The Act of Creation in the Age of Artificial Intelligence

The act of creation is both constructive and destructive. It requires taking old ideas and combining and distorting them into the new. It is not merely enough to replicate what has come before – in fact, that’s so bad we have all kinds of copyright laws and plagiarism rules to prevent it.

Artificial intelligence makes that point almost moot now. With enough time a computer can create every variation of every sentence ever possible.

What is an original idea then? The creation of something more, a whole with a sum greater than its parts.

Everyone is creative. The urge to create is inside of us, whether it’s an art project or the meaning of a life event, we seek to create an understanding, we desire connection, and we all need validation.

But it must start from within to be true to yourself. No one is creative at the wrong task. And creating or working toward something solely for the external validation is wrong. It will never lead to true fulfillment, and it will always leave you lacking. It’s like the desire for more money – at a certain point it is never enough, even when you have incomprehensible sums that could never be spent. At least that’s how it seems to go for the billionaires of the world.

A little while back, I bought a copy of Rick Rubin’s The Creative Act: A Way of Being.

I stopped on this page and pondered for some time:

No matter what tools you use to create,
the true instrument is you.
And through you, 
the universe that surrounds us
all comes into focus.

I placed my bookmark in this page to come back to later.

My bookmark reads: We are stardust, meant to shine.

It’s true.

What Esports Organizations Can Learn From the NBA

All trends die.

Esports organizations today have it all wrong in chasing the quick dollars of limited-release apparel drops. They’ve often put the cart before the horse, in fact, trying to emulate the streetwear brand Supreme without understanding how long-lasting brands are built. They’re trying to become a trend, instead of something that seems baked into society itself; the way other sports have dug deep into the American way of life.

With no centralized league that dominates the scene, independent esports organizations like 100 Thieves, Cloud9, and Complexity Gaming will need to pick up the slack when it comes to spreading the message of these games and selling the merchandise that helps make the whole thing profitable.

Rather than emulate the likes of Supreme – choosing to sell hoodies to a select few who can afford to pay a premium for an average-quality cut of cloth – esports organizations should be following the lead set by NBA franchises, and the league itself to create an inclusive industry.

With COVID-19 shutting down major sports leagues, concussions still an ongoing concern in football and hockey, and representation in all forms of entertainment often lacking the diverse voices that companies so desire to reach, esports organizations and game developers need to take esports moment in the spotlight and make the most of it.

Esports are already huge, but they’re still growing compared to most traditional sports in terms of profits and longevity. The path to the kind of ubiquity enjoyed by football, baseball, and soccer involves treating current and potential fans as possible future players or at least ambassadors, rather than checking accounts that exist to be drained every few months. It’s about raising a whole new generation that sees esports as a part of life, not a novelty.

So why the focus on limited-edition gear from certain esports teams? Would the Bulls ever tell you that you can’t buy a jersey and become a walking billboard for your favorite team, player, and city? Of course not. So why would esports teams try building their own version of the Jordan brand without a Michael Jordan?  You need to have the thriving league first, and then you can launch a premium brand that represents it.

The current attitude of exclusivity is at the root of the esports scenes fragmentation. The tribalism of past console wars has brought us to the Counter-Strike versus Valorant debate. Instead of growing a fanbase for a sport, the current approach creates a tribe member for Team Ninja or Team Shroud, and only goes after those who are already faithful. There are plenty of preachers, but the message tends to be aimed squarely at the choir.

And this approach is costing everyone money. While esports in general currently monetizes its fan base at less than $5 per viewer, compare to that to a baseline of $35 for traditional sports, and the fact that the NBA has been growing internationally for decades.

Talent development is the name of the game. The NBA develops players, referees, and broadcasters; this kind of attention to detail is important. More events and avenues to get involved means easier entry for more people, both as participants and viewers. If you just want to support your favorite team, there are ways to do so that fit every income level, whether that’s wearing a cap at home in front of the TV or screaming at the players from the arena while wearing nothing but branded clothes. If you want to start playing, there are onramps at just about every level of talent, for children and adults or just about every age.

The league also develops its fans, whether the fans realize it or not. Sports broadcasts are so sophisticated because they’re built around a combination of entertainment and education. Pre-game shows cover heartwarming stories and stats, but they also introduce fans to play styles, strategies, and Xs and Os. You can’t just show up and blow the whistle, you have to create an informed audience to consume the game and its products so they feel a part of the action.

Can esports do the same thing, but while focusing on what amounts to the logo, and not the players and fans? I don’t think it can, not for more than a few years anyway.

As Latoya Peterson questioned in an article for The Undefeated, “why are there so few other black players making it to the top of the various leagues?” While most professional sports – and even the fighting game community – manage to do better when it comes to diversity and representation, esports as a whole continues to struggle with making folks who aren’t straight white players feel welcome enough to give them a try, and it’s not news that the road to proficiency often filters players out due to the toxicity often found in online games.

But diversity on the court and in the stands is among the NBA’s biggest strengths. (In the boardroom is another matter, though.) For esports leagues to emulate this, they need to invest in training and development to ensure they reach players at a young age and teach them the skills to succeed, or at least make sure they have the tools needed to even try. Every local gym or community center has a basketball court, how many have the sorts of computers and accounts necessary to try Valorant?

The NBA hosts training camps and builds academies everywhere from the US to China, Africa, and India.

After cementing its place in China, the NBA has set its sights on India and Africa. The NBA views international expansion not only as a business opportunity, but as a “social responsibility.” How many organizations are even speaking in those terms? Meanwhile, they’ve set up a culture that deliberately focuses on broadening the tent, leading the initiative to launch the WNBA in an effort to give women more opportunities (though the league still has a long way to go for true equality to erase things like the pay gap), a development league, and the Jr. NBA focused on training young players the right way.

By only scouting talent from atop tournament leaderboards, rather than developing gamers from the ground up, esports organizations are missing a broad base of talent that could make their teams stronger and more diverse.

Investing in esports camps – much like the basketball academies being built around the world – could create a pipeline for talent who learn the fundamentals of gaming and how to carry themselves as professionals.

Where else can these younger esports find inspiration in the NBA? If esports organizations are ready to grow their teams on a global scale, toxicity must be eliminated.

After a swift investigation, the NBA issued two lifetime bans last year for fans using racist and derogatory language towards players. Toxicity in esports could be minimized by requiring players and fans to acknowledge a code of conduct before every event, and following up quickly when concerns are voiced. The gaming industry has shown positive signs as of late, with popular streamers being banned from Twitch for violating community standards, even when the actions don’t necessarily take place on stream.

With a few exceptions, instead of prioritizing the hard work of building trust and loyalty, many esports organizations have chosen to follow the most fleeting revenue stream and most fickle fans while ignoring the ways pro-sports leagues make money. NBA franchises make more than half of their revenue from arena and market income. That’s where they play and where they’re based, in other words. Why are there so few esports events that are accessible to the average fan? Why aren’t teams touring stadiums around the world so people can watch them play – and maybe even match up against them? After it’s safe to do so, of course.

The appetite is there. It’s been years since League of Legends sold out Madison Square Garden and the Overwatch League sold out Barclays Center in Brooklyn, New York.

Why isn’t there an esports all-star game? Why aren’t they filling up arenas in Ohio, Illinois, and Texas, too? Why aren’t deals struck with ailing regional sports networks to air esports tournaments and other content?

The Cash App Compound, 100 Thieves crown-jewel of an office space in Los Angeles, could be host to clinics, events, and other development programs. Instead its stark industrial space is meant for retail, business operations, and content creation – often little more than advertisements for its brand sponsors. And sure, maybe they had grander visions for this space before we entered a world of physical distancing, but the fact of the matter is that most modern esports organizations thrive on this exact kind of exclusivity, not inclusivity.

It’s not enough to broadcast on Twitch and feed more money to the Amazon-owned service – game developers, teams, and even the gamers themselves need to support the launch of localized events focused on open access over hype – an organization like PlayVS has worked hard to make tournament organizing accessible.

With the right resources, the event framework could be replicated by schools and independent organizers in places beyond large markets. Make no mistake – this work has started, but it’s far from finished. And this is the kind of organizing it’ll take for the next generation to grow up with fond memories of esports leagues, like we do of youth basketball camps and soccer leagues.

But it can only happen with a commitment from more of the top teams to invest in this development. That’s what the NBA has that esports as a whole lacks: A single, dedicated force that profits from the entirety of the sport, while also making sure that sport maintains awareness and competitive players all over the world. There are many reasons why esports doesn’t have something similar, but those problems can, and must, be overcome.

Esports, and gaming in general, has always been a do-it-yourself world. Some games are intentionally cryptic, their difficulty a badge of honor when you’ve completed it.

