Ira Glass Quotes

We live in a world where joy and empathy and pleasure are all around us, there for the noticing.

You'll hit gold more often if you simply try out a lot of things.

Nobody tells this to people who are beginners, I wish someone told me. All of us who do creative work, we get into it because we have good taste. But there is this gap. For the first couple years you make stuff, it’s just not that good. It’s trying to be good, it has potential, but it’s not. But your taste, the thing that got you into the game, is still killer. And your taste is why your work disappoints you. A lot of people never get past this phase, they quit. Most people I know who do interesting, creative work went through years of this. We know our work doesn’t have this special thing that we want it to have. We all go through this. And if you are just starting out or you are still in this phase, you gotta know its normal and the most important thing you can do is do a lot of work. Put yourself on a deadline so that every week you will finish one story. It is only by going through a volume of work that you will close that gap, and your work will be as good as your ambitions. And I took longer to figure out how to do this than anyone I’ve ever met. It’s gonna take awhile. It’s normal to take awhile. You’ve just gotta fight your way through.

You will be fierce. You will fearless. And you will make work you know in your heart is not as good as you want it to be.

It's hard to make something that's interesting. It's really, really hard. It's like a law of nature, a law of aerodynamics, that anything that's written or anything that's created wants to be mediocre. The natural state of all writing is mediocrity... So what it takes to make anything more than mediocre is such an act of will...

Great stories happen to those who can tell them

...these stories are a kind of beacon. By making stories full of empathy and amusement and the sheer pleasure of discovering the world, these writers reassert the fact that we live in a world where joy and empathy and pleasure are all around us, there for the noticing.

Perfectionism: the need to be right instead of being right.

The most important possible thing you can do is do a lot of work.

Many times I see you as a portrait of torture.

perfectionism is the need to be right instead of being liked

Great stories happen to those who can tell them.

...uncorny, human sized drama

All of us who do creative work, we get into it because we have good taste. But there is this gap. For the first couple years you make stuff, it’s just not that good. It’s trying to be good, it has potential, but it’s not. But your taste, the thing that got you into the game, is still killer.

Force yourself through the work, force the skills to comes; that's the hardest phase; I feel like your problem is that you're trying to judge all things in abstract before you do them. That is your tragic mistake.

It's gonna take a while. It's normal to take a while. You've just gotta fight your way through.

I don’t believe in guilty pleasures, I only believe in pleasures. People who call reading detective fiction or eating dessert a guilty pleasure make me want to puke. Pedophilia is a pleasure a person should have guilt about. Not chocolate.

Ira felt as if he'd contracted an all-over emotional itch, as if he'd put on a sweater made of spiritually abrasive wool- but to take it off would leave him dreadfully cold.

If you want to be original, “the most important possible thing you could do,” says Ira Glass, the producer of This American Life and the podcast Serial, “is do a lot of work. Do a huge volume of work.

Si aprendes a soportar el dolor, eres capaz de sobrevivir a todo. Algunas personas aprenden a aceptarlo... a amarlo. Algunos lo soportan ahogándolo en tristeza o se fuerzan a sí mismos a olvidar. Otros lo transforman en ira. Ansel, en cambio, dejó que su dolor se tornará odio, y que la consumiera hasta convertirla en alguien distinto; una persona que sin duda jamás deseó llegar a ser.

Nobody tells people who are beginners. I really wish someone had told this to me. Is that [if you are watching this video, you are somebody who wants o make videos right?] all of us who do creative work, we get into it. we get into it because we have good taste. you know what I mean? like you want to make TV, because you love TV. there is stuff you just like, love. ok so you got really good taste. you get into this thing … that i don’t even know how to describe it, but there is a gap. for the first couple of years you are making stuff, what you are making isn’t so good... ok, its not that great. it's really not that great. its trying to be good, it has ambition to be good, but not quite that good. but your taste, the thing get you into the game, your taste is still killer. your taste is good enough that you can tell what you are making is a kind of disappointment to you, you know what i mean? you can tell it is still sort of crappy. a lot of people never get past that phase. a lot of people at that point, they quit. the thing i would just like say to you with all my heart is that most everybody I know, who does interesting creative work, they went through a phase of years where they had really good taste, they could tell what they were making wasn’t as good as they wanted it to be. they knew it felt short. [some of us can admit that to ourselves, some of us less able to admit that to ourselves] we knew like, it didn’t have that special thing that we wanted it to have. [...] everybody goes through that. for you to go through it, if you are going through right now, just getting out of that phase, if you are just starting out and entering into that phase, you gotta know it is totally normal and the most important possible thing you can do is do a lot of work. do a huge volume of work. put yourself on a deadline so that every week or every month you know you’re gonna finish one story. you know what i mean? whatever its gonna be. you create the deadline. it is best if have somebody who is waiting work from you, expecting work from you. even if not somebody who pays you, but that you are in a situation where you have to turn out the work. because it is only by actually going through a volume of work that you are actually going to catch up and close that gap and the work you are making will be as good as your ambitions.

