SCI.CREATE an open-source creative process

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September 4 2008

The Open-Source Creative Movement (from the mouth of Marisa)

Sure, we’ve waxed about this, and sure I could do my own summation, but quoting Marisa directly from my email works so much better:

"Just as politics as usual and the buying and selling of ideas and technology has netted us no fundamental change in the way global problems are addressed, the ownership of ideas, start-ups, nonprofits, and individualized approaches to solution-making is keeping us from the desperately necessary collaborative envisioning of what actions might actually work. By opening up the creative process – a process that, we firmly believe, is NOT limited to the production of paintings, plays, or songs, but inherent in every facet of business, politics, and culture – we invite new methods and new applications of ideas across the boundaries of industry, nation, and identity. Whether we’re artists, scholars, or entrepreneurs, the innovative approaches to global crisis we seek will only be realized when we can safely let go of our need to patent, own, and market the ideas we think of as "ours.""

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Chat about open-source creativity with Marisa

me:it means opening up ideas for people to collaborate…instead of hoarding ideas and thinking that someone’s going to steal it.

  and making it easier for people to share of said ideas and work.
  and "fostering trust" so people want to.
 in my world…trust just means that you trust an idea is worthless and its your own execution that makes it important.
  and you trust you can do it well.
  listen to me blather.
 Marisa: no no this is interesting stuff… I mean, I’ve thought a lot about collaboration and the myth of the lone genius, but I never thought of it in Web 2.0 "open source" terms
 me: then clearly my website header isn’t doing its job. heh heh heh.
 Marisa: well no I mean you’re the first
 me: hahaha. oh.
 Marisa: I guess it just feels to me that it’s the difference between doing the disingenuous artist thing and claiming it all came to you in a vision versus the real work of it, the influences, the digestion, the output
 me: yeah. exactly.
  that’s a lot of it.
 artists like to pretend they’re magicians.
  and they are. but any real magician knows they’re playing with illusions…which rely on tons of tiny bits of very uncool and uninteresting maneuvres and inspiration.
  the method isn’t the illusion.
 the product is what’s magical. not the process.
  the process is partially arbitrary and partially calculated. its both.
  you can’t say "art is calculated" or "art is only sudden inspiration" because it requires both.
 at least for 99% of the time for 99% of the people.
 Marisa: right
 me: that other….01%, well, you can’t teach or talk about that anyway.
 Marisa: so it’s sort of obvious – except to the non-artist
me: its obvious unless the artist is lying to himself or putting up a front because he thinks other artists are "more" creative.
  and yes, the non-artist sees it as magic.
 Marisa: so in other words, you’re an evangelical of creative process
 me: and if you think that…then there’s a seriously steep learning curve.
  i am indeed.
 Marisa: right
 me: because the creative process is just a fancy word for playing.
Marisa: awww
 me: fuck, have fun. make up shit. poke at things. draw mustaches on people. don’t take shit so fucking seriously.
  because robots will kill us all off eventually anyway.
 

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Discipline

Discipline is something I lack. I have to force it upon myself since I am a very lazy person by nature. But I also know that lack of self-discipline is really the only thing that ever holds you back. If you think it’s something else, you’re probably wrong. Sure, there are little things like time, money, inspiration, people, drama, industry politics, equipment, etc…but those are small items which you will always get around. Self-discipline is a career maker, and its lack is a a career-destroyer (before it even starts).

Self-Reward: the old way

For the last few years my self-discipline has taken the form of a reward system of breaks. In other words, if I sit down and do some creative work for X amount of time, then I reward myself by taking a break and smoking a cigarette, or opening a beer, or checking my email, or whatever. The point was, I made arbitrary landmarks like “If I work till 8pm, then I’ll go smoke a cigarette”.

The problem with this system is it rewards diligence with a lack of diligence. It actually aided the self-discipline because it made the not-working portion of time the goal, when the whole point is to make the working portion the goal. Eventually you end up with all your excitement going to the next time you get to smoke that cigarette and you get a nasty smoking habit in the meantime.

Don’t reward time you want to spend with time off. It is counter-productive. At least for me.

