Remote Work Motivational Quotes

If a worker’s motivation is slumping, it’s probably because the work is weakly defined or appears pointless, or because others on the team are acting like tools.

The people who adjust best to remote work train themselves to be more proactive, entrepreneurial, and motivated. The best remote workers are uncomfortable with the status quo. They avoid complacency and are not afraid to disrupt themselves when necessary.

What there was in it of the purely sensuous instinct of boyhood had been transformed by the workings of the imagination, changed into something that seemed to the lad himself to be remote from sense, and was for that very reason all the more dangerous. It was the passions about whose origin we deceived ourselves that tyrannized most strongly over us. Our weakest motives were those of whose nature we were conscious. It often happened that when we thought we were experimenting on others we were really experimenting on ourselves.

Each purpose, each mission, is meant to be fully lived to the point where it becomes empty, boring, and useless. Then it should be discarded. This is a sign of growth, but you may mistake it for a sign of failure. For instance, you may take on a business project, work at it for several years, and then suddenly find yourself totally disinterested. You know that if you stayed with it for another few years you would reap much greater financial reward than if you left the project now. But the project no longer calls you. You no longer feel interested in the project. You have developed skills over the last few years working on the project, but it hasn’t yet come to fruition. You may wonder, now that you have the skills, should you stick with it and bring the project to fruition, even though the work feels empty to you? Well, maybe you should stick with it. Maybe you are bailing out too soon, afraid of success or failure, or just too lazy to persevere. This is one possibility. Ask your close men friends if they feel you are simply losing steam, wimping out, or afraid to bring your project to completion. If they feel you are bailing out too soon, stick with it. However, there is also the possibility that you have completed your karma in this area. It is possible that this was one layer of purpose, which you have now fulfilled, on the way to another layer of purpose, closer to your deepest purpose. Among the signs of fulfilling or completing a layer of purpose are these: 1. You suddenly have no interest whatsoever in a project or mission that, just previously, motivated you highly. 2. You feel surprisingly free of any regrets whatsoever, for starting the project or for ending it. 3. Even though you may not have the slightest idea of what you are going to do next, you feel clear, unconfused, and, especially, unburdened. 4. You feel an increase in energy at the prospect of ceasing your involvement with the project. 5. The project seems almost silly, like collecting shoelaces or wallpapering your house with gas station receipts. Sure, you could do it, but why would you want to? If you experience these signs, it is probably time to stop working on this project. You must end your involvement impeccably, however, making sure there are no loose ends and that you do not burden anybody’s life by stopping your involvement. This might take some time, but it is important that this layer of your purpose ends cleanly and does not create any new karma, or obligation, that will burden you or others in the future. The next layer of your unfolding purpose may make itself clear immediately. More often, however, it does not. After completing one layer of purpose, you might not know what to do with your life. You know that the old project is over for you, but you are not sure of what is next. At this point, you must wait for a vision. There is no way to rush this process. You may need to get an intermediary job to hold you over until the next layer of purpose makes itself clear. Or, perhaps you have enough money to simply wait. But in any case, it is important to open yourself to a vision of what is next. You stay open to a vision of your deeper purpose by not filling your time with distractions. Don’t watch TV or play computer games. Don’t go out drinking beer with your friends every night or start dating a bunch of women. Simply wait. You may wish to go on a retreat in a remote area and be by yourself. Whatever it is you decide to do, consciously keep yourself open and available to receiving a vision of what is next. It will come.

See especially academia, which has effectively become a hope labor industrial complex. Within that system, tenured professors—ostensibly proof positive that you can, indeed, think about your subject of choice for the rest of your life, complete with job security, if you just work hard enough—encourage their most motivated students to apply for grad school. The grad schools depend on money from full-pay students and/or cheap labor from those students, so they accept far more master’s students than there are spots in PhD programs, and far more PhD students than there are tenure-track positions. Through it all, grad students are told that work will, in essence, save them: If they publish more, if they go to more conferences to present their work, if they get a book contract before graduating, their chances on the job market will go up. For a very limited few, this proves true. But it is no guarantee—and with ever-diminished funding for public universities, many students take on the costs of conference travel themselves (often through student loans), scrambling to make ends meet over the summer while they apply for the already-scarce number of academic jobs available, many of them in remote locations, with little promise of long-term stability. Some academics exhaust their hope labor supply during grad school. For others, it takes years on the market, often while adjuncting for little pay in demeaning and demanding work conditions, before the dream starts to splinter. But the system itself is set up to feed itself as long as possible. Most humanities PhD programs still offer little or nothing in terms of training for jobs outside of academia, creating a sort of mandatory tunnel from grad school to tenure-track aspirant. In the humanities, especially, to obtain a PhD—to become a doctor in your field of knowledge—is to adopt the refrain “I don’t have any marketable skills.” Many academics have no choice but to keep teaching—the only thing they feel equipped to do—even without fair pay or job security. Academic institutions are incentivized to keep adjuncts “doing what they love”—but there’s additional pressure from peers and mentors who’ve become deeply invested in the continued viability of the institution. Many senior academics with little experience of the realities of the contemporary market explicitly and implicitly advise their students that the only good job is a tenure-track academic job. When I failed to get an academic job in 2011, I felt soft but unsubtle dismay from various professors upon telling them that I had chosen to take a high school teaching job to make ends meet. It