But that doesn’t work if you want to grow a game on a global scale. Viewers and competitors need to be brought in and supported along the way – in other words, they need context – that’s one reason Rocket League is often cited as the biggest missed opportunity in esports. The conceit, soccer with cars, is as easy to explain as it is to watch.

Still, most esports are endlessly complex. Without context building being a top priority, even experienced viewers can find themselves behind the play. Commentators exist to break down plays and strategy, in esports it’s mostly talking about things that the experienced viewer already knows, and the uninformed viewer can’t follow.

“The NBA succeeded in monopolizing basketball globally in ways that the YMCA never could, thanks to its marketing of stars, the universality of its up-tempo, athletic game and its inclusion of a labor force that reflects its international fan base,” Lindsay Sarah Krasnoff wrote for The Washington Post.

It’s time for esports organizations to take advantage of this current opportunity, but they have to remember they are ambassadors for their sport, not companies trying to sell merch to survive.

The best Canon lenses you should buy

I've previously written about what lenses you should buy to build out your kit, and I only have one addition I'd make to that list today: the Canon 24-105mm f/4L. Although its low-light capabilities are lacking, it's super versatile, and with the built-in image stabilization, it can be more useful than the 24-70mm f/2.8 in some cases.

Recently browsing through The Wirecutter–a site I respect and trust for their in-depth reviews and emphasis on quality over junk–I was reminded of a comment I left years ago. It was on a review titled, "The First Canon Lenses You Should Buy." Since that list remains mostly unchanged years later, I thought it was a good idea to republish my comment here. Hopefully this finds people who aren't sure about what lenses to buy.

The following has been edited only slightly for context and clarity and refreshed for the best Canon lenses in 2019.

I was really surprised by the recommendations in this article. I'll preface my comment by saying I don't shoot photos, only video, but I shoot video exclusively on Canon DSLRs. I shoot with a 5D Mark III, 7D, 60D, and T2i. That said...

When people ask for lens recommendations, I always say: Don't throw away money on cheap or "passable" lenses. I would never tell someone to go buy a 5D Mark III and throw a 50mm f/1.8 on there.

Lenses can move from camera to camera. If you take care of a lens it can last a lifetime. A camera body will be replaced in what, 5 years? 3 years? For most purposes, you're better off starting with a cheaper body–a used T2i is (still!) a great buy (or similar but more modern entry-level model, depending on how much later you’re reading this, like the Canon 80D)–and then get the 50mm f/1.4. The 50mm f/1.4 will be a great lens even if you move up to a 5D Mark IV in a few years.

On a crop sensor body, you also may be better off (depending on your needs) getting a Canon 28mm f/1.8 or Sigma 30mm f/1.4 Art. These are also generally in the $300-500 range and will give you an image closer to a "true" 50mm on a crop body.

The 70-200 seems like overkill for this type of list. You should at least be comfortable with the camera before dropping $1000 on a lens. For that price range though, pick up an older model or used Canon 70-200 f/2.8L, a Tamron SP 70-200mm f/2.8, or the Canon 135 2.0L (a beauty of a lens that's often overlooked). The point being, put the money into a lens you're sure you'll use (and love) for years. Not something just so you can have a full kit.

The Canon 100mm macro is a very nice lens, but unless you specifically need the macro capabilities, an alternative there would be the Canon 85mm f/1.8. Another great lens that is sometimes under the radar, and perfect for portraits or staged interview setups.

Whatever lens you go with, the advice I try to ram into everyone's head is to look at your lenses as an investment. Camera bodies will be replaced. Spend the extra money (or save until you can afford it) for a lens that will last you a long time.

I will say I like the recommendation of using the 50mm f/1.8 as a relatively cheap way to find out what focal length you like. Good call.

What Lens Should I Buy?

When people are looking to make the jump to using a DSLR for photography or video, one of the first questions is always, "What lens should I buy?"

First and foremost, I always give the advice that you're better off investing in a better lens than an expensive camera body to get started. Why?

Camera bodies aren't going to last as long. If you're at all serious about using a DSLR, even as a hobby, there's a good chance you'll want to upgrade within five years. And there's a very good chance whatever top-of-the-line camera you bought will be outdated in 24 months. OK, outdated is a bit strong, but there will almost certainly be a new model with more bells and whistles sooner rather than later.

There are some considerations you need to make when buying a camera, such as full frame vs. crop sensor, but don't overspend if it means making a compromise on what quality or level of lens you can afford. Lenses can last for years and years, and can be used on nearly any camera, even different brands through use of an adapter.

Long story short: a $1,000 lens will take you much further than a $1,000 camera body.

I should mention I really only use my DSLR to shoot video, so while I can speak to the quality of the lens overall, you may have different needs as a photographer. Feel free to ask me any questions and I will do my best to answer them.

So, what lenses do I recommend?

Canon 50mm f/1.4

This is a great lens from Canon for an awesome price. The ability to open up the aperture to 1.4 is really helpful in low-light situations.

Sigma 30mm f/1.4

This is one to consider if you're using a crop sensor camera like the T3i or 7D. If you're not familiar with the whole crop sensor concept, check out the link above. In short: on a Canon 80D, this will actually give you an image that is much closer to 50mm.

Tamron 17-50mm f/2.8

To this day, this has been one of my favorite lens I've ever owned. It gives you a nice range and good quality for the price. This is also meant for crop sensor cameras.

Canon 85mm f/1.8

This is one that sometimes seems to fly under the radar. It hits the mark of being affordable and of Canon's high quality standards. It's a great lens for portraits, but since I'm not a photographer, I didn't find a ton of use for it.

Tokina 11-16mm f/2.8

I don't own this lens, but I have used it extensively. It's developed a large cult following and it's definitely deserved. This lens offers great quality and an awesome wide-angle perspective. Be warned though, it's only for crop sensor cameras. You can use it on a 5D (or other full frame camera) at 16mm, but any wider and you'll see vignetting.

On to the big guns...

Canon 24-70mm f/2.8L

This has been my primary lens and is what replaced my Tamron 17-50mm f/2.8. You can't beat the quality, both in construction and the image it delivers. The focal range is nice on both crop and full frame cameras. It's just really versatile and what I use whenever I'm on the go.

Canon 70-200mm f/2.8L

This is another must have, and between this and the 24-70mm you can cover so much ground. Alternatively, you can snag the Sigma 70-200mm f/2.8 and save a little cash. It's a good lens too, but you should consider which will hold up better in the long run for the price you’re paying. If you want the cheaper lens to get a more expensive camera, I would reconsider. Go with the Canon.

Canon 135mm f/2.0L

I invested in this lens after reading rave review after rave review and it delivered. This is an extremely sharp lens and another nice alternative to the 70-200mm. Since it's not a zoom, it's not as versatile, but at less than half the price, it seems like a steal. It’s perfect for interview setups, as long as you have enough physical space between you and your subject.

Unfortunately, you've probably noticed I haven't listed a lens that you can get for under $300. The bottom line is one thing always rings true: you get what you pay for. It's tough when you can't afford to splurge, trust me, I know. Before buying a new lens, I've always sold off old gear to be able to afford it.

If you need something more affordable, start with the Canon 50mm f/1.8. I don’t personally like it much, but I know a lot of people that do like it. But before jumping in and buying a Canon 5D Mark III, consider saving some money on the body and upgrading your lens.

How to Build a Creative Habit

A simple guide to help you better understand how creativity really works.

Creativity is not magic. It’s a habit you practice, built upon a mix of curiosity, passion, and determination. We all have at least a little bit of that inside us - remember that the next time you hear someone say, “I’m not creative.” 

What the “I’m not creative” crowd might be doing is confusing creativity with skill. It’s OK if you don’t yet have the skills of your favorite authors, filmmakers, or musicians, but the process of learning and discovery is not out of reach to anyone with the will and ability to create.

There may even be benefits to creative pursuits beyond your own satisfaction. Dr. Cathy Malchiodi positions creativity as a wellness practice. She points to a number of studies showing how artistic practices contribute to wellbeing, especially later in life. “These findings underscore the idea that it is possible to build a ‘cognitive reserve’ through engaging in novel, creative experiences that have a protective effect on the brain,” notes Dr. Malchiodi. “Creativity is increasingly being validated as a potent mind-body approach as well as a cost-effective intervention to address a variety of challenges throughout the lifespan.”

If you feel like you don’t know where to begin, it helps to break the creative process down into smaller steps.

How to be creative (in five minutes a day)

In short, your goal is to start capturing life. You can write, take photos, knit, paint, carve wood, or do anything else that scratches your artistic itch. For simplicity, this will focus on writing, but you can apply the general principles here to just about any creative pursuit.