Self-Reward: the new way

To combat this, I’ve devised a new system of self-reward. I have a whiteboard next to my desk at home. For every complete hour that I spend with my ass in my chair writing, I mark the whiteboard with a line. That line equals $10 which I transfer from my checking account to a floating savings account (a virtual piggy bank for loose change). So, every hour I spend glued to my seat and doing my creative work, I pay myself $10. Feel free to go in half hour increments if you must.

This system pays you to keep working. And obviously its still your money, but it’s “extra” money because it’s not part of your checking account. It’s a “feel free to spend this on whatever the hell you want because you’ve earned it” account, and it promotes my ass being glued to my chair.

I started last week. I have $45 now. More importantly, I’m learning not to take breaks, and to have an enormous sense of accomplishment from each hour I get to work.

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August 15 2008

Ten Selling Tips from Bookmasters

Courtesy of Bookmasters‘ newsletter. This is directed at books (and my personal experience can attest to its truth), but applies just as easily to CDs and really any other media.

1. Define your niche and cater to it in design and marketing planning.

2. Make your design, inside and out, as good as designs from Avon or Random House. Amateur covers get turndowns.

3. Don’t stray too far from the norm. Although you want your book to stand out, you don’t want it to stick out in a bad way. Find books that are similar to yours and books that are shelved where you would like to see your book shelved, and get a feel for what is similar among them. Customers have expectations within different genres.

4. Spend time working on the spine of your book. In most bookstores, many books are on shelves with only the spine showing.

S. Be sure there’s a selling blurb beneath the title­words that will help sell your book during the 15 seconds or so that a potential customer takes to look at it.

6. Get a big-name endorsement to put on the cover. Write to the leading authors or authorities in your field requesting one; you’ll be surprised at how often they’ll respond.

7. Create a professional-looking press kit that your distributor’s sales representatives can use to bolster sales efforts and that you can use with media and when you’re setting up signings and interviews.

8. Start local. Plan programs and signings in your hometown and surrounding areas to create a buzz and then expand as your marketing budget allows. Aim for a regional bestseller list first to get on the radar of national chains.

9. Use a variety of media outlets. Combine television, print, radio, and Internet campaigns for a comprehensive marketing program.

10. Go visit bookstore buyers yourself. The more a buyer sees a book, the more likely the buyer is to buy. Whether it is through print, radio, television, or Internet marketing, through a visit from a sales rep or a visit from the author, the more your book is out there, the more likely it becomes that the book will be on the buyer’s mind.

by Randall McKenzie, national sales manager of AtiasBooks Distribution.

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August 13 2008

icscrest.jpg

Great article in the East Bay Express about the Immersion Composition Society which "helps musicians overcome creative hurdles". Indeed. Definitely worth a read if you’re doing anything at all creative. If this doesn’t get you inspired, you probably don’t respond to pokes from a stick either.

 
And dude, they have a crest! How cool is that?

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July 30 2008

Bookmasters/Atlasbooks digital conversion and distribution services

I’ve used Bookmasters twice for self-publishing art-storybooks (Eleventy Billion Miles Away, and God’s Acre) and have been happy. I’m surprised at how big they’re getting now though since it seemed like some small midwestern operation.

The following was from an email blast of theirs. Nice set of services.

BookMasters/AtlasBooks offers its publishing partners the finest digital conversion and distribution services. Utilizing XML-first workflow production/composition methods or post-production conversions to XML, we offer our publishing partners the opportunity to repurpose their existing content for future updates, Web use, or to utilize the many eBook and digital content aggregators that are available in the industry today. Whether it be converting back-list titles or the production of new front-list titles, BookMasters’ digital services can provide the conversion process that will meet the present and future needs of publishers.

If the publisher is interested in generating additional revenue from their titles by selling through the fast-emerging eBook channels, BookMasters can provide the infrastructure support to take your books from print version to multiple eBook formats as well as manage the distribution and fulfillment to such eBook players as:

  1. Amazon Kindle
  2. Sony Reader
  3. ebrary
  4. NetLibrary
  5. eBook Library
  6. Myilibrary
  7. And all other aggregators

Because each eBook aggregator has their own specific requirements and specifications, BookMasters will provide the bibliographic metadata to accompany each eBook file.

