Episodes

  • [NOTE] My next book: Finish What Matters Preview Edition at kdv.co/fwmpre

    [NOTE] My next book: Finish What Matters Preview Edition at kdv.co/fwmpre
    Jan 12 2026

    Hello, Love Your Work listeners, those who still have this pod in your feeds – thank you for staying subscribed!

    I do not have a new episode for you, per se, though I've certainly thought about making new episodes, the bandwidth hasn't been there, because I have been long and hard at work on my next book, Finish What Matters!

    In short, you can buy the preview edition at https://kdv.co/fwmpre, but also let me tell you about it.

    Yes, after all the talk I made on this show about the subject of finishing projects, after all the mini episodes I published with various ideas such as the project halfpipe, the foundation effect, and Leonardo and Raphael, I finally have something ready to show you.

    Ironically, it has taken me a very long time to finish – or at least get close to finishing – this book. I thought I had the answers going into this one, but after digging deep into why projects – creative projects specifically – don't get finished, I have learned so much.

    Basically, there are really good reasons we don't always finish what matters. The creative process is open-ended, some of us have more open-ended cognitive styles, and we just don't know if finishing is going to be worth it! So it's no wonder we succumb to shiny object syndrome and struggle with motivation, and second-guess ourselves when we receive criticism.

    I have surveyed you in the hundreds, I've interviewed you by the dozens. I have studied the great creators throughout history, I have traveled to Italy to immerse myself in the worlds of Leonardo and Raphael. Most important, I have locked myself in a cabin in the mountains, pondering these obstacles to finishing, and what to do about them.

    And now, after five years of work, I have something ready to show you. I have a publicly announced schedule of deadlines by which I will deliver to you every chapter. I have on the calendar a lecture series through which to share these concepts, and even a small-group finishing cohort to help a handful of you get a project done in Q1.

    So if you are interested, please visit kdv.co/fwmpre to learn more and buy the Preview Edition. This is the third and FINAL book in the Getting Art Done series, which I started ten years ago, and which has taught me so much I can't believe. I cannot wait to share it with you, and I can hardly wait to speak to you again here or on some other podcast or some other podcast-like-thing at some date in the future.

    Thank you, happy new year, and here's to you getting it done in Q1.
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    3 mins
  • 308. Why I Quit Podcasting

