In fact this would do fairly well as a definition of politics: what determines rank in the absence of objective tests.

In high school you're led to believe your whole future depends on where you go to college, but it turns out to only buy you a couple years. By your mid-twenties the people worth impressing already judge you more by what you've done than where you went to school.

Managers are presumably wondering, how can I make this miracle happen? How can I make the people working for me do more with less? Unfortunately the constraint probably has to be self-imposed. If you're expected to do more with less, then you're being starved, not eating virtuously.

Without the prospect of publication, the closest most people come to writing essays is to write in a journal. I find I never get as deeply into subjects as I do in proper essays. As the name implies, you don't go back and rewrite journal entries over and over for two weeks.

Thanks to Sam Altman, Trevor Blackwell, Paul Buchheit, Sarah Harlin, Jessica Livingston, Jackie McDonough, Robert Morris, Olin Shivers, and Chris Small for reading drafts of this, and to Chris Small and Chad Fowler for inviting me to speak.

The Island Test

I've discovered a handy test for figuring out what you're addicted to. Imagine you were going to spend the weekend at a friend's house on a little island off the coast of Maine. There are no shops on the island and you won't be able to leave while you're there. Also, you've never been to this house before, so you can't assume it will have more than any house might.

What, besides clothes and toiletries, do you make a point of packing? That's what you're addicted to. For example, if you find yourself packing a bottle of vodka (just in case), you may want to stop and think about that.

For me the list is four things: books, earplugs, a notebook, and a pen.

There are other things I might bring if I thought of it, like music, or tea, but I can live without them. I'm not so addicted to caffeine that I wouldn't risk the house not having any tea, just for a weekend.

Quiet is another matter. I realize it seems a bit eccentric to take earplugs on a trip to an island off the coast of Maine. If anywhere should be quiet, that should. But what if the person in the next room snored? What if there was a kid playing basketball? (Thump, thump, thump... thump.) Why risk it? Earplugs are small.

Sometimes I can think with noise. If I already have momentum on some project, I can work in noisy places. I can edit an essay or debug code in an airport. But airports are not so bad: most of the noise is whitish. I couldn't work with the sound of a sitcom coming through the wall, or a car in the street playing thump-thump music.

And of course there's another kind of thinking, when you're starting something new, that requires complete quiet. You never know when this will strike. It's just as well to carry plugs.

The notebook and pen are professional equipment, as it were. Though actually there is something druglike about them, in the sense that their main purpose is to make me feel better. I hardly ever go back and read stuff I write down in notebooks. It's just that if I can't write things down, worrying about remembering one idea gets in the way of having the next. Pen and paper wick ideas.

The best notebooks I've found are made by a company called Miquelrius. I use their smallest size, which is about 2.5 x 4 in. The secret to writing on such narrow pages is to break words only when you run out of space, like a Latin inscription. I use the cheapest plastic Bic ballpoints, partly because their gluey ink doesn't seep through pages, and partly so I don't worry about losing them.

I only started carrying a notebook about three years ago. Before that I used whatever scraps of paper I could find. But the problem with scraps of paper is that they're not ordered. In a notebook you can guess what a scribble means by looking at the pages around it. In the scrap era I was constantly finding notes I'd written years before that might say something I needed to remember, if I could only figure out what.

As for books, I know the house would probably have something to read. On the average trip I bring four books and only read one of them, because I find new books to read en route. Really bringing books is insurance.

I realize this dependence on books is not entirely good-- that what I need them for is distraction. The books I bring on trips are often quite virtuous, the sort of stuff that might be assigned reading in a college class. But I know my motives aren't virtuous. I bring books because if the world gets boring I need to be able to slip into another distilled by some writer. It's like eating jam when you know you should be eating fruit.

There is a point where I'll do without books. I was walking in some steep mountains once, and decided I'd rather just think, if I was bored, rather than carry a single unnecessary ounce. It wasn't so bad. I found I could entertain myself by having ideas instead of reading other people's. If you stop eating jam, fruit starts to taste better.

So maybe I'll try not bringing books on some future trip. They're going to have to pry the plugs out of my cold, dead ears, however.

Copy What You Like

When I was in high school I spent a lot of time imitating bad writers. What we studied in English classes was mostly fiction, so I assumed that was the highest form of writing. Mistake number one. The stories that seemed to be most admired were ones in which people suffered in complicated ways. Anything funny or gripping was ipso facto suspect, unless it was old enough to be hard to understand, like Shakespeare or Chaucer. Mistake number two. The ideal medium seemed the short story, which I've since learned had quite a brief life, roughly coincident with the peak of magazine publishing. But since their size made them perfect for study in high school classes, we read a lot of them, which gave us the impression the short story was flourishing. Mistake number three. And because they were so short, nothing really had to happen; you could just show a randomly truncated slice of life, and that was considered advanced. Mistake number four. The result was that I wrote a lot of stories in which nothing happened except that someone was unhappy in a way that seemed deep.

For most of college I was a philosophy major. I was very impressed by the papers published in philosophy journals. They were so beautifully typeset, and their tone was just captivating-- alternately casual and buffer-overflowingly technical. A fellow would be walking along a street and suddenly modality qua modality would spring upon him. I didn't ever quite understand these papers, but I figured I'd get around to that later, when I had time to reread them more closely. In the meantime I tried my best to imitate them. This was, I can now see, a doomed undertaking, because they weren't really saying anything. No philosopher ever refuted another, for example, because no one said anything definite enough to refute. Needless to say, my imitations didn't say anything either.

In grad school I was still wasting time imitating the wrong things. There was then a fashionable type of program called an expert system, at the core of which was something called an inference engine. I looked at what these things did and thought "I could write that in a thousand lines of code." And yet eminent professors were writing books about them, and startups were selling them for a year's salary a copy. What an opportunity, I thought; these impressive things seem easy to me; I must be pretty sharp. Wrong. It was simply a fad. The books the professors wrote about expert systems are now ignored. They were not even on a path to anything interesting. And the customers paying so much for them were largely the same government agencies that paid thousands for screwdrivers and toilet seats.