BookMasters will also provide the distribution support to see that the eBook files are made available, uploaded properly, and ready for sale.

BookMasters Digital Conversion and Fulfillment services will enable our publishing partners the opportunity to:

  • Control their digital content
  • Maximize revenue yet minimize the effort in selling digital content
  • Create and accommodate online content demands
  • Fulfill to the trade and library channels through a convenient yet professional approach

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July 29 2008

Quickbooks tips: Non-profits

A PDF of "20 tips every non-profit should know" from Quickbooks (you know, the accounting software). As this is the area I’m least familiar with, but most interested, this one seems the most valuable. Part 3 of 3.

0 Comments / Tags: article, tips, business, accounting, non-profit

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Quickbooks tips: Contractors

A PDF of "20 tips every contractor should know" from Quickbooks (you know, the accounting software). Applicable to contractors of all types, even though it’s bent towards home-construction contractors and the like. Part 2 of 3.

0 Comments / Tags: article, tips, business, accounting

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Quickbooks tips: All Businesses

A PDF of "20 tips every business should know" from Quickbooks (you know, the accounting software). All good stuff. Obviously some is more common sense than others, but it’s all good stuff. Part 1 of 3.

0 Comments / Tags: article, tips, business, accounting

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The Creative Group on internet trends

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internettrends2008.pdf

The Creative Group (TCG) is a job placement agency (which has helped me obtain my last two interactive jobs) which publishes the occasional newsletter on industry trends. I haven’t read this one yet, but they’re usually well-informed.

0 Comments / Tags: article, interactive, web trends

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Publishing Trends July '08 - from Bookmark newsletter

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pubtrends0708bookmark.pdf

Bookmasters has a monthly newsletter that I find pretty useful for tips on working within the publishing world. The article on digital distribution in this Publishing Trends PDF is interesting. Things to keep tabs on for sure.

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July 17 2008

Conversation with Kevin Lottes about editing

The following is an email exchange I recently had with a friend who has helped edit some of my work (and vice versa). The conversation touches on some useful tips on editing, and which apply to any type of creative critiquing.

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Kevin:

Last night I was just thinking how hard it is to just read a draft of a story for what it is rather than trying to dissect it from the get-go, which I’m pretty guilty of. It’s tough to read a draft and not want to become the writer. Maybe I should start laying the red pen down and just work harder at reading it without wanting to change anything. I’m gulity of that. But just because that’s how I read my drafts, you know? It’s tough to switch hats, from being the writer to the reader, you know?


Me:
 
heh heh. i actually think you’re guilty of that a bit too. when i started reviewing people’s work i actually recognized that could be a problem and have established a system that i think works great. simply put…i read it twice. i read it first without a pen. just read it. at the end i’ll make a list of first impressions. then i read it again, this time with the pen. then i make a list of second impressions.

that way you can actually read the story and get a feel for what the author wants it to be, or what it is on its own…without trying to impose your structure yet. and often your first impressions are very different than your second read…but both are important because a reader is usually not going to read it twice. but a second time allows a reviewer to look again and see what might be happening underneath…which obviously can help the author bring it out.

if you’re having these questions, then i would strongly implore you to do the same.  you can’t edit something if you don’t yet know what it is, ya know?

 
Kevin:
 
Good point. Will do.
 
I wonder if Dylan has anyone read over his lyrics before he sings them to an audience or goes to record them or whatever? You think he asks what other’s think before he does his thing with it? How cool would that be? Having him hand you a draft of The Times Are A-Changin and say "What do you think? Do you think I should change anything?"
 
Sometimes I think we exhange our work with others, not for critiquing, but to seek praise. I know I’m guilty of that too. Sometimes I don’t care what others think I should change it to. I just want someone to tell me it was good, you know?
 