In life you will face a lot of Circuses. You will pay for your failures. But, if you persevere, if you let those failures teach you and strengthen you, then you will be prepared to handle life’s toughest moments. July 1983 was one of those tough moments. As I stood before the commanding officer, I thought my career as a Navy SEAL was over. I had just been relieved of my SEAL squadron, fired for trying to change the way my squadron was organized, trained, and conducted missions. There were some magnificent officers and enlisted men in the organization, some of the most professional warriors I had ever been around. However, much of the culture was still rooted in the Vietnam era, and I thought it was time for a change. As I was to find out, change is never easy, particularly for the person in charge. Fortunately, even though I was fired, my commanding officer allowed me to transfer to another SEAL Team, but my reputation as a SEAL officer was severely damaged. Everywhere I went, other officers and enlisted men knew I had failed, and every day there were whispers and subtle reminders that maybe I wasn’t up to the task of being a SEAL. At that point in my career I had two options: quit and move on to civilian life, which seemed like the logical choice in light of my recent Officer Fitness Report, or weather the storm and prove to others and myself that I was a good SEAL officer. I chose the latter. Soon after being fired, I was given a second chance, an opportunity to deploy overseas as the Officer in Charge of a SEAL platoon. Most of the time on that overseas deployment we were in remote locations, isolated and on our own. I took advantage of the opportunity to show that I could still lead. When you live in close quarters with twelve SEALs there isn’t anywhere to hide. They know if you are giving 100 percent on the morning workout. They see when you are first in line to jump out of the airplane and last in line to get the chow. They watch you clean your weapon, check your radio, read the intelligence, and prepare your mission briefs. They know when you have worked all night preparing for tomorrow’s training. As month after month of the overseas deployment wore on, I used my previous failure as motivation to outwork, outhustle, and outperform everyone in the platoon. I sometimes fell short of being the best, but I never fell short of giving it my best. In time, I regained the respect of my men. Several years later I was selected to command a SEAL Team of my own. Eventually I would go on to command all the SEALs on the West Coast.

November 30th What do you know? For once I favourably surprise myself. After I'd read Howard's exemplary "White Ship" on Friday night and spent yesterday idling about in Providence - woolgathering, I suppose - I've finally made up my mind to sit down and attempt to lick this novel into some kind of functional shape. The central character I'm thinking, is a young man in his early thirties. He's well educated, but if forced by economic circumstance to leave his home in somewhere like Milwaukee (on the principle of writing about somewhere that you know) to seek employment further east. I feel I should give him a name. I know that details of this sort could wait until much later in the process, but I don't feel able to flesh out his character sufficiently until I've at least worked out what he's called. There's been a twenty minute pause between the end of the foregoing sentence and the start of this one, but I think his first name should be Jonathan. Jonathan Randall is the name that comes to me, perhaps by way of Randall Carver. Yes, I think I like the sound of that. So, young Jonathan Randall realises that his yearnings for a literary life have to be put aside to spare his parents dwindling resources, and that he must make his own way in the world, through manual labour if needs be, in order to become the self-sufficient grownup he aspires to be. During an early scene, perhaps in a recounting of Jonathan's childhood, there should be some striking incident which foreshadows the supernatural or psychological weirdness that will dominate the later chapters. Thinking about this, it seems to me that this would be the ideal place to introduce the bridge motif I've toyed with earlier in these pages: since I'm quite fond of the opening paragraphs that I've already written, with that long description of America as a repository for all the world's religious or else occult visionaries, I think what I'll do is largely leave that as it is, to function as a kind of prologue and establish the requisite mood, and then open the novel proper with Jonathan and a school friend playing truant on a summer's afternoon at some remote and overgrown ravine or other, where there's a precarious and creaking bridge with fraying ropes and missing boards that joins the chasm's two sides. I could probably set up the story's major themes and ideas in the two companions' dialogue, albeit simply expressed in keeping with their age and limited experience. Perhaps they're talking in excited schoolboy tones about some local legend, ghost story or piece of folklore that's connected with the bridge or the ravine. This would provide a motive - the eternal boyish fascination with the ghoulish - for them having come to this ill-omened spot while playing hooky, and would also help establish Jonathan's obsession with folkloric subjects as explored in the remainder of the novel.

