The harder you struggle to fit everything in, the more of your time you'll find yourself spending on the least meaningful things. … The reason for th… - Oliver Burkeman

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The harder you struggle to fit everything in, the more of your time you'll find yourself spending on the least meaningful things. … The reason for this effect is straightforward: the more firmly you believe it ought to be possible to find time for everything, the less pressure you'll feel to ask whether any given activity is the best use for a portion of your time. Whenever you encounter some potential new item for your to-do list or your social calendar, you'll be strongly biased in favor of accepting it, because you'll assume you needn't sacrifice any other tasks or opportunities in order to make space for it … If you never stop to ask yourself if the sacrifice is worth it, your days will automatically begin to fill not just with more things, but with more trivial or tedious things, because they've never had to clear the hurdle of being judged more important than something else.

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About Oliver Burkeman

Oliver Burkeman (born 1975) is a British journalist (principally for the British newspaper The Guardian) and writer.

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The final principle is that, more often than not, originality lies on the far side of unoriginality. The Finnish American photographer Arno Minkkinen dramatizes this deep truth about the power of patience with a parable about Helsinki's main bus station. There are two dozen platforms there, he explains, with several different bus lines departing from each one — and for the first part of its journey, each bus leaving from any given platform takes the same route through the city as all the others, making identical stops. Think of each stop as representing one year of your career, Minkkinen advises photography students. You pick an artistic direction — perhaps you start working on platinum studies of nudes — and you begin to accumulate a portfolio of work. Three years (or bus stops) later, you proudly present it to the owner of a gallery. But you're dismayed to be told that your pictures aren't as original as you thought, because they look like knockoffs of the work of the photographer Irving Penn; Penn's bus, it turns out, had been on the same route as yours. Annoyed at yourself for having wasted three years following somebody else's path, you jump off that bus, hail a taxi, and return to where you started at the bus station. This time, you board a different bus, choosing a different genre of photography in which to specialize. But a few stops later, the same thing happens: you're informed that your new body of work seems derivative, too. Back you go to the bus station. But the pattern keeps on repeating: nothing you produce ever gets recognized as being truly your own. What's the solution? "It's simple," Minkkinen says. "Stay on the bus. Stay on the fucking bus." A little farther out on their journeys through the city, Helsinki's bus routes diverge, plunging off to unique destinations as they head through the suburbs and into the countryside beyond. That's where the distinctive work begins. But it begins at all only for those who can muster the patience to immerse th

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The white bear challenge, after all, seems like a metaphor for much of what goes wrong in life: all too often, the outcome we’re seeking to avoid is exactly the one to which we seem magnetically lured. Wegner labelled this effect ‘the precisely

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