Me:

hahaha…yes. everyone asks someone…even if their wife is the sounding board or the bum on the street. and some people need more affirmation than others for sure. i totally agree though…sometimes you just want to know that it doesn’t suck. sometimes you just need objectivity, not for specifics…just because you’re too involved.

and yes, sometimes you just want some ego inflation. but i think we’re both mature enough to have moved beyond simple ego inflation. if it were just that then you’d find a reader who loved everything you do. someone said that the best reader of your work is the one who likes it, but doesn’t love it. i would say you like my stuff but don’t love it…so its working out :)

speaking of the dylan thing…which is hilarious…ever see the famliy guy when peter was writing songs with simon and garfunkel, and he was like "don’t you think it should be parsley, sage, rosemary, and lowry’s seasoning salt?" that’s the kind of feedback dylan would’ve gotten.


Kevin:

Yeah, I don’t know what I would tell Dylan. Can you imagine me saying to him, "Umm, yeah, Bob, I’m not sure. Where’s the conflict in this? Why do you go from drowning in a flood to spanish leather boots? Who are you speaking to? I get lost in the middle of it. I think you should start over. The more you do it the better you’ll get." Ha!  Yeah right. In my dreams. But you know, we really don’t know how hard he actually works on a song, do we? When he dies, they’ll probably find enough drafts of one song to fill up the Grand Canyon.
 

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The system I mention seems to be working out great. I picked it up after I realized I wanted to write and then interviewed various teachers and students and writers about their experiences with workshops and critiques. The common themes informed the system I mentioned which is really centered around trying to understand what the work you’re looking at is trying to be on its own…not what you think it should be…and then responding accordingly.

A few months back I took a one-day editing course through Berkeley Extension, and we did an exercise that really hit this home in a funny way. The instructor gave us a story that an 11-year old girl had written and told us to mark it up for revision. The joke was that while at first glance it looked atrocious (varying voice, words in odd places, run-on sentences, sentences out of order), if you actually took the time to realize you were editing an 11-year old’s piece, it was pretty close to perfect. It sounded like an 11-year old should sound, and really did the job of pulling the reader through the experience of her brother leaving for war. In other words, sure, I might have written it differently, but it wasn’t my piece. For what it was…the emotional tale of a sister and brother being split up…via the voice of an 11-year old, it was close to perfect and the reader had no trouble following along or being emotionally invested.

I’ll post up the story if I can find it.

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July 3 2008

On-Demand Printing

Two interesting on-demand printing options to look into for distribution. Each one seems considerable more cost-effective than any service of this type that I’ve seen previously. I’m going to try one of each and report back. When you only want to produce limited print runs (under 2,000 – either because you want it to be an art object, or because you simply don’t have the audience or distribution to move more yet, despite all your grand hopes and assurances), the cost through traditional printers is prohibitive. And it seems like more people are noticing that and using the web and certain templating capabilities to allow more low-volume printing. Which seems like a trend toward the return of cottage industries of sorts. Which is good.

» Blurb
Dave Senecal brought this one to my attention. I’ve already downloaded the software, and the quality and ease look quite nice.

» CreateSpace
I found out about this one through my seller profile on Amazon, so apparently they’re partners. They smelled like the typical on-demand suppliers, and though I have no idea about quality, the pricing actually looks pretty good. 

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June 3 2008

Myspace & Twitter, according to David Hooper

David Hooper, self-described maestro of music marketing, wrote this article, outlining both the demise of Myspace’s worth in music (and thus creative in-general) marketing (yay!), and the rise of Twitter in the same (boo!).

While I agree that yes, myspace, like any other technology or fad, will fade in its relevence (though who can say at this point what baseline of role-constancy it will hit), I do not agree that Twitter is the "next best thing". No insult to twitter, but it has always seemed to me to be just an annoying form of mass text-messaging. Yes, you can get a one-liner like "I’m hard-boiling eggs right now!" or, more functionally "I just posted a new free song." out to all your "friends" quickly, that’s about all its good for. Yes, it seems twitter is the cool thing right now, and yes, that means that you can probably find some way to make it help you market yourself, but: 

1) It’s really not all that new. In fact, it’s been abuzz in the tech world for over a year already. I might even venture to say it’s past it’s prime buzz already.

2) Unless you truly love the idea of being inundated with non-personal messages no longer than an IM line or a text message, then it’s actually really annoying and will start making you cringe. 