Dedicate five minutes a day to writing any thought that comes into your head. Write down a name, a stray phrase, or even what you ate for dinner last night. When you start looking at the same thing each day, whether it’s a blank page or your walk to work, you’ll begin to notice little differences. Repeating this practice each day creates a new muscle memory. As you repeat your process, you’ll become more comfortable and efficient. Dancer and author Twyla Tharp wrote about this in The Creative Habit: Learn It and Use It for Life, “It gives you a path toward genuine creation through simple re-creation.”

After you’ve been writing for ten or twenty days, start to think critically. There’s no right answer, but there is an answer. Which sentences do you like more? Why do you think that is? Every so often, spend your five minutes writing about which sentences are better and why.

At a certain point you’ll get bored. That’s good. Be comfortable with boredom. Dr. Sandi Mann found links between boredom and creative thought; by giving yourself time to drift mentally, you’ll come up with more unique solutions.

Once you’re in a routine, think about a new idea. This could be a poem, story, or blog post. Write it, but don’t be concerned about whether it’s good or bad. (Or if it even makes sense.) Put it in a drawer and forget about it. Write another one. Use your five minutes on this each day now. 

Creative people have a lot of ideas. Most of them are bad. Most of them are put in drawers and never seen again. But only by going through all these bad ideas can they find the good ones.

Then apply your process to something else. Something bigger like a song, screenplay, or presentation at work. Because creativity works like a muscle, and you’ve spent a lot of time building it up, this will be easier now. 

By stretching yourself toward something new, you can find new connections between old ideas. Tharp, in The Creative Habit, touched on the purpose of artistic endeavors: “Creativity is more about taking the facts, fictions, and feelings we store away and finding new ways to connect them.”

Remember: Being human means making mistakes. It's nothing to be ashamed of - making mistakes can be a great way to learn if you're receptive to feedback. This is where you’ll find gaps in your knowledge, or realize that your original vision was slightly off. If people criticize your work or you aren't happy with your progress, try to understand why. As Sarah Ruhl wrote in 100 Essays I Don't Have Time to Write: On Umbrellas and Sword Fights, Parades and Dogs, Fire Alarms, Children, and Theater, “Failure loosens the mind. Perfection stills the heart.”

Don’t set specific goals. Not yet, anyway. This might seem counterintuitive. Although you should be writing every day - which is kind of a goal in itself - don’t mark it on a calendar. You didn’t fail anything if you miss a day. You simply missed a day. On the other hand, once you've completed your goal, you might be inclined to stop practicing. That's not good, either. Being creative means figuring it out, not checking a box.

It will take time. That’s the point. As Mr. Rogers once said, “Discovering the truth about ourselves is a lifetime’s work, but it’s worth the effort.”

Every once in awhile, take a step back and look at how far you’ve progressed. This might mean looking through old work that makes you cringe, but it’s an important part of growth. By regularly assessing your own progress, you’ll be more comfortable constructively critiquing your future work as you create it. This helps you to avoid the same mistake twice, and will keep your eyes on where you have room to grow.

What comes next?

Creativity is about starting small, making mistakes, and constantly adjusting your work. In other words: Practice.

There’s a legendary story about director David Fincher’s 2010 film The Social Network. The opening scene between actors Jesse Eisenberg and Rooney Mara was filmed 99 times. As a viewer, you see a single version (or compilation from multiple takes) that makes Fincher, Eisenberg, Mara, and screenwriter Aaron Sorkin look creative, smart, and pitch perfect. You’re not seeing all 99 takes. You’re not seeing the dozens or hundreds of times Sorkin wrote and rewrote those lines. What you’re really seeing is the one time out of 99 they got each and every line just right. And that only comes after years, sometimes decades, of perfecting their craft.

What might you create if you tried the same thing 99 times?

How to Be An Artist

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What is an artist, and how do you become one?

“I am interested in the artist who is awake, or who wants desperately to wake up,” Anna Deavere Smith writes in her book Letters to a Young Artist. To be an artist, in many ways, is to be a contrarian, and that can often feel like trying to wake up. From a young age we’re told no one can make it as a rockstar (despite all the rockstars we emulate with our air guitars), or that no one buys art anymore (despite all the paintings and photos hanging in our homes and offices), or that it’s impossible to make it in Hollywood (despite all the entertainment we watch every day). As we grow up, people constantly trash our liberal arts degrees, if we got one at all.

“An artist needs fight,” Smith says. That fight is why we show up every day despite the odds. And we’re in a fight, I’d argue, against complacency.

Whether you consider yourself an artist might depend on where you’re at in your career. Sometimes “artist” seems more like a lifestyle. Other times it feels like a label that can’t possibly apply when you’re working on passion projects in those spare minutes between jobs or diapers or whatever else fills your life. 

But let me tell you this: You are an artist. Artists work with words, images, video, pixels, paint, metal, fabric, sound, code, and so much more. 

Elizabeth Gilbert put it best in Big Magic: “You do not need anybody’s permission to live a creative life.” The doubters are just that: doubters. One day, they might come around and support you. But it doesn’t matter. Their permission isn’t needed.

Well done for making it here.


On paper, the job of an artist sounds easy: you find an idea and create it. This involves the discovery of exciting ideas and the process of refining and combining them into something new. But where do you manage to find ideas? What’s your method of creation? 

The big secret is that you get to decide which tools to use. And the message is up to you, too. Find what speaks to you, whether that’s injustice in the world or the beauty in life’s small moments, and take those complicated ideas and communicate them in an interesting and succinct way.

“Art should take what is complex and render it simply,” Smith continues.

The goal of an artist is to find the essence of an idea and only include what’s necessary. An artist is an editor, a person who must have a sharp sense of focus on what matters, and the guts to ignore what doesn’t. 

So, if you want to write a great essay, here’s how: Find a topic you’re passionate and knowledgeable about, then write 5,000 words on it. Reference films and books and music and whatever else inspires you. Then you just keep the great words.

Of course, it’s not that simple. But in some ways, it is. The work I do today is no different than the work I did ten years ago. What sharpens over time is the sense of what to keep and what to throw away.

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Keeping only what’s great is a lesson the people who worked with Steve Jobs learned over and over again. Ken Segall, one of the creative directors behind Apple’s Think Different campaign and the “i” in iMac and iPhone, recalls some of those lessons in his book Insanely Simple. There’s one particular story that stood out to me - it was about a time when Apple was soon to release a new product. They needed a name.

The team had acquired the video editing software Color and they wanted to include it as an upgrade to Final Cut Studio. Jealous of Adobe’s naming style, they (seriously) considered names like Final Cut Studio 2 Extended Edition. Segall, fan of a simpler option, liked the name Final Cut Studio 2, With Color. There was a lot of back and forth with everyone fighting for their favorite version.

Until Steve Jobs walked in the room.

At the presentation, a full assortment of package designs, each with its own name, was neatly laid out on the table in front of Steve. The Platinum Edition had a nice shiny platinum stripe across the top. Each of the others had some feature that would help to differentiate it from the standard edition. Jan recapped the mission to set the context for Steve, telling him that this was being done to accommodate the addition of Color to the mix. Steve looked at the boxes, then looked up at the team.

“Put the software in the box,” he said.

The group was unsure what he meant. Explanation, please.

“Put Color in the Final Cut Studio box. We sell one product. Period.” There was a beat of silence as the group absorbed that. “What next?” he said.

Again and again, Segall comes back to this point: “Steve had rejected their work—not because it was bad but because in some way it failed to distill the idea to its essence. It took a turn when it should have traveled a straight line.”

He knew that fighting complexity is a key battle artists must win. It’s easy to keep an extra flourish because you like it; it’s hard to cut something you love because it's ultimately not needed. It's important to repeat, as Segall writes, “If you work harder and look more closely, there’s always something you can whittle away. It’s when you get to the essence of your idea that you’ll have something to be proud of.”


So, what’s the roadmap to being an artist? Today we know that “Work hard and everything will be fine” isn’t entirely true, so you can’t succeed just by working hard. There are a lot of hurdles that some people have to overcome that others don’t. And if you have a safety net, it’s easier to take risks. With that in mind, I’d like to suggest a different way to think about the overwhelming feeling of getting started: Big ideas are scary because we don’t know where to begin. It’s a lesson I took away from from James Altucher’s book Choose Yourself!

What that says to me is that you need to find the simplest place to start to make your art. Other steps will come later. For now start with a pen and paper, paint and canvas, computer and code - whatever is at your disposal. Once you’ve begun, steps two, three, and beyond won’t seem as daunting.

Think about it like this: If you say you could never write a book, you’ll never write a book. That one’s easy. On the other hand, if you set aside thirty minutes to write 500 words today, you can do it. That one’s possible.