    308. Why I Quit Podcasting
    Aug 10 2023
    After nearly eight years of the Love Your Work podcast, I'm quitting. Here's why, and What's Next. Podcasting is a bad business This is not the immediate reason I'm quitting, but it is at the root: Podcasting is a bad business. When the indirect benefits of an activity run out, it's hard to keep doing it if it's not making money. I realized long ago podcasting is a bad business, but I kept going for other reasons. I'll explain why in a bit. Though I didn't start my podcast with dollar signs in my eyes, I did at least hope I would grow to earn money doing it. I've earned about $32,000 in the eight-year history of Love Your Work. More than half of that has been from Patreon supporters, many of whom support for reasons other than the podcast. During that time, I've spent: $1,008 on hosting$11,749 on assistance with editing and publishing$241 on equipmentAnd some other expenses, for a total of about $13,000 In raw numbers, I've made a "profit" on the podcast. But, as I broke down in my latest income report, my "wage" was about $6 an hour. My podcast comprised about 5% of my income over these eight years, and took much more than that portion of my time and energy. Of course, I don't think about whether the podcast was worth it in terms of an hourly rate. Creative work happens in Extremistan, not Mediocristan, and I've made massive life choices to be free to explore creatively without worrying so much what I'm earning in the short-term. Ways to make money podcasting But there are many different ways to make a podcast a solid business, and none of them worked for me, for various reasons. Here are some of these business models, as they apply to the "thought-leader" space (I'll ignore the more entertainment/infotainment space that podcasts like Gimlet's inhabit). Be so massively famous, you can pick-and-choose advertisers, while demanding a lot of money. This is where Tim Ferriss and Joe Rogan are. They both started with large platforms, and applied whatever talents that helped them earn those platforms to make their podcasts huge. After more than fifteen years as a creator, I have a modest platform, but orders of magnitude smaller.Build a "content machine" that manufactures ad slots. I won't name names, but you've heard these podcasts. They're formulaic and don't seem to discern much who they have as a guest, nor what sponsors they accept. This business model is why my inbox is still full of pitches – they think I actually want more guests, because more guests would mean more ad slots. It takes a very rare set of circumstances for me to be excited to interview someone.Share information that directly helps people make money. If you have tactical and actionable information that's useful to professionals in a specific industry, you can charge for premium podcast content. I'm not as interested in the tactical and actionable as I am in the abstract and exploratory.Cover a niche topic. If you have a leading podcast about a very specific topic, advertisers within that niche will be willing to pay high rates to reach that audience. I didn't want to build my podcast according to a specific topic – more on that later.Have a "back-end" business. If you have a thriving consulting business, or training programs to sell, you can attract more clients and customers through your podcast. As I wrote in my ten-year reflections, "I want to make a living creating. I don't want creating to be merely a marketing strategy for other things. Is that completely insane?" I flirted with success in a few of these business models. Early on, I hoped my podcast would be famous enough to pick and choose advertisers at high rates. For a while, it looked like I had a chance. I was approached by a podcast network, and I had some reputable advertisers such as LinkedIn, Skillshare, Casper, Audible, Pittney Bowes, and University of California. Various times, I thought I was on the cusp of my "big break" – such as when Love Your Work was featured on the Apple Podcasts home screen. But the more I tried to go the "get famous" route, the louder the siren-song of the "content machine" route got. There were plenty of opportunities to do "interview swaps" with hosts I wasn't interested in interviewing. There were a few advertisers that had money, but whose products felt sleazy. Joining a podcast network would have pressured me to crank out content even if I didn't feel like it. There was (and still is) the never-ending stream of pitch emails for guests. I had too much wax in my ears to go the "content machine" route. Not included in my lifetime revenue-estimates for Love Your Work is money I made through the "back-end business" route. I was somewhat comfortable with this model, but I haven't made a course in years, as I've been focused on writing books. And as bad a business as people say writing books is, it's better than making a podcast. The podcast has helped me sell books in more ways than one. One way is that people who listened to the ...
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    11 mins
  • 307. A.I. Can't Bake