The point? Yes, like all web and non-web tools, Twitter and Myspace both have their uses, both will have their peak heyday that is the high watermark of their utility, and both could and should be used to market your creative self online…if you have the time to do it right. That’s the key with any of this. Do not jump on every bandwagon in the hopes that just being on said bandwagon (no pun intended) will be enough to rocket you to infamy, but really look at what a tool does, and use it appropriately. Just being on Myspace is about as useful as printing a stack of fliers. They’re nothing unless you do something with them. Same with Twitter. And I would venture a guess that any of these, if used really to their maximum, can do what you need of them, regardless of the need to catch it at its peak of cool-kid popularity. 

Once again, good ideas David Hooper, but can you stop trying to be such a self-ascribed soothsayer?

» David Hooper’s article

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May 29 2008

Oasis CD success story - Juno

An inspirational sort of email I received from Oasis CD (specialize in cheap, quality, environmentally savvy CD manufacturing). From their leader…

Have I got a story for you!

JunoIt’s about a fabulous Oasis client and how his song "All I Want is You" came to be the centerpiece of the opening sequence of the movie Juno (the extended, hand-animated sequence where she’s walking along and drinking SunnyD).

He’s a singer-songwriter named Barry Louis Polisar. He is a very, very nice guy. More to the point, he’s a great example of someone who doesn’t wait for the world to give him a lucky break in the clichéd "I’m going to be a rock-star someday" style. Instead, he shows up for every gig on time, he tracks down every lead. He self-publishes. He performs at schools and libraries all the way from his hometown near Washington, DC to Fairbanks, Alaska. He really, truly, keeps himself open for opportunity to come his way. And it does.


Juno DVDNow, after a lot of years in the business, he is suddenly, and on an impressive scale, truly an "overnight" success. Here’s how it happened.

Barry manufactured several CD titles in the Micah-running-things-out-of-his-basement days of Oasis. For each title he qualified, like all Oasis clients, for our Tools of Promotion program: radio broadcast promotion, Brick & Mortar distribution, and more. But he was such an early client of Oasis, we hadn’t added the iTunes/online component of the program yet.

 

When we did, and he heard about it, he sent us a nice note asking if he could get certificates for all his titles retroactively – the hand-embossed pieces of paper that, back then, we would have required to get into the online part of our program.

Now a lot of people would just chalk their timing up to bad luck, and assume a company, even Oasis, would leave them in the lurch. But because Barry had faith and wrote us such a nice note, I went to the mailroom (AKA, my living room), got out the embosser, and hand-made five certificates for Barry and put them in the mail.

Fast-forward 7 years… Jason Reitman, the director of the movie Juno, is trolling through iTunes, where Barry is featured, thanks to those retroactive Oasis Tools of Promotion certificates. Reitman mis-types the title of a song he thinks he wants for the film and hears Barry’s song instead. He emails Barry and asks if he can use it for the film. One hit movie, 600,000 soundtrack copies, and a flood of worldwide licensing requests later, and there’s your happy ending to this very nifty story.

Micah Solomon
Micah Solomon
President and Founder
Oasis Disc Manufacturing

 

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StevePavlina.com Personal Development Insights Newsletter Issue #7

I get these newsletters, but I’m not always sure why. They can be somewhat inspirational. 

Noticing What Works – A Powerful Life Lesson

Many years ago I met a businessman who said he’d turned his $40,000 per year business into a $400,000 per year business in just 2 years. He asked if I wanted to know how he did it. I replied that of course I wanted to know. At the time I was struggling with my computer games business. I was able to pay my bills, but I wasn’t getting ahead.

The lesson he taught me was quite simple. In fact, it’s so simple that you’re likely to dismiss it as obvious. I agree that it sounds like common sense, but it’s not commonly applied. When you really put this idea into action, you can take your results to a whole new next level.

In a nutshell this was the lesson:

In life you will always have your ups and downs, your successes and failures. Sometimes things go well for you. Sometimes they go poorly.

When you succeed or fail, there’s always a cause. You can backtrack your results to figure out what caused them. You might not be able to do this perfectly, but you’ll usually have a pretty good idea of the contributing factors.