To write a book 500 words at a time will take a long time - months, even years. But string together enough days of writing 500 words and suddenly you’ll have a novel’s length of passages and ideas. You can type one-handed into your phone while a baby sleeps in the other arm. You can write while you’re on the bus or airplane or sitting in the waiting room. You can write on your lunch break at your part-time retail job to prepare for your nighttime freelance gig. You can do this with a phone or a computer or a notepad and pen. I know because I’ve written in all those ways.

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I graduated college during the great recession. In my hands was an expensive piece of paper and no job prospects to pay for it. So I worked in retail for years. Slowly, I found time to make my art on the side. I stayed up until 3 a.m. to work on freelance projects because those were the only free hours I had. I was exhausted, but I was making a go of it. I didn’t really know what I wanted to do, or even where my skills were most needed. I was trying to figure that out. 

Only half a decade later could I begin to find the themes I was exploring, to understand the skills I was building. The big, messy work was there to hold me over until I found the smaller great piece within, the story that needed the junk around it edited out. The next half a decade and beyond will be more editing, more learning, more exploring.

If you work that way - and you will have to work that way if you don’t get lucky or have a trust fund waiting for you - you can’t quit halfway through. 

Artists keep going even when they’re told there’s no pot of gold at the end of the rainbow. At the end of the rainbow is just a lot of dried paint to scrub off. To artists, making meaningful work is better than not making meaningful work, always. If you can afford to take that risk, you have to try.

And if you have to take a break for awhile, to take care of yourself, your work, or your family, know that your art will be waiting for you. It doesn’t judge. It’s alright to take a break for a few months, years, or decades. But do whatever you can to keep that spark alive until you are ready to return.

Before we get too warm and fuzzy, be warned that even if you make the brave decision to set out on your own, the forces of the world will tell you that you aren’t really an artist. You’re a businessperson, a schedule coordinator, a camera operator, they’ll say. Of course, those are reasonable skills to master, especially when you’re living paycheck to paycheck. But reducing your work to individual tasks moves you so far from your art that you can forget it’s art. Don’t let anyone make “artist” a dirty word, like it’s not real work, or the “art” is just the busy work in between other tasks. 

You are an artist. Every stroke of a paintbrush or scratch of a pen is real work. 

An artist questions everything, even the words you’re reading right now, because you recognize what works for me might not work for you. And that’s what sets an artist apart - that feeling in your gut that your mind won’t let you ignore. Even when you can’t articulate it, you know something’s there.

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Understand that no amount of confidence or accomplishment will make the doubters go away. They’ll grow in volume and in numbers. Go look at the reviews for Ta-Nehisi Coates’ Between the World and Me or Roxane Gay’s Bad Feminist. There’s never universal praise, no matter the connection a piece of art makes with its audience. Search long enough and you’ll find someone who hates your work or who wishes it had that one little extra piece (and then another, and another). It doesn’t matter. The only reason to seek out that unnecessary feedback is for your own ego. If you want to find the people calling you a genius, to read stories of how your work changed their life, to bask in the praise and demands for “more, more, more!” - go ahead. What you’ll find, even for great work, is negativity from someone, somewhere. And your brain will get stuck on that. Feeding your ego doesn’t matter because it always ends in frustration. 

If you’re doing the right work, you already know it. The time you spend searching for criticism or praise is a waste. That’s time you could spend reading, or watching, or talking to people who matter.

This is why you always read advice that says to not take rejection personally. Rejected work often says more about the viewer than the maker. Don’t forget that. If you make art for the external validation, it will never be enough. In the words of designer Tyler Deeb, “Don’t chase the glory, work hard, and be satisfied.”


The work of an artist can be hard to quantify, which can be why so many don’t understand what we do. 

Designer and writer Frank Chimero discusses knowledge work - or, work that relies heavily on thinking and processing information and ideas - in Other Halves, “Knowledge work has its name for a reason: the challenges naturally swing towards the cerebral, and doubly so if you work in design for digital products. You spend hours and hours considering ways to think about what is ultimately an immaterial thing. And who’s to know if it’s done or right?”

This is where every artist exists: “who’s to know if it’s done or right?” There’s never one right answer when it comes to art. Technique and skill are important - the settings on your camera, your use of light - but great pictures break fundamental photography rules all the time.

“Writing is a lot like that, too. So, on average, most of my waking hours are spent wrestling with ghosts,” Chimero concludes.

Artists consume the world around us, the garbage and the beautiful, and digest it into something meaningful. Song lyrics help lovers communicate their bond. A film helps a teenager escape from the confusing world around them. An essay helps its reader process tragedy and triumph. These are the ghosts we’re chasing. And they don’t exist unless we spend the time searching for them.

The process, when it feels right, is more about discovery than creation. These words are already there - the thoughts, the quotes, the arguments - the work I’m doing now is no harder or easier than the work I did yesterday. It’s just different. It’s connecting the pieces and comparing and contrasting them to what I’ve seen before.

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I’ve made short films with friends since high school. From those days as a teenager all the way through my post-college freelance career, I worked with professional sports teams, championship-winning coaches, Olympians, national brands, and major universities to name a few. That’s not to brag or to polish up my résumé. That’s to confess this: I’ve never had a film accepted into a film festival. I’ve never even been to a film festival.

I’ve submitted to dozens - and probably spent too much money on admission fees - but I’ve been rejected every time. At first, it stung. The advice to not take it personally only goes so far after you’ve spent months, years of your life, and plenty of your money and energy making a piece of work that you want to share with people. And to be told you’re not accepted, in a way, feels like you’re told it’s not worth sharing. 

But as I’ve said, an artist doesn’t quit. So what did I do when those first waves of rejections hit? Did I quit making films? Of course not. I put them online for free. Every one of them. Over half a million people have watched my films on the internet. I don’t need to get accepted into a film festival and show my film to a theater of a few dozen people to call myself a filmmaker. I’m a filmmaker.

A mystery panel of judges with their own biases and preferences says nothing about me and the quality of my work.


What skills do you need to be an artist? Well, first, here’s where you might struggle.

You might not be good with money, not because you don’t care, but because you’d rather spend what money you have on supplies for the next project. You might not be good talking to strangers, because you’re more comfortable spending that time with your thoughts and your work. You might not be the best salesperson, because it can feel a little bit slimy to sell part of your heart.

But you’ll be willing to listen and adapt. You’ll recognize that those skills are things you have to do to varying degrees to be successful. You’ll realize that art without commerce is a nice dream but impossible to attain. You’ll either need to sell your skills in another field to pay the bills, or you’ll need to sell your art. You’ll figure out how to make it work. 

You don’t need any one particular skill over another to be an artist, except the desire to live a creative life and the ability to see it through. Beyond that, it’s up to you and what path you have the means to pursue.

To be an artist is simple: You show up, focus on what matters, and fight. Relentlessly.


Fiction's No Stranger: On Doree Shafrir's 'Startup'

Originally published by The Millions on April 26, 2017.

Art imitates life in tech, but novels give us one precious advantage over reality: the time to reflect on what we’re consuming.

Men in power have always tried to insulate themselves from criticism and punishment. Doree Shafrir’s Startup is a sharp-witted debut novel that peels back the layers of those structures, revealing those in power who grasp to maintain their privilege at all costs. The title signals an ordinariness that acts as a preview of what’s to come, a wink and a nod from a friend who asks if we see this, too. At its core, it’s a book about average men doing bad things and the women who take control of the narrative from them.

Startup’s prose channels the youthful energy of a new tech company from the start. We quickly meet Mack McAllister, founder of the fictional startup TakeOff. McAllister serves as an all-purpose stand-in for startup culture’s best and worst elements, and he’s on the verge of securing millions in funding for his business. The book doesn’t hold many surprises, and it’s clear from the onset that his hubris will bring him down. Mack — who compares himself to Steve Jobs because he made a piece of mildly successful software — creates his own problems; like many men in power, he can’t wait to cast those problems as someone else’s fault, so he directs his anger toward Isabel, his subordinate and office attraction.

Still, in a moment when Mack looks around the office, proud of the jobs he’s created with his company, it’s easy to see why people chase the next big idea. It’s intoxicating, and the book doesn’t shy away from this. Likely as a result of her work as a journalist for BuzzFeedRolling Stone, and Gawker, Shafrir communicates a lived-in knowledge of these moments, deftly taking the reader to school and back in a few sentences. On the relationships between startups and venture capitalists, she writes:

…VC firms were built to understand and profit from this new world. They knew that it took money to make money. In fact, it was considered a bad sign if your company was profitable too soon; you had to spend the money you were earning to build your business or else your investors would wonder if you were thinking big enough and taking enough risks. That was Startup 101.