Our dreams constantly speak to us of our beliefs and attitudes. They are of such crucial importance because they largely determine what we do, how we relate to people, and how we react to most situations. Most of us are not remotely aware of how much we are controlled by our beliefs, even less aware of how unconscious our attitude systems are. No one decides what beliefs and attitudes he or she will start off with. We all begin our lives with a set of attitudes that are dictated to us by the world outside us—family, tribe, or society. Generally, we don’t know we have them. If we are consciously aware of them as our beliefs, we assume that they are right; it rarely occurs to us to question them. At a certain point our dreams begin to challenge them and point them out to us, for the process of inner growth demands that we examine consciously everything that motivates us. If you look at the belief systems floating around in your dreams, you may find a power-mad dictator, a great general, a saint, or a sage living in you, with a complete matching set of attitudes. When this image appears, you should ask: “What set of beliefs, what opinions, does this character function out of? Do I unconsciously hold that same opinion without realizing it?

November 30th What do you know? For once I favourably surprise myself. After I'd read Howard's exemplary "White Ship" on Friday night and spent yesterday idling about in Providence - woolgathering, I suppose - I've finally made up my mind to sit down and attempt to lick this novel into some kind of functional shape. The central character I'm thinking, is a young man in his early thirties. He's well educated, but is forced by economic circumstance to leave his home in somewhere like Milwaukee (on the principle of writing about somewhere that you know) to seek employment further east. I feel I should give him a name. I know that details of this sort could wait until much later in the process, but I don't feel able to flesh out his character sufficiently until I've at least worked out what he's called. There's been a twenty minute pause between the end of the foregoing sentence and the start of this one, but I think his first name should be Jonathan. Jonathan Randall is the name that comes to me, perhaps by way of Randall Carver. Yes, I think I like the sound of that. So, young Jonathan Randall realises that his yearnings for a literary life have to be put aside to spare his parents' dwindling resources, and that he must make his own way in the world, through manual labour if needs be, in order to become the self-sufficient grownup he aspires to be. During an early scene, perhaps in a recounting of Jonathan's childhood, there should be some striking incident which foreshadows the supernatural or psychological weirdness that will dominate the later chapters. Thinking about this, it seems to me that this would be the ideal place to introduce the bridge motif I've toyed with earlier in these pages: since I'm quite fond of the opening paragraphs that I've already written, with that long description of America as a repository for all the world's religious or else occult visionaries, I think what I'll do is largely leave that as it is, to function as a kind of prologue and establish the requisite mood, and then open the novel proper with Jonathan and a school friend playing truant on a summer's afternoon at some remote and overgrown ravine or other, where there's a precarious and creaking bridge with fraying ropes and missing boards that joins the chasm's two sides. I could probably set up the story's major themes and ideas in the two companions' dialogue, albeit simply expressed in keeping with their age and limited experience. Perhaps they're talking in excited schoolboy tones about some local legend, ghost story or piece of folklore that's connected with the bridge or the ravine. This would provide a motive - the eternal boyish fascination with the ghoulish - for them having come to this ill-omened spot while playing hooky, and would also help establish Jonathan's obsession with folkloric subjects as explored in the remainder of the novel.

There was a sweet spot in the middle where procrastination seemed to fuel creativity: being quick to start but slow to finish. But moderate procrastination only predicted original thinking when employees were passionate about their work or solving a challenging problem. If employees weren't intrinsically motivated or working on an open-ended problem, stalling would just set them behind. ... moderate procrastination enhanced creativity by leading participants to incubate longer before submitting their first idea, which helped them frame the problem differently and explore more remote knowledge. Procrastination may be the enemy of productivity, but it can be a resource for creativity.

Most people suffering from a lack of motivation will blame themselves first. “Ah, it’s because I’m such a procrastinator!” “Why can’t I just get myself together?” The truth, more often than not, is that you are not the problem; it’s the world you’re working in.

When a team is in agreement in these four areas—goals, roles, resources, and norms—members become motivated and invested in meeting their team’s goals.

Cognitive trust is grounded in the belief that your coworkers are reliable and dependable. Teams motivated by cognitive-based trust use their heads to consider their colleagues’ qualification to do the task at hand; trust is usually formed over time, and confirmed (or disproven) over numerous experiences and interactions.

the only reliable way to muster motivation is by encouraging people to work on the stuff they like and care about, with people they like and care about. There are no shortcuts.

This quality of looking-forward into futurity seems the unavoidable condition of a being, whose motions are gradual, and whose life is progressive: as his powers are limited, he must use means for the attainment of his ends, and intend first what he performs last; as by continual advances from his first stage of existence, he is perpetually varying the horizon of his prospects, he must always discover new motives of action, new excitements of fear, and allurements of desire. The end therefore which at present calls forth our efforts, will be found, when it is once gained, to be only one of the means to some remoter end. The natural flights of the human mind are not from pleasure to pleasure, but from hope to hope.