    307. A.I. Can't Bake
    Jul 27 2023
    You've probably heard that, in a blind taste test, even experts can't tell between white and red wine. Even if this were true – and it's not – it wouldn't matter. I was in Rome last month, visiting some Raphael paintings to research my next book, and stopped by the Sistine Chapel. I've spent a good amount of time studying what Michelangelo painted on that ceiling. There are lots of high-resolution images on Wikipedia. But seeing a picture is nothing like the experience of seeing the Sistine Chapel. You've invested thousands of dollars and spent fifteen hours on planes. You're jet-lagged and your feet ache from walking 20,000 steps. You're hot. When you enter, guards order you to keep moving, so you won't block the door. They corral you to the center, and you can finally look up. When you hear wine experts can't tell between white and red wine, you imagine the following: Professional sommeliers are blindfolded, and directed to taste two wines. They then make an informed guess which is white, and which is red. In this imaginary scenario, they get it right half the time – as well as if they had flipped a coin. If it were true wine experts couldn't tell between white and red wine, the implication would be that the experience of tasting wine is separate from other aspects of the wine. That the color, the shape of the glass, the bottle, the label, and even the price of the wine are all insignificant. That they all distract from the only thing that matters: the taste of the wine. There's some psychophysiological trigger that gets pulled when you tilt your head back. Maybe it stimulates your pituitary gland. When you have your head back and are taking in the images on the Sistine Chapel ceiling, you feel vulnerable. (You literally are vulnerable. You can't see what's going on around you. You'd be easy to physically attack.) What you see is overwhelming. As you try to focus your attention on some detail, some other portion of the imagery calls out and redirects your attention. This happens again and again. After a while, your neck needs a rest, and you return your gaze to eye-level. And this is almost as cool as the ceiling: You see other people with their heads back, their eyes wide, mouths agape, hands on hearts, tears in eyes. You hear languages and see faces from all over the world. You realize they all, too, have invested thousands of dollars and spent fifteen hours on planes. They, too, are jet-lagged and hot and have walked 20,000 steps. You can look at pictures of the Sistine Chapel ceiling on the internet. You can experience it in VR. In many ways, this is better than going to the Sistine Chapel. You can take as much time as you want, and look as close as you want. You don't have to spend thousands of dollars and fifteen hours on a plane, take time off work, or even crane back your neck. But seeing the Sistine Chapel ceiling on the internet or even VR is only better than seeing it in person, in the way that a spoonful of granulated sugar when you're starving is better than a hypothetical burger in another iteration of the multiverse. We've seen an explosion of AI capabilities in recent months. That has a lot of people worried about what it means to be a creator. Why do we need humans to write, for example, if ChatGPT can write? The reason ChatGPT's writing is impressive is the same reason there's still a place for things created by humans. Anyone old enough to have been on the internet in the heyday of America Online in the 1990s will remember this: When you were in a chat room, most the conversations were about being in a chat room: How long have you been on the internet? Isn't the internet cool? What other chat rooms do you like? Part of the appeal of the question "ASL?" – Age, Sex, Location? – was marveling over the fact you were chatting in real-time with a stranger several states away. Or maybe you remember when Uber or Lyft first came to your town. For the first year or two, likely every conversation you had with a driver was about how long they had been driving, about how quickly the service had grown in your town, which is better – Uber or Lyft?, or which nearby cities got which services first. The first few months ChatGPT was out, it was seemingly the only thing anyone on the internet talked about. But it wasn't because ChatGPT's writing was amazing. ChatGPT is a bad writer's idea of a good writer. It was because of the story: Wow, my computer is writing! Now that much of the novelty of ChatGPT has worn off, many of us are falling into the Trough of Disillusionment on the Gartner Hype Cycle. We're realizing ChatGPT is like a talking dog: It's impressive the dog can appear to talk, but it's not talking – it's just saying the words it's been taught. ChatGPT is very useful in some situations, but not as many as we had originally hoped. What made us talk about the internet while on the internet, talk about Uber while in Ubers, and talk about ChatGPT while chatting with ChatGPT...
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    9 mins
  • 306. Summary: The Triumph of Doubt by David Michaels