Simonton finds that on average, creative geniuses weren’t qualitatively better in their fields than their peers. They simply produced a greater volume of work, which gave them more variation and a higher chance of originality. “The odds of producing an influential or successful idea,” Simonton notes, are “a positive function of the total number of ideas generated.” Consider Shakespeare: we’re most familiar with a small number of his classics, forgetting that in the span of two decades, he produced 37 plays and 154 sonnets. Simonton tracked the popularity of Shakespeare’s plays, measuring how often they’re performed and how widely they’re praised by experts and critics. In the same five-year window that Shakespeare produced three of his five most popular works—Macbeth, King Lear, and Othello—he also churned out the comparatively average Timon of Athens and All’s Well That Ends Well, both of which rank among the worst of his plays and have been consistently slammed for unpolished prose and incomplete plot and character development. In every field, even the most eminent creators typically produce a large quantity of work that’s technically sound but considered unremarkable by experts and audiences. When the London Philharmonic Orchestra chose the 50 greatest pieces of classical music, the list included six pieces by Mozart, five by Beethoven, and three by Bach. To generate a handful of masterworks, Mozart composed more than 600 pieces before his death at thirty-five, Beethoven produced 650 in his lifetime, and Bach wrote over a thousand. In a study of over 15,000 classical music compositions, the more pieces a composer produced in a given five-year window, the greater the spike in the odds of a hit. Picasso’s oeuvre includes more than 1,800 paintings, 1,200 sculptures, 2,800 ceramics, and 12,000 drawings, not to mention prints, rugs, and tapestries—only a fraction of which have garnered acclaim. In poetry, when we recite Maya Angelou’s classic poem “Still I Rise,” we tend to forget that she wrote 165 others; we remember her moving memoir I Know Why the Caged Bird Sings and pay less attention to her other 6 autobiographies. In science, Einstein wrote papers on general and special relativity that transformed physics, but many of his 248 publications had minimal impact. If you want to be original, “the most important possible thing you could do,” says Ira Glass, the producer of This American Life and the podcast Serial, “is do a lot of work. Do a huge volume of work.” Across fields, Simonton reports that the most prolific people not only have the highest originality; they also generate their most original output during the periods in which they produce the largest volume.* Between the ages of thirty and thirty-five, Edison pioneered the lightbulb, the phonograph, and the carbon telephone. But during that period, he filed well over one hundred patents for other inventions as diverse as stencil pens, a fruit preservation technique, and a way of using magnets to mine iron ore—and designed a creepy talking doll. “Those periods in which the most minor products appear tend to be the same periods in which the most major works appear,” Simonton notes. Edison’s “1,093 patents notwithstanding, the number of truly superlative creative achievements can probably be counted on the fingers of one hand.

If you want to be original, “the most important possible thing you could do,” says Ira Glass,

Nobody tells this to people who are beginners...All of us who do creative work, we get into it because we have good taste. But there is this gap. For the first couple years you make stuff, it’s just not that good. It’s trying to be good, it has potential, but it’s not. But your taste, the thing that got you into the game, is still killer. And your taste is why your work disappoints you. A lot of people never get past this phase, they quit. Most people I know who do interesting, creative work went through years of this. We know our work doesn’t have this special thing that we want it to have. We all go through this. And if you are just starting out or you are still in this phase, you gotta know it’s normal and the most important thing you can do is do a lot of work.” – Ira Glass Be

Food for thought

Si aprendes a soportar el dolor, eres capaz a sobrevivir a todo. Algunas personas aprenden a aceptarlo... a amarlo. Algunos lo soportan ahogandolo en tristeza o se fuerzan a si mismos a olvidar. Otros lo transforman en ira

TRAITS THAT DEFINE GREAT WORK Creativity: Ira Glass, for example, is pushing the boundaries of radio, and winning armfuls of awards in the process. Impact: From the Apple II to the iPhone, Steve Jobs has changed the way we live our lives in the digital age. Control: No one tells Al Merrick when to wake up or what to wear. He’s not expected in an office from nine to five. Instead, his Channel Island Surfboards factory is located a block from the Santa Barbara beach, where Merrick still regularly spends time surfing.

with the public radio host Ira Glass, for example, a group of three undergraduates press him for wisdom on how to “figure out what you want” and “know what you’ll be good at.” “In the movies there’s this idea that you should just go for your dream,” Glass tells them. “But I don’t believe that. Things happen in stages.” Glass emphasizes that it takes time to get good at anything, recounting the many years it took him to master radio to the point where he had interesting options. “The key thing is to force yourself through the work, force the skills to come; that’s the hardest phase,” he says. Noticing the stricken faces of his interviewers, who were perhaps hoping to hear something more uplifting than work is hard, so suck it up, Glass continues: “I feel like your problem is that you’re trying to judge all things in the abstract before you do them. That’s your tragic mistake.

The state prosecutor forced a smile, but it didn't extend to his eyes. Ira knew that the difference between an honest smile and the vacant facial expression of an artificial grin lay in the gaze. Faust may have been smiling, but the eyes behind his glasses were ice cold. And that could only mean one thing - that everything he was about to say was a lie

It didn't take long after moving to Paris for Ricky to realize that her experience of the city was not universal. 'The Afro-French have a very different experience here,' she told me. Janet McDonald, a lawyer, told THIS AMERICAN LIFE host Ira Glass about having a similar realization after she moved to Paris from Brooklyn in the 1990s: 'For African Americans, we're in a very bizarre position. It's almost like being an honorary white in apartheid South Africa. And I noticed that, as my French got better and better, sometimes I wasn't as well received as I would be if I played up my American accent.

I don’t go looking for stories with the idea of wrongness in my head, no. But the fact is, a lot of great stories hinge on people being wrong. —Ira Glass

Nothing says "revolution" like the sound of breaking glass.

If you want to be original, "the most important possible thing you could do," says Ira Glass, the producer of This American Life and the podcast Serial, "is do a lot of work. Do a huge volume of work.