Meanwhile, tech blogger Katya Pasternack stumbles upon what might be the story of a lifetime, a scoop that her editor would love to publish to “expose the hypocrisy of the tech world once and for all.” But she hesitates, for the first time questioning whether she has a responsibility as a woman to tell a particular story, or if the search for page views is worth questionable tactics.

Katya’s chase for facts brings her up against her own boss’s wife, Sabrina Choe Blum, one of TakeOff’s older employees, a mom of two in her mid-30s with a secret shopping habit.

Startup may have read as satire a decade ago but feels like historical record today. Shafrir’s precise eye for detail takes stock of the tech industry’s favorite answers for tough questions. “Now it seemed like these guys had all gone to the same school of ‘call women crazy whenever they do something that makes you uncomfortable.’” Mack, the tech-bro CEO, seeks retribution against an employee for his own misdeeds with the veneer that “this is a startup, things are always going to be changing and evolving and iterating.”

The startup world has long been averse to criticism. Those who prod at the edges through journalism risk losing access to information, money, and power. A declarative crescendo comes from Mack’s chief operating officer when he compares sexual harassment allegations to war.

We saw this in real life with Peter Thiel’s quest to destroy Gawker. He delineated his version of truth and pursued it with his incredible wealth. Thiel spent years secretly funding lawsuits against Gawker, telling The New York Times he considered destroying the media company, an employer of hundreds of people, an act of philanthropy. With his support of Donald Trump’s presidential campaign, some started calling him an aspiring “villain.”

In his book Zero to One: Notes on Startups, or How to Build the Future, Thiel asks, “What important truth do very few people agree with you on?” By posing that question, is he challenging readers to understand our own values? Or is he encouraging followers to go against the grain, redefining what qualifies as legitimate, like his offer to pay teenagers to skip college? And at what point does a counterargument become a distorted worldview?

A major element of this distorted worldview is a belief in meritocracy, a concept originating from a satirical essay about a dystopian future by Michael Young. Meritocracy has become a favorite slogan of startups challenged by a lack of diversity, and Thiel stands as both a creator of this system and one of its ultimate beneficiaries. Shafrir’s novel takes aim at this virtual reality, “They thought everyone, including themselves, were where they were entirely because of hard work and innate creativity, and if you weren’t successful, that was because you hadn’t tried hard enough. They didn’t understand people who weren’t just like them.” So it comes as no surprise when Mack attempts to define his own narrative after a series of inappropriate text messages unravel his professional life.

Startup is about more than business. It navigates the rocky foundation of relationships, journalism’s importance, sexual harassment, and digital careerism. It’s about how all those things blend together, particularly as women come into power and the world around them reacts.

“The stakes were just higher for her,” Shafrir writes of Katya. “People like Mack — they could afford to make mistakes. They were forgiven. Young women with immigrant parents who went to college on scholarship and were one paycheck away from not being able to pay rent — they couldn’t.”

Ironically, Isabel, the story’s real catalyst, gets the fewest pages.

The plotlines move with momentum, perhaps because backstory is scarce. While we get to know the main characters by observing their daily lives, we rarely get a glimpse of how they got there. The novel is most relatable when it touches on the inner turmoil of its characters — the fraying edges of Sabrina’s marriage; Katya stumbling through her 20s; Isabel and Mack struggling to reconcile a situation that never should’ve been. At one point, Sabrina recounts an old romance that turns out to be one of the most electrifying moments in the book. Through this we observe people in and around startup culture in a way we don’t often see: flawed, scared, honest.

Shafrir knows that technology can’t fix human nature, and she argues that spending so much time personifying our tech causes us to lose sight of the human beings on the other end. Technology enables messy lives, allowing us to be in a coworker’s pocket or a stranger’s living room. In a world ruled by technology, the lines aren’t simply blurred, Shafrir points out — they’re erased.

Letter to the Editor

I've learned a few lessons over the last couple years of editing other people's writing. I still have a lot to learn, but this seems like a good rest stop to take a look back.


  • Be direct. Don't hedge. Say what you mean and own your authority.

  • Ruthlessly eliminate unnecessary commas but don't underestimate a well-placed hyphen.

  • If you use the word 'that' in your writing, you can almost always delete it.

  • Write the same thing again and use half as many words.

  • Don't bother with the word 'that.'

  • Once you've completed a draft, delete the first paragraph (or two). You'll often be starting from a better place this way.

  • Show the data.

  • Reading is the best way to improve your writing.

  • Always ask. And try not to take silence personally.

  • Share your knowledge so others can have an equal shot. 

  • Saying less is better than saying more. Always.

  • Being too early is almost as bad as being late.

  • Anyone can do what you do with enough googling. Or by hiring the right people (which too few do). Your experience and perspective will set you apart.


And a couple lessons from others: 

Billionaire investor Chris Sacca, whose investments include Twitter, Kickstarter, and Instagram among others, brought up a good point about why he openly shares his investing strategies and secrets. It really underscored why I share as much as I have, culminating in my 11,000-word essay, The Little Freelance Handbook. You can listen to it in his words on The Tim Ferriss Show, but to paraphrase Chris’ reasoning:

Sharing secrets or strategies only takes you so far. It requires execution to actually have success with those tips. If you don’t have the passion, or frankly, the skill to compete, then it doesn’t matter how much I share. But if you do, and the advice given helps you even just a little bit, you’ll be an ally for life.

Finally, as John McPhee illustrates in Draft No. 4: On the Writing Process, there will always be mistakes:

The worst checking error is calling people dead who are not dead. In the words of Joshua Hersh, “It really annoys them.” Sara remembers a reader in a nursing home who read in The New Yorker that he was “the late” reader in the nursing home. He wrote demanding a correction. The New Yorker, in its next issue, of course complied, inadvertently doubling the error, because the reader died over the weekend while the magazine was being printed.

So make those mistakes, own them, and get better. Every day.

In face of Trump's revised racist rhetoric, complacency is not an option

Originally published by USA Today on November 17, 2016.

Calls for 'law and order' cropped up during civil rights movement. Language's return places false blame, burden on minorities.

The United States has been an experiment in exclusion from the beginning.

The notion that this country was founded on the principle that all men are created equal has excused a lot of atrocities — to Native Americans, to black people, to women, to various waves of immigrants. Our country has always been a test of who gets to be included in “We the people.”

President-elect Donald Trump used the fear of an inclusive America to stoke a fire. Those of us who oppose Trump and the people he has emboldened by his victory are now told to be calm and accepting. We have been told to put our anger and protest aside to work toward uniting the country for the greater good.

The problem is that America's version of the greater good has always left the most vulnerable to fend for themselves. Those who say everything will be fine, to give Trump a chance, tend to have the least to lose.

Being in an interracial marriage, it knocks the wind out of me every time I'm reminded that interracial marriage was still outlawed in more than a dozen states just 49 years ago. That's not ancient history. Those unconstitutional laws existed for so long in part because good people remained silent. Good people kept quiet to the detriment of people of color and those who love us because it was the comfortable choice.

Silence can be the most dangerous trait of good people. The choice for action or inaction — and yes, that includes deciding not to vote — sends a signal about what is considered acceptable. And while some of his voters may not have held racist, misogynistic beliefs, that’s of little importance if the people at the top of the ticket plan to institute discriminatory policies.

Trump spouted racist, misogynistic propaganda long before he was a presidential candidate, like when he called for the death penalty for the Central Park Five in a full-page newspaper ad. Even though DNA evidence later proved those five black and Hispanic boys were innocent, just last month he still called them guilty.

Faced with Trump’s version of reality, it doesn’t seem like a coincidence that the Ku Klux Klan and white nationalist groups are celebrating, even planning a parade in honor of his victory. That Trump refuses to distance himself and our democracy from that hate is telling. Meanwhile, he found time to call Sen. Elizabeth Warren a “racist” and “a total fraud.”

His threats are often served light on details with heavy doses of fear-mongering. The fear now is that of the unknown. One example is the president-elect’s insistence that black people are “living in hell,” and that he’ll clean it up with “law and order.” What does that mean, exactly? To fix problems of police brutality, he puts the onus on the black community again by stating that stop-and-frisk will help cops catch the bad guys. His implication seems to be that catching the bad guys (at which stop-and-frisk has proved a total failure) will thereby lower the need for police to be brutal. Another thought that is misguided and scary.

In The New Jim Crow: Mass Incarceration in the Age of Colorblindness, Michelle Alexander points out that “the rhetoric of ‘law and order’ was first mobilized in the late 1950s as Southern governors and law enforcement officials attempted to generate and mobilize white opposition to the civil rights movement.” Those officials linked the civil rights movement to crime, much like a politician today might distort the purpose of Black Lives Matter, as proof that there was a breakdown of law and order.