    306. Summary: The Triumph of Doubt by David Michaels
    Jul 13 2023
    We trust the food we eat, the drinks we drink, and the air we breathe are safe. That in case they're unsafe, someone is working to minimize our exposure, or at least tell us the risks. In The Triumph of Doubt, former head of OSHA David Michaels reveals how companies fight for their rights to sell harmful products, expose workers to health hazards, and pollute the environment. They do it by manufacturing so-called "science." Most this science is built not upon proving they're not causing harm, but by doing whatever they can to cast doubt. Here, in my own words, is a summary of The Triumph of Doubt: Dark Money and the Science of Deception. Products we use every day cause harm Chances are you've cooked on a pan coated with Teflon. Teflon is one of many polyfluoroalkyl substances, or PFAS. When introduced in the 1940s, they were considered safe. We now know they're linked with high cholesterol, poor immune function, cancer, obesity, birth defects, and low fertility. PFAS, it turns out, have such a long half-life, they're called "forever chemicals." PFAS can now be found in the blood of virtually all residents of the United States, and have been found in unsafe levels worldwide – in rainwater. You've probably heard that, in moderation, alcohol is actually good for you. But even one drink a day leads to higher overall mortality risk. More than one drink, greater risk of cardiovascular disease and cancer. Alcohol is a causal factor in 5% of deaths worldwide – about 3 million a year. 13.5% of deaths between ages 20–39 are alcohol-related. If you're in pain after an injury or surgery, your doctor might prescribe for you an opioid. But the rise in opioid addiction is responsible for the first drop in U.S. life expectancy in more than two decades. It's sent shockwaves throughout society. It's helped launch the epidemics of fentanyl and heroin overdoses, and the number of children in foster care in West Virginia, for example, rose 42% in four years. You might love to watch professional football. But NFL players are nineteen times more likely to develop neurological disorders, and thirty percent could develop Alzheimer's or dementia from taking so many hits. The "product defense" industry sows doubt How have they done it? How have companies been able to manufacture and sell products that cause so much harm, for so long? They do it by defending their products, when the safety of those products are questioned. On the surface, that's not so bad. But besides lying and deliberately deceiving, they abuse society's trust in so-called "science," and our lack of understanding of how much we risk when we move forward while still in doubt. The tobacco industry is a pioneer of product defense There's an entire industry that helps companies defend their products from regulation: It's called, appropriately, product defense. The tobacco industry is most-known for its product defense. In 1953, John W. Hill of the PR firm Hill & Knowlton convinced the tobacco industry to start – one floor below his office in the Empire State Building – the Tobacco Industry Research Committee (TIRC). The TIRC was supposed to do rigorous scientific research to understand the health effects of smoking, but mostly they just attacked existing science, doing what they could to sow doubt. Just a few years earlier, in 1950, a study had found heavy smokers were fifty times as likely as nonsmokers to get lung cancer. With the help of the TIRC, it would take a long time for these health risks to influence public policy. About thirty years later, most states had restricted smoking in some public places such as auditoriums and government buildings. Smoking had proliferated in American culture when cigarettes had been provided in soldiers' rations in WWI. Michaels describes one surgeon who, in 1919, made sure not to miss an autopsy of a man who had died of lung cancer, because it was the chance of a lifetime. He didn't see another case of lung cancer for seventeen years, then saw eight within six months. All eight had started smoking while serving in the war. Today, more than a century after cigarettes were widely introduced, we've finally seen a massive reduction in smoking in the U.S. We can fly on planes and go to restaurants and even bars, without being exposed to secondhand smoke. The sugar industry has been at it even longer Predating the product defense efforts of the tobacco industry is actually the sugar industry. The Sugar Research Foundation was started in 1943. Scientific evidence first linked sugar with heart disease in the 1950s. In 1967, as Dr. Robert Lustig told us, Harvard scientists published in the New England Journal of Medicine an article blaming fat rather than sugar for heart disease. Fifty years later UCSF researchers discovered the scientists had been funded by the Sugar Research Foundation – which they hadn't disclosed. Even more misleadingly, they had disclosed funding that actually made them look more impartial – from ...
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    18 mins
  • 305. Hedgehogs and Foxes