What caused your income, your health, and your relationships to improve over the past several years? What caused things to get worse? Can you identify the specific causes of your best and worst results?

Once you know the contributing factors to your hits and your misses, your goal is to deliberately do more of what causes the successes and deliberately do less of what caused the failures.

Of course some of the contributing factors may not be under your direct control, but some of those factors will be. Focus your efforts on what you can control, and don’t worry about what’s outside your control.

I must admit that it was hard for me to take this exercise seriously, but I decided to try it anyway. The businessman was certainly doing a lot better than I was, so maybe he knew something I didn’t. I figured I had nothing to lose.

Let me give you a specific example of how I applied this to my games business.

When I first did this simple exercise, I noticed that my sales went up whenever I released a new computer game, and they tended to decline if I went too long without releasing something. That probably sounds obvious, but it was a powerful distinction for me at the time. You see… most of my time was actually spent developing games, which is definitely not the same thing as releasing games. I thought that as long as I was working on creating new games, I was doing intelligent, productive work that would eventually benefit my business financially. How wrong I was!

I got the idea that maybe I should turn my attention to releasing games instead of spending so much time and energy developing them. So instead of developing a whole new game from scratch, for my next project I created an expansion pack as an add-on product for my most successful game. The original game took six months to develop, but the expansion pack only took two weeks because it didn’t require any special programming. It was just a pack of 20 extra levels for the same game.

This expansion pack earned about 35% as much money as the original game, which was an excellent return for so little effort. How would you like to permanently increase your income by 35% just by doing slightly different work for the next two weeks?

Next, I released a second expansion pack for the same game. This time I didn’t even create the levels myself — I had someone else do the work. Again there was a similar jump in sales. We’re talking sustained increases, not a temporary surge followed by a drop.

Later I released a new version of the same game with five times as many levels as there were in the original release. Most of those levels were created by other people, so all I had to do was bundle everything together. I raised the price to reflect the added value, and that new version sold well for many years, earning many times what the original release earned. If I’d stopped at the original version, I’d have left most of the potential sales untapped.

Then I turned around and licensed that game to other companies, so I earned royalties from their sales as well. When another publisher released one of my games to their audience, my income went up again. It was the act of releasing games that made the difference. I didn’t have to be the one to do it personally. I just had to set the cause in motion in order to enjoy the result.

Finally, I went on to publish other developer’s games, paying a sales-based royalty to the original developer. By introducing other developers’ games to my audience, I was able to release many more products than I could develop with my own team. This was a win for me, a win for the developers, and a win for my customers. In one month my business managed to release three new games whereas previously I was lucky to release one game per year. For my small business, that was quite an achievement.

I stopped publishing games years ago, but to this day I still receive monthly royalty checks. The checks are admittedly quite small now, but it’s a nice reminder of the power of noticing what works.

By noticing that my results were improved by releasing games, not by developing them, I found a way to do more of the work that caused my sales to increase and less of the work that didn’t. My business began to thrive, and it was profitable every year after I started applying this simple yet valuable lesson.

I used a similar strategy to build my personal development business, especially during the first year. When I somehow managed to get a small traffic increase, I figured out what caused it and tried to do more of it. When my traffic stagnated or went down, again I figured out the cause and tried to do less of it. Once I had a decent level of traffic, I did the same thing with respect to generating income.

When I was first launching StevePavlina.com, I didn’t know how to build a successful business in this field, but by noticing what worked and what didn’t, I was able to adjust course to increase the hits and reduce the misses. Some of those lessons seemed counter-intuitive at first, but the hard data doesn’t lie.

You can apply this same idea to improve your results in any area of your life — your income, your career, your relationships, your health — even your spiritual development. Notice what creates a hit for you, and do more of it. Notice what causes a flop or a dry spell, and do less of it.

A corollary to the above is that if you haven’t had a hit for a long time, you can basically throw out whatever you’re currently doing in that area because it clearly isn’t working. You’ll have to experiment more to figure out what does work. If you already know that your current efforts aren’t working, there’s no point in continuing along the same path.

You aren’t doomed to become a victim of your past, but your past surely contains clues that can help you enjoy an even better present and future.

Sometimes the simplest ideas are the best.

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