“History reveals that the seeds of the new system of control were planted well before the end of the civil rights movement. A new race-neutral language was developed for appealing to old racist sentiments,” Alexander writes, adding that advocates found success “by demanding ‘law and order’ rather than ‘segregation forever.’ ” Most disturbingly, she later tells the story of one adviser to President Nixon who claimed the president “emphasized that you have to face the fact that the whole problem is really the blacks. The key is to devise a system that recognizes this while not appearing to.”

This was the crux of Trump’s campaign: making nationalism appear to be not linked to hate of others. Minorities have been painted with broad brushes, seen only as problems to be dealt with, not voices to be heard. Trump rounded up as many issues as he could — terrorism, job loss, crime — and dropped them at our feet. Then he pointed at us.

Trump supporters have tried to explain it away. They argue that this was about sending a message to establishment politicians. Yet he has now surrounded himself with establishment politicians. They say coastal elites are disconnected from middle America. And they want to be clear that the hateful actions are only of a few.

Could you imagine if that same level of empathy could be afforded to our Muslim, Hispanic and black communities?

Trump supporters who voted solely based on self-interests certainly have the right to do so. But the other half of American voters are scared because of what his potential policies stand to take away from us. His threats — to ban foreign Muslims from entering the U.S. and to register those here in a database, to deport undocumented immigrants by force, to punish women or their doctors for abortions — might not matter to you. And that's the thing: Discrimination is easy to ignore when it's not targeted at you. It's easier to ignore discrimination than it is to confront it.

“Selfishness, in so many circumstances, begets the same consequences as hate,” Jia Tolentino so eloquently explains in The New Yorker.

Or put another way: Bigotry doesn’t show up and introduce itself with a news conference; it slips in when you're not paying attention.

We don’t have to agree on politics to recognize each other’s humanity. Just like Trump supporters might be hurting, or hopeful to see progress in politics, so are we. That's why liberals supported a candidate like former secretary of State Hillary Clinton, who had a proven track record and experience working with people on both ends of the political spectrum. That’s why progressives were drawn to Sen. Bernie Sanders, who had radical ideas based on the principle of taking care of each other. These were two candidates who, despite their differences, both campaigned to raise the minimum wage, to provide affordable health care for all, and to reduce our reliance on foreign energy and trade. We can and should debate the logistics of such plans. That’s what makes America great.

We cannot have a country where the privilege of one is placed on top of the pain of another. Yet that’s precisely what Trump’s practice has been in business, and appears to be in politics. And that’s why we’re scared.

For those of us who oppose Trump’s agenda, our fight now is to engage and agitate. We must find a way to move forward, get involved and bend the future toward justice. Most important, we the people must not forget from where we came and what we have yet to overcome.

Let's stop circling the topic of race

Originally published by USA Today on July 29, 2016.

Ignoring the issue hasn't worked. Neither have calls for empathy. To improve policing, we must confront it head on.

It’s hard to talk about race in America. This much we know.

A common request is for empathy, to imagine whether these unspeakable acts  — such as the killings of Tamir Rice, Eric Garner or Freddie Gray  —  happened to your brother or sister, but clearly that doesn’t work. The longer we talk around the margins of what really needs to be said, the longer it will take to heal. The senseless killings of police officers in Dallas and Baton Rouge only add to America’s wound. Though the right words seem hard to find, we must try to have a dialogue among all people who find themselves shaken in the wake of these never ending tragedies.

These difficult conversations require people to reflect in a way that may be uncomfortable, particularly if it forces them to confront the unjust white dominance throughout America's history. To start, it’s important we acknowledge some facts:

  • Despite being only 13% of the U.S. population, 30% of the people who die at the hands of police are black.
  • Black male teens were much more likely than white male teens to get fatally shot by police during a two-year period ending in 2012
  • Nearly 2,000 people have been killed by the police in the past two years
  • Stockton, Calif., had three fatal police shootings in five months, more than Icelandhas had in 71 years. 

These are not perceived injustices. Those sworn to protect and serve use deadly force at alarming rates  —  force that is disproportionately aimed at black men. I, as a black man, am more likely to be confronted by police today. No résumé, career or family can save me from those statistics.

When police killed Philando Castile and Alton Sterling, I saw faces that looked like friends and family. That’s when these shootings really take their toll on me. Any time I forget to signal before changing a lane while driving, a hot flash of adrenaline runs through my veins. A minor traffic infraction has become so much more to people of color who remember Sandra Bland and the police officer’s words to her: “I will light you up.”

The night of Castile’s death, I had dreams of a war zone — our own streets, where militarized police forces resemble occupying armies. The threat of terror is real. And I’m not supposed to  —  or allowed to  —  carry that baggage the next time a cop decides to scream in my face.

But, as we’ve learned from grainy videos streamed on social networks and other first-person accounts, my experience is not unique. Most black men have a story of being pulled over and harassed by police. It doesn’t matter if you’re a CEOa successful politician, or an officer of the law yourself. No amount of “doing the right thing” stops this from happening.

What is it about the culture of policing that thrives on the aggression of assaulting and berating black people? Police are authorized by the state to kill, and that responsibility requires the utmost scrutiny and accountability. Far too often, scrutiny is categorized as disrespect, and accountability is non-existent. How can we heal if we cannot seek answers to hard questions?

It’s undeniable that most cops are good cops. What’s also clear is that any path forward requires the action and voices of those good cops. Consider Ta-Nehisi Coates’ words forThe Atlantic the next time you hear the argument that this is only the work of a few bad apples: “It will not do to note that 99% of the time the police mediate conflicts without killing people anymore than it will do for a restaurant to note that 99% of the time rats don’t run through the dining room.” Right now, too many people see that rat in the dining room and claim it’s a puppy.

When black people try to initiate a conversation, such as with the Black Lives Matter movement, it’s resisted by the very people who need to be listening. Diversion tactics are deployed, meant only to further marginalize the validity of black pain. Empathy is a prerequisite for this country to heal. Without it, we will find ourselves right back here in no time.

Black people are often told that we make everything about race. The thing is, when you’re not seen as the “default,” as white people are in this country, to forget about your race is to risk death. Black people are consistently reduced to scary threats through coded language  —  our children are given labels like “super-predator” or “demon.” Describing black people as non-humans leads us down a road that ends with Cleveland cops seeing 12-year-old Tamir Rice as an adult worthy of execution for holding a toy gun.

Until we can send our nieces and nephews to the playground without worry, race will have a lot to do with it.

“Every time another black person dies at the hands of police, it feels like we’re slamming into a wall,” Jezebel’s Kara Brown laments. “The state and white supremacy have perfectly crafted yet another tactic to keep us scared and compliant. As with lynching, it’s less about the total loss of life  —  though the numbers are horrific  —  and more about the constant state of fear it breeds.”

We must be honest with each other if we’re going to have a dialogue. There will be discomfort. We’re going to have to talk about why we have a criminal justice system that doesn’t see killing a 12-year-old boy as a crime. Our police forces must have better resources, be demilitarized and live where they patrol. We cannot go another day without researching and teaching better de-escalation tactics, because clearly the current coursework is insufficient. Never again can we resort to shooting first.

We must stop killing the nation's sons and daughters — police and civilian alike.

In Sourdough, Culture Is a Starter, Not the Product

Sloan illustrates, through the simple act of sending emails, how technology has accelerated the rate at which people can share personal histories and ideas and, by extension, culture. Boundaries are erased as even the most cherished memories turn into data on a computer (photo albums replaced by Instagram feeds, record collections replaced by Spotify subscriptions), making it possible for everything to be easily remixed and reshared on the internet—stripped of much of its context.

Read my review of Robin Sloan's Sourdough at The Atlantic.

The Internet is the Next Civil Rights Battleground

The future of technology depends on equal access. Supporting net neutrality–and opposing law enforcement overreach–is the only way to fight for it.

Originally published on Medium.

You can trace many laws and policies to their direct impact on marginalized communities; with the stroke of a pen, lawmakers deny generational wealth by limiting access to homes, schools, and jobs. Systemic issues are rarely as overt as Jim Crow laws. Instead, policies like redlining keeps homeownership far from the grasp of families of color.

A new system of inequality is being constructed right now.

“FCC chair Ajit Pai has made it clear that, barring a successful legal challenge, the agency will give up its authority to actually enforce net neutrality regulations,” WIRED’s Klint Finley reported in May. “If the FCC decides to drop its own protections, you probably won’t wake up one day to find YouTube or Slack blocked. But the principles that made the internet what it is today could still erode over time.”

This means that people and organizations with money will be able to exert control over what we can access online. Internet service providers could begin blocking independent retailers or content providers in favor of their own, or charge extra fees for popular and necessary services, ultimately putting the burden on the consumers while lining their pockets with profits.

If not for a free and open internet, much of America might still be blind to the injustices black people face at the hands of the police, from dehumanization to death.