    305. Hedgehogs and Foxes
    Jun 29 2023
    According to philosopher Isaiah Berlin, people think in one of two different ways: They're either hedgehogs, or foxes. If you think like a hedgehog, you'll be more successful as a communicator. If you think like a fox, you'll be more accurate. Isaiah Berlin coined the hedgehog/fox dichotomy (via Archilochus) In Isaiah Berlin's 1953 essay, "The Hedgehog and the Fox," he quotes the ancient Greek poet, Archilochus: The fox knows many things, but the hedgehog knows one thing. Berlin describes this as "one of the deepest differences which divide writers and thinkers, and, it may be, human beings in general." How are "hedgehogs" and "foxes" different? According to Berlin, hedgehogs relate everything to a single central vision. Foxes pursue many ends, often unrelated or even contradictory. If you're a hedgehog, you explain the world through a focused belief or area of expertise. Maybe you're a chemist, and you see everything as chemical reactions. Maybe you're highly religious, and everything is "God's will." If you're a fox, you explain the world through a variety of lenses. You may try on conflicting beliefs for size, or use your knowledge in a wide variety of fields to understand the world. You explain things as From this perspective, X. But on the other hand, Y. It's also worth considering Z. The seminal hedgehog/fox essay is actually about Leo Tolstoy Even though this dichotomy Berlin presented has spread far and wide, his essay is mostly about Leo Tolstoy, and the tension between his fox-like tendencies and hedgehog-like aspirations. In Tolstoy's War and Peace, he writes: In historic events the so-called great men are labels giving names to events, and like labels they have but the smallest connection with the event itself. Every act of theirs, which appears to them an act of their own will, is in an historical sense involuntary and is related to the whole course of history and predestined from eternity. In War and Peace, Tolstoy presents characters who act as if they have control over the events of history. In Tolstoy's view, the events that make history are too complex to be controlled. Extending this theory outside historical events, Tolstoy also writes: When an apple has ripened and falls, why does it fall? Because of its attraction to the earth, because its stalk withers, because it is dried by the sun, because it grows heavier, because the wind shakes it, or because the boy standing below wants to eat it? Nothing is the cause. All this is only the coincidence of conditions in which all vital organic and elemental events occur. Is Tolstoy a fox, or a hedgehog? He acknowledges the complexity with which various events are linked – which is very fox-like. But he also seems convinced these events are so integrated with one another that nothing can change them. They're "predetermined" – a "coincidence of conditions." A true hedgehog might have a simple explanation, such as that gravity caused the apple to fall. Tolstoy loved concrete facts and causes, such as the pull of gravity, yet still yearned to find some universal law that could be used to predict the future. According to Berlin: It is not merely that the fox knows many things. The fox accepts that he can only know many things and that the unity of reality must escape his grasp. And this was Tolstoy's downfall. Early in his life, he presented profound insights about the world through novels such as War and Peace and Anna Karenina. That was very fox-like. Later in his life, he struggled to condense his deep knowledge about the world and human behavior into overarching theories about moral and ethical issues. As Berlin once wrote to a friend, Tolstoy was "a fox who terribly believed in hedgehogs and wished to vivisect himself into one." Other hedgehogs and foxes in Berlin's essay Other thinkers Berlin classifies as foxes include Aristotle, Goethe, and Shakespeare. Other thinkers Berlin classifies as hedgehogs include Dante, Dostoevsky, and Plato. What does the hedgehog/fox dichotomy have to do with the animals? What does knowing many things have to do with actual foxes? What does knowing one big thing have to do with actual hedgehogs? A fox is nimble and clever. It can run fast, climb trees, dig holes, swim across rivers, stalk prey, or hide from predators. A hedgehog mostly relies upon its ability to roll into a ball and ward off intruders. Foxes tell the future, hedgehogs get credit What are the consequences of being a fox or a hedgehog? According to Phil Tetlock, foxes are better at telling the future, while hedgehogs get more credit for telling the future. In Tetlock's 2005 book, Expert Political Judgement, he shared his findings from forecasting tournaments he held in the 1980s and 90s. Experts made 30,000 predictions about political events such as wars, economic growth, and election results. Then Tetlock tracked the performances of those predictions. What he found led to the U.S. intelligence community ...
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    12 mins
  • 304. Too Many Ideas, Must Pick One

