employee has a Golden Circle on their desk and every organization can clearly articulate their higher purpose, cause or belief. This book is just one of the things we are doing to help bring our WHY to life. We know we can’t do this alone. Thank you for joining the movement, for helping us share the WHY. Inspire on

On occasion in the past, in moments of inexplicable transport, in my study, perhaps, at my desk, immersed in words, paltry as they may be, for even the second-rater is sometimes inspired, I had felt myself break through the membrane of mere consciousness into another state, one which had no name, where ordinary laws did not operate, where time moved differently if it moved at all, where I was neither alive nor the other thing and yet more vividly present than ever I coud be in what we call, because we must, the real world. (...) Perhaps all of life is no more than a long preparation for the leaving of it.

The geese are all asleep. A few tip their heads out from under their wings as we approach. I open the cookie tin and a few more sway slowly over to us. It’s cold, and Silas has wrapped the green blanket around me so I feel like I have wings, too. I shake the tin and walk backward in a circle around them. The ground is warmer than the air and warmer still where the geese have been sleeping. The ashes fall out evenly onto the grass. They peck at the silver flakes, their beaks moving like machines, faster than the eyes can register. More join them, they don't fight, there is enough to go around. I hold the blanket open for Silas and he slips beside me and pulls it closed. "Is this weird?" "Yeah," he says. He puts his lips in my hair. "I love weird." They peck and naw for a long time. There's not much left when they are done. They putter around for a while on their wide rubber feet, their necks look made of fur not feathers. A few are trying to sleep, curtsying to the ground and burying their heads between the folded wings on their backs. I’ll miss them when they take flight. I won’t be there. Their fast excited chatter, their wings finally spread wide, their feet tucking in behind them. Wheels up. I’ll miss it. I’ll be in class or at my desk or in bed when they cut across the sky. "I want them to go right now." "I know," Silas says. "They'll go when they're ready." A book in the library said that some Canadian Geese may travel as far as Jalisco, Mexico. My mother will like that. The long, exhilirating trip, the foreign landing. But others, the book said, will stay where they are for the winter. Those geese are already home.

If anyone that Sunday suggested that there was an element of the sacred to her ritual, she likely would have disagreed. There was no open Bible. No sanctified cloth. No preacher or even professors substituting for a divinely inspired voice. Not even a candlestick before her. This ceremony was liturgy of a different order. If her desk were indeed an altar, it was a shrine not to God, but to words.

I’m not going to let her go, Charlie, even if I have to nail her to a desk.’ ‘An innovative solution to our staffing difficulties, ma’am, and, simultaneously, a warning to the rest of us.’ Hay’s hand drifted towards her paper knife. ‘I’m so sorry, ma’am – did I say warning? Obviously, I meant inspiration.

Stephen King, sits at his desk every day at the same time and writes. He doesn’t wait for inspiration to come. Instead, he starts, knowing that inspiration will come as he immerses himself in his work. Do the same thing. Choose a time and place where you’ll be tackling your major tasks each day.

During my 4th grade year the National Park Service announced an essay contest about the importance of parks. I was inspired by some now forgotten prize to begin writing with this contest. It seemed progress was being made as I declared that "Parks are like old photos" only to be asked to clarify – "How exactly are parks like old photos?" This question created a case of Writer's Block that extended through the essay contest deadline. Lewis Carroll was content with leaving us with "Why is a raven like a writing desk?" but I kept working on my answer. How are parks like old photos? You'll know when they are gone.

During my 4th grade year the National Park Service announced an essay contest about the importance of parks. I was inspired by some now forgotten prize to begin writing with this contest. It seemed progress was being made as I declared that "Parks are like old photos" only to be asked to clarify – "How exactly are parks like old photos?" This question created a case of Writer's Block that extended through the essay contest deadline. Lewis Carroll was content with leaving us with "Why is a raven like a writing desk?" but I kept working on my answer. How are parks like old photos? You'll know when they are gone.

I’d already waited twelve years to speak to Marcus. How much longer would I have to wait for the truth?

Please allow this book to offer one piece of serious advice (don't worry, this is the only one): Take control. Decide that enough is enough. Stop waiting for your advisor to guide your work - write a paper using your own brain and slap it down on his or her desk. Study - really, actually study - what it is you're studying. Realize that you can't include everything in your thesis, and drop your lofty and unrealistic plan to transform the field. You won't. Plan what you need to do to graduate, write it down, sit with the person whose approval you need, and work up a timeline. Seek out interesting conferences, and if your department won't pay for you to attend them, search for outside sponsorship. (You have the freaking internet, for crying out loud.) Actively pursue your goals, because - and it's so easy to forget this - that's why you're here. Can't find the motivation to work today? Tough shit. It's like a snow day: Every day off you give yourself makes you feel good that day, but it's one more day you'll have to make up in June when you really want to be out of school. It's possible that many graduate programs want you to get depressed, say "Fuck it" and take charge of your own destiny. They may consider this part of your necessary struggle. Well, so be it. Wait no longer. Take charge now. And get on with your stupid, stupid career.