Platforms like Twitter and Medium have democratized, to some degree, whose stories get told. Writer Carvell Wallace noted on Twitter that conversations around race have dramatically shifted in recent years, in part because “The internet has to a significant extent removed traditional gatekeeping from media.” As more voices get swept into the wave of activism for social progress, these new tools have become indispensable. Or as Malkia A. Cyril, founder and executive director of the Center for Media Justice, wrote for The Atlantic, “The open internet is democracy’s antidote to authoritarianism.”

Under the current presidential administration, signs of creeping authoritarianism are plentiful. Recently, the Department of Homeland Security has made it known that they intend to collect personal information found on social media platforms like Facebook and Twitter to track and identify immigrants–permanent residents and naturalized citizens included. If that’s not chilling enough, it came to light that the Department of Justice has demanded information on Facebook users, including 6,000 people who “liked” a page protesting Donald Trump’s inauguration.

Whose rights to free speech and freedom from illegal search and seizure are protected in America in 2017? It’s currently up for debate.

Power-obsessed politicians and telecom lobbyists see not an antidote but the rise of movements protesting injustices like police brutality, powerfully led in the streets and on smartphones by organizers like DeRay Mckesson and witnesses like Diamond Reynolds.

Mckesson–an activist who rose to prominence while documenting the protests in Ferguson, Missouri–was streaming live video as the police found him among protesters in Baton Rouge, Louisiana, after the killing of Alton Sterling. It’s unknown if police used the video stream to track his location, but it seems likely that they targeted him knowingly. Even when you’re already aware of the injustices black Americans disproportionately suffer at the hands of police, seeing it unfiltered changes your perspective.

In the video, Mckesson walks along the side of the highway with dozens of other protesters. He points his phone’s camera at the crowd and talks through what he’s witnessing. But you don’t have to take his word for it: The evidence is there. It’s about four seconds from when he’s told he’s under arrest to his phone hitting the concrete, the police officer repeating refrains of “Don’t fight me, don’t fight me,” even though Mckesson appears to remain calm.

Every decade is pockmarked by examples of law enforcement overreach and abuse, yet what we’ve witnessed in the last few years feels too numerous to count. Remaining calm is something black people have to do when confronted by the powerful arm of the law, and the internet gives us remove to do that.

“She documented the day so her Facebook followers, the state of Minnesota, and the nation might see,” Doreen St. Félix wrote of Diamond Reynolds, whose viral Facebook video documenting the police shooting and death of Philando Castile in Falcon Heights, Minnesota, sparked a new wave of understanding brutality in the summer of 2016. “Reynolds’s graphic, nearly 10-minute recording is a particularly brave instance of citizen journalism, sousveillance of the police, and resourceful use of social media technology.”

Is it any surprise that the platforms for Mckesson and Reynolds have become targets?

Social media is a megaphone the government can’t turn off; their plan now seems to be to build discrimination into the infrastructure. As a blueprint, look no further than Robert Moses, New York City’s “master builder” of the 20th century, who built bridges so low that buses could not pass from the city to beaches on Long Island. Before anyone knew it, Moses’ racist infrastructure meant a generation of poor people couldn’t access a part of town. It wasn’t only leisure activities, like visiting the beach, which is often cited; work and education beyond a young black or Puerto Rican child’s neighborhood was suddenly out of reach, remaining so decades later.

Now everything from careers to activism moves to the internet, taking factories and rallies from urban, suburban, and rural communities alike. Instead of bridges, it’s a modem; instead of public transportation, it’s a web browser. By removing legislation meant to protect the vulnerable–in this case, consumers at large–the government would make it easier for Verizon and Comcast to build whatever barriers they see fit, no matter the consequences.

These sneakily laid traps are why it matters when we talk about the leadership of companies like Facebook, Google, and Apple being overwhelmingly white. The wealth these companies create is passed down for generations and invested in new companies, all while it concentrates in a few areas and with a few families, far away from the places their technologies are putting people out of business and the marginalized at risk. Instead of speaking up on behalf of their users when it comes to net neutrality, many key figures in technology are silent.

Supporting net neutrality alone won’t prevent law enforcement misuse, but it’s an important step. It will ensure a critical documentation tool remains available, not restricted behind a paywall only for a select few.

If you don’t care about equal access because your access can never be threatened, you expose those who don’t have the money or political power to fight back. This is how inequality develops. Each generation has been defined by struggles for freedom, in ways both big and small. Access to technology and the promise of privacy does not necessarily impact the body of American citizens as directly as other forms of injustice, but limiting connectivity or pushing people off of platforms for fear of tracking will deprive them of education and work. It will starve the body and mind both figuratively and literally.

A new wave of inequality is cresting, one that could take decades to undo, and most people don’t even know it’s coming.

Micro-celebrity

We assume that only the best, most-deserving creators are the ones succeeding. 

“At any moment the reader is ready to turn into a writer,” wrote Walter Benjamin, pointing out nearly a century ago how this impacts both what we create and what we consume. This isn’t to blame the creator or the consumer. It’s systemic, influenced by data and habits alike. We hold attention spans longer than we’re given credit for, but artistic work that scratches that itch is considered risky and difficult to monetize. Stanley Kubrick directed 13 feature-length films, or about 27 hours of finished entertainment, and became a legend through his body of work. We’ve dissected his films for decades. There are feature-length movies about his work. And in the time it took you to read the last few sentences, hundreds of hours of video were uploaded to YouTube. Most will never be watched.

Adults act like children only for teenagers to watch it and turn them into micro-celebrities. For too many, charisma and a willingness to bend the lines of shame beats craft. “Will they parlay social-media fame into a run for Congress?” Leah Finnegan asks. “Will they live-tweet their death? Are they okay?” 

Pump up the volume, they’d answer.

The Future of the Democratic Party

The future of the Democratic party is at stake. If they want to find a path forward, they need to listen to the voices of the people. Rather than responding to a poll, signing a petition that’ll get filed away in a box, or filling out a form that may or may not be seen by an intern, here is my voice. The Democratic party can do with it what they please.

Those in positions of power must admit that the people owe the Democratic party nothing. Establishment Democrats shouldn't tell us to be happy with what we get, or that we’re being unfair by demanding better. Democrats should not feel comfortable right now. They’ve lost an unconscionable number of seats in the last decade. We’ve seen what it looks like when key victories from President Obama’s time in office–the Affordable Care Act, the Paris Agreement–are under attack from the very people who’ve taken those seats.

The future of the Democratic party looks brighter with progressives as part of it. Understand why we supported Keith Ellison for DNC Chair; understand that Bernie Sanders did more in a year to bring young people into the orbit of the Democratic party than many Democrats have done in a lifetime; understand why we’re challenging those who try to fruitlessly please both sides.

What do progressives want? I can only speak for myself, but I believe Democratic values should be built on lifting everyone up. Democrats must first work for the most vulnerable. In the last decade, these are people who have lost their jobs or homes, graduated with mountains of student debt, or have been unfairly targeted by the criminal justice system. Nowhere on that list should be people who’ve contributed a lot of money to the party or its favorite candidates.

We’re telling you what issues are important to us when we march and speak in support of Black Lives Matter, women’s rights, and the fight for $15. You can choose to listen or not.

Democrats cannot waiver from progressive stances when it comes to addressing issues like job creation, income inequality, a woman's right to choose, debt-free education, and criminal justice reform. Universal health care should not be up for debate. The rights of women, people of color, and LGBTQ people should not be up for debate; many of us fear the current administration. Don’t dismiss our passion as too extreme when our core human rights are at stake. As Sarah Jones wrote for the New Republic, this party “has lost its moral clarity.” It’s time to find it.

Voters everywhere respond to messages from left-leaning populists, including in those very areas Democrats so desperately need to earn back in 2018 and beyond. Recognize that. Maintain a healthy sense of humility, and understand that the people make the party, not the other way around. To do that, the leadership on the left must recognize that constructive criticism is not tearing the party apart. Trying to quiet our voices tears the party apart. We will disagree at times, but debate is healthy. As one Clinton campaign staffer told The Hill, progressives “aren’t just criticizing, they are saying, ‘We have ideas and we want to help make a change.’”

Dismissing those with different opinions won’t grow the party. Dismissiveness is the crack through which charges of elitism creep in. Characterizing passion as second-rate or misguided will drive progressives further away. And as we’ve seen, taking votes for granted because “Donald Trump is worse” does not win elections. Here’s a better idea: Do the work first, then show the receipts. Show the people you understand their concerns by being in their communities.

Let people get angry. Harness that energy and focus it on the local level. The grassroots Indivisible movement is showing us how to keep important topics at the forefront of the national conversation. Don’t tell us to save our energy, to acquiesce to the will of the party.