    304. Too Many Ideas, Must Pick One
    Jun 15 2023
    Many creators and aspiring creators struggle not because they don't have enough ideas, but because they have too many. Their situations, in summary, are "Too many ideas, must pick one." Embedded in this belief are assumptions that, if challenged, can help you feel as if you have just enough ideas. In my recent AMA, I got a question I'm asked about creativity, probably more than any other: How can you pick a creative project when you have too many ideas? I've experienced, "too many ideas, must pick one," many times. I still often do. I of course answered this question in the AMA, but here I'll answer more in-depth. This is the thought process I guide myself through when I'm in the land of "too many ideas, must pick one." There are three assumptions embedded in, "too many ideas, must pick one." All these ideas are equally likely to succeed.I'm equally capable of succeeding at each of these ideas.I can't work on multiple ideas at once. Let's look at each of those. Assumption 1: "All these ideas are equally likely to succeed" If you feel you have too many ideas, you must think they're equally likely to succeed, which is the first assumption. That might not sound correct at first, but think about it. If you were starving, and only allowed to eat one of various sandwiches, you would probably pick the biggest and most calorie-rich. You might not be able to tell so easily which is the biggest and most calorie-rich sandwich. In fact, there may be other factors that play into your decision. Maybe the avocado and pork belly sandwich is the most calorie-rich, but you're craving roasted duck in this moment, and there happens to be a roasted-duck sandwich amongst the selections. While satisfying your hunger is one objective of choosing a sandwich, there are other goals in mind, such as satisfying cravings, which may compete with one another. If you have a hard time deciding amongst all the sandwiches, you expect eating one sandwich to be equally likely to succeed as eating any of the others. As with projects, "success" may come in many forms. We'll get to that in a bit. Assumption 2: "I'm equally capable of succeeding at each of these ideas" If you feel you have too many ideas, you must think you're equally capable of succeeding at each of these ideas, which is the second assumption. If assumption one weren't correct, and you didn't feel each idea were equally likely to succeed, you would probably pick the one most likely to succeed. The avocado and pork belly sandwich would clearly be more filling than peanut butter and jelly. Now, if you weren't equally capable of eating each of the sandwiches, that would make your decision easier. If you're choosing between avocado and pork belly and peanut butter and jelly, but you're a strict vegetarian, the decision is easy. Same if you're not a vegetarian, but allergic to peanuts. But since you feel each idea is equally likely to succeed, and you feel you're equally capable of succeeding at all of them, you feel you have too many ideas. As with projects, you may have little information about your capability of succeeding, which is why, for all you know, your capability to succeed is equal across all ideas. We'll untangle that later. Assumption 3: "I can't work on multiple ideas at once" If you feel you have "too many ideas," you feel they're equally likely to succeed and you're equally capable of succeeding at each of them. If you feel you "must pick one," you feel you can't work on multiple ideas at once, which is the third assumption. In our sandwich scenario, you've been told you have to pick one sandwich. If there's no one else around and the sandwiches will go to waste otherwise, you might as well taste all the sandwiches, then pick one. Or eat a little of each, until you're full. But, in that case, you wouldn't finish any of the sandwiches. Challenging the assumptions With all three of these assumptions, you're in a deadlock. Your ideas are equally likely to succeed, you're equally capable of succeeding at each, and you must pick one. Well, how can you pick one if they're all equally appealing ideas? There are five questions that can help you challenge these assumptions: What is success?What is my risk profile?What am I good at?What's necessary to succeed?What pain do I pick? Let's look at each of these. Question 1: "What is success?" Success can come in many forms. Maybe you want to make the most money possible. Maybe you want the most freedom possible. Maybe you want to do what you're most passionate about. You may feel each idea is equally likely to succeed, because each idea is likely to get a different kind of success. One sandwich will fill you up, another will taste great, still another seems like the healthy choice. If you have a clearer picture of what forms of success are more important to you than others, your many ideas will no longer be "equally likely to succeed." Question 2: "What is my risk profile?" Not only can success ...
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    12 mins
  • 303. Livestream/AMA: Publishing Outside Amazon, Focusing Curiosity, and Mind Management

    303. Livestream/AMA: Publishing Outside Amazon, Focusing Curiosity, and Mind Management
    Jun 1 2023

    Today I have a special episode for you. If you missed last month's AMA/Livestream, I'm delivering it right to your ears. In this AMA, I answered questions about:

    • What's the best self-publishing platform, and how did I publish 100-Word Writing Habit, non standard-sized, outside of Amazon?
    • Buenos Aires versus Medellín, which is better for mind management?
    • How to pick a creative project when you have too many ideas?
    • What's surprised me most in the past two years?
    • What task management software do I use for mind management?
    • How to focus on one project when you have multiple curiosities?
    • How to keep from falling down a research rabbit-hole?
    • How many half-formed ideas do I have captured somewhere?

    There are some parts where I refer to visuals, for the best experience, watch on YouTube.

    About Your Host, David Kadavy

    David Kadavy is author of Mind Management, Not Time Management, The Heart to Start and Design for Hackers. Through the Love Your Work podcast, his Love Mondays newsletter, and self-publishing coaching David helps you make it as a creative.

