ideas

SAM ALTMAN: Good ideas — actually, no, great ideas are fragile. Great ideas are easy to kill. An idea in its larval stage — all the best ideas when I first heard them sound bad. And all of us, myself included, are much more affected by what other people think of us and our ideas than we like to admit.

If you are just four people in your own door, an

One thing that sets these intensely creative individuals apart, as far as I can tell, is that when sitting with their thoughts they are uncommonly willing to linger in confusion. To be curious about that which confuses. Not too rapidly seeking the safety of knowing or the safety of a legible question, but waiting for a more powerful and subtle ques

What solitude gives you is an opportunity to study what personal curiosity feels like in its undiluted form, free from the interference of other considerations. Being familiar with the character of this feeling makes it easier to recognize if you are reacting to the potential in the work you are doing in a genuinely personal way, or if you are givi

Even if you know what it feels like to be completely open to where your curiosity wants you to go, like Grothendieck, it is a fragile state. It often takes considerable work to keep the creative state from collapsing, especially as your work becomes successful and the social expectations mount. When I listen to interviews with creative people or re

Working with talented and open-minded collaborators, if you have the chance, can be a way to enter the zone. Nick Cave, when asked how he’s been able to reinvent himself so many times as a musician, says that his bandmates, especially Warren Ellis, simply will not play anything that sounds like what he’s done before. He has surrounded himself with

Another idea if you want to push against the mental pressure that kills good ideas, from Paul Graham’s recent essay on how to do good work: “One way to do that is to ask what would be good ideas for someone else to explore. Then your subconscious won't shoot them down to protect you.” I don’t know of anyone using this technique, but it might work.

In June 1983, Alexander Grothendieck sits down to write the preface to a mathematical manuscript called Pursuing Stacks . He is concerned by what he sees as a tacit disdain for the more “feminine side” of mathematics (which is related to what I’m calling the solitary creative state) in favor of the “hammer and chisel” of the finished theorem. By el