    Follow David on:

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    Show notes: http://kadavy.net/blog/posts/four-sources-of-shiny-object-syndrome/
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    55 mins
  • 302. The Four Sources of Shiny Object Syndrome

    302. The Four Sources of Shiny Object Syndrome
    May 18 2023
    Shiny object syndrome can be evidence of a problem, or it can be a normal part of the creative process. If you can identify the four sources of shiny object syndrome, you can tell the difference between being lost, or simply exploring. Three first three sources are problems The first three of the four sources of shiny object syndrome hold you back from finishing projects. They are: ambition, perfectionism, and distraction. Ambitious shiny object syndrome is starting projects that far outpace your abilities and resources.Perfectionistic shiny object syndrome is endlessly tweaking a project that could otherwise be called done.Distracted shiny object syndrome is juggling so many projects, you finish none. Before we get to the fourth source, a bit more about these three most dangerous sources. Ambitious shiny object syndrome You probably have a friend with ambitious shiny object syndrome. One day they proclaimed they were writing an epic fantasy novel. A few months later, they had dropped that and had a new plan: a feature film. A few months after that, they were starting a health-tech startup. All the while, you were shaking your head, because your friend clearly didn't have the experience or resources to take on these projects. They were writing the epic fantasy novel, yet had never written a short story. They were working on the feature film, yet had never made a short film. They were working on the health-tech startup, yet had no experience in technology, the health industry, nor raising funding. Delusional optimism can be an asset. Maybe your friend will get lucky, and one of these projects will click. They're more likely to get struck by lightning. Instead, you know what's coming when you ask how the latest project is going. They've abandoned that, and are taking on something new. Conveniently, your friend always has a great excuse for why. They find a scapegoat: You can't get a million dollars for a feature-film without a rich uncle. They claim to have never been serious about it in the first place: Oh, that silly book? I was just dabbling. More likely, they shift the conversation to another subject: Oh my god, did you see the article about the celebrity! If they had made a public prediction about their potential success in the project, you could hold them accountable. Yet they didn't, so you have to take their word for it. Interestingly, you'll never hear, That was foolish taking on that – I didn't know what I was doing! Perfectionistic shiny object syndrome Or maybe you have a friend with perfectionistic shiny object syndrome. They endlessly tweak a project that could otherwise be called done. The "shiny objects" in this case aren't other projects, but rather details within one project. Your perfectionist friend has one project they've been clinging to for years. Their novel has been through eleven revisions. It started as a memoir, but after becoming an urban-fantasy novel, it's now a thriller. They had a great-looking cover for each of these. But they've changed some details about the plot since the latest world-building workshop they traveled to attend, and they want to try a different cover designer. But before they spend money on another cover, they want to decide whether they're going to publish in places besides Amazon, because that affects the design specs. So they're taking a cohort-based course so they can ask a successful author what she thinks. There's nothing you could tell your friend to get them to ship this project. By now, they could be on their third book, having learned lessons from the previous two. Instead, they've convinced themself it has to be perfect. Distracted shiny object syndrome Or maybe you have a friend with distracted shiny object syndrome. They're taking on projects they could conceivably complete, given their skills and resources. They don't seem to suffer from perfectionism, but you can't tell, because none of their projects get anywhere near the finish line. Instead, once they make a little progress on one project, they switch to another, then another. Once their screenplay is completed for their short film, they start recording demos for their album. Once they've recorded demos for their album, they write their memoir. Once they've finished a draft of their memoir, they're writing a business plan for a non-profit. This "friend" may be you, and it certainly has been me. Shiny object syndrome is difficult to cure, because these sources are often mixed together. You may take on projects that are too ambitious, but also be distracted by the many other projects you're taking on. The perfectionism that is keeping you from shipping one project, may divert you to one overly-ambitious project, or a mixture of smaller projects. The fourth source is only natural Yet there is a fourth source of shiny object syndrome that doesn't have to keep you from finishing projects: Natural shiny object syndrome. Natural shiny object syndrome is the diversions and dead-ends that ...
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    9 mins