Listen to the people in the streets and amplify their voices. They can do more to organize thousands through free social media platforms than the establishment can do with billionaire donors and closed door meetings on Wall Street. Support the people who inspire others to action–this is how you grow exponentially.

I don’t live in a bubble. I’m Midwestern born and bred, and living the last few years in California only expanded my viewpoint of what it means to be American. We cannot ignore one to placate the other. That’s what many Democrats have done for far too long.

By my count, a single presidential candidate held more than one rally within driving distance of where I lived during the 2016 presidential election–a pocket of Los Angeles county that, believe it or not, can often lean more red than blue. That candidate’s name? Bernie Sanders.

If a future star of the progressive movement lived down the street from me, Democratic leadership wouldn’t know because they hadn't been there to meet her. They didn’t bother talking to us because the data said we were a rounding error on the electoral map.

Now imagine I’m a voter on the fence–a person whose vote doesn’t just count for president, but for city council and state representative, by the way. Or consider that nearly all my family and friends live in Ohio, where my political passion could translate into action in a critical swing state.

Democrats lose by ignoring people like me.

Earlier this year, the DNC sent out a survey asking what we wanted to see from them in the future. In response, I made this plea: Raise up new voices in the party, new voices in the movement, and represent the underrepresented.

Billionaires like Betsy DeVos and Peter Thiel don't need more representation in government; minimum-wage workers, mothers, and teachers deserve that voice.

People at the margins are often told to wait our turn, that we’ll get ours next time. That time is now. Listen to people in both Akron and Los Angeles. We’re all important and we’re showing you that we’re ready to be active. We’ll keep showing up in the streets and at town halls, sending emails and tweets, and making phone calls to ensure you do not forget: We’re here. We demand our voice. And we’ll see you at the ballot box.

The Unsatisfying Click of the Share Button

Thirty years ago, an adult would self-medicate their anxiety by picking up a smoking habit. Today, we’re always looking for the next like.

For artists and capitalists alike, the ephemerality of social networks has created a renewed obsession with limited-edition runs. And to great effect. How can digital art be scarce? Set it to expire after 24 hours, release it only to select streaming services, or give it away for free for just one day, and do your best to ignore screenshots, copies, and bootlegs.

Soon we’ll realize we’re trying to create meaning where none exists. The record or novel resting on a bookshelf is no more significant than a few bits of data on a hard disk. But they are different: A work’s plastic and paper and ink combine to deliver a tangible sense of accomplishment, one that can be loaned to a friend or sold to an acquaintance. Digital work, on the other hand, is limitless by design. The ease with which we can duplicate a file is central to the business model of social media platforms–for up-and-coming musicians, a song is nothing if not on iTunes, Spotify, Google Play, Amazon, Soundcloud, Tidal, and Bandcamp simultaneously.

For those artists, maintaining a profile on a half dozen or more platforms feels like feeding a monster with an endless stomach. In between creating our work, we’re always typing the next words to publish or scrolling to the next comment to argue. What is it, though, that we’re replicating with digital experiences? The anxieties, the exclusivity, the capitalist’s ideal that everything’s for sale?

Previously, a young artist would buy a notebook and a pen and be left to their imagination. Today, social networks strip away the ability to look at a blank page or an empty box with wonder. Instead we’re nudged to the edge of the diving board, urged to immediately consider what must fill it: “Write something…” or “What’s happening?” they demand.

Yet clicking the share button doesn’t come with the satisfaction of a gallery opening or a deep conversation with a close friend; it just asks for more. Share with additional friends. Upload another picture. Browsing isn’t enough. Social networks need our pictures and statuses and other miscellany to show us advertisements and to give our friends something to creep on–so we all stay on the site longer and view more advertisements.

While social media provides important functions like television and radio and the telephone did before it, the transience leaves an emptiness. That void has forced software makers to dial up artificial indications of progress and success–follower counts, likes, hearts. These numbers breed a special kind of anxiety that tricks us into thinking we’re in a positive feedback loop when we’re not. Getting a retweet almost certainly does not change my life, and it does not make my writing better or worse. So why do I care how many people share this article? As Max Read summed it up (naturally, on Twitter, in a now-deleted tweet), “The business model of the contemporary internet is to create anxiety in its users so they feel compelled to engage.”

To soothe the anxiety, we’ve diminished the triumph of actually publishing in the first place, because the ease with which you can publish now correlates with the bottom line of a publicly-traded company like Facebook. Along the way, the constant stream of anxiety-inducing buttons and icons and statuses changed the art we create and consume. Now, it’s all about how much we share. Being prolific, at one point, could’ve been a way to cut through the noise. But because we never know what will hit, it’s become the standard mode of operation. Even great works of our time are met with a common response: “More!

Once published, we’re competing with shared bits from other people and the algorithms of the platform, the modern-day gatekeepers. When our work doesn’t attract enough clicks in the first hour, the algorithm decides it’s not good and buries it in the backyard. To expand our reach beyond a few dozen loyal friends and family, we have to pay for ads. How can it be said “if you have good content, people are going to find it no matter who you are and where you are” when that’s the case?

This chase for numbers–or “engagement” as social networks like to call it–pushes us to judge work quickly. Even if the viewers don’t demand more, the algorithms do it for us. Autoplay, up next, playlists. Streaming from one piece of art to the next is easier than changing records on a turntable. And to exist online, all context must be stripped from the art–we no longer move past liner notes and acknowledgments with intention, now the platform may not even display them, making decisions to diminish or highlight certain features to promote engagement.

Playing to specific platforms’ quirks and limitations is half of what makes art today. To mimic some form of control, we’ve learned what gets clicks and what doesn’t. Instead of practicing repetition to improve a technique, we repeat tweets with slightly different phrasings to see which gets more likes. To thrive means to submit to the mechanics of social networks. Even Kanye West quickly tweeted, “Ima fix wolves,” after he released The Life of Pablo and saw his followers response to the absence of Sia and Vic Mensa in favor of Frank Ocean. This is the same unapologetic artist who told the New York Times in an interview preceding the release of Yeezus, “I don’t have one regret.” When Jon Caramanica asked if he believed in regret at all, Kanye added, “If anyone’s reading this waiting for some type of full-on, flat apology for anything, they should just stop reading right now.”

What does that say about our bodies of work, when each line in a song is up for hire? On the other hand, when everything is one click away from being turned into a meme, it’s no wonder why artists let self-censorship masquerade as self-preservation. And maybe that’s why Kanye decided to embrace a software maker’s approach to releasing an album: it’s never finished. Outdated versions will be replaced seamlessly thanks to streaming services, while bootlegs will be quietly passed around by hardcore fans. What’s lost to updates will be left to lore, a few bits of data existing in untold places.

Turning our art into a stream of updates is perhaps the logical conclusion to social media–hanging onto attention drip by drip is how we make it as artists today. Engagement is good, the social networks have trained us, whether or not the engagement is positive. And as we commit these acts of constant judgment, we’re robbing ourselves of the experience to fully process the art–to let the work challenge or reinforce our ideals, to push the boundaries of what we think we know, to consume it on the creator’s terms before we critique it on ours.

So the modern-day artist tries to take this into account, making art for everyone that matters to no one. The internet gave us free canvasses; its feedback loop killed the concept of prolific artists who create on their own terms. What those artists rarely ask of their audience, what the audience never stops to consider before hitting download: How can we care about any piece of art when we try to care about every piece of art?

Fiction's No Stranger

Startup is about more than business. It navigates the rocky foundation of relationships, journalism’s importance, sexual harassment, and digital careerism. It’s about how all those things blend together, particularly as women come into power and the world around them reacts.

Read my review of Doree Shafrir's Startup at The Millions.

Who Gets to Write What?

Kaitlyn Greenidge, writing for the New York Times:

Imagine the better, stronger fiction that could be produced if writers took this challenge to stretch and grow one’s imagination, to afford the same depth of humanity and interest and nuance to characters who look like them as characters who don’t, to take those stories seriously and actually think about power when writing — how much further fiction could go as an art.

Making Easy, Over Eggs

Originally published on Big Cartel's Workshop.

Ben Watt, Billy Motley, Andy Newman, Cameron Kelly, Trent Rowland, Zach Frankart

Ben Watt, Billy Motley, Andy Newman, Cameron Kelly, Trent Rowland, Zach Frankart

The hardest part of making my next short film is over. 

It’s hard to believe it’s been a month now, but on Friday, May 6th, at about 1:55 pm, we wrapped production on my latest short film. Easy, Over Eggs, written by Zach Low and directed by me, is now being edited. In the coming months, we’ll find some music for it. The film will at some point be available to watch. Knowing that now it’s just a matter a time, and not so much a matter of logistics, is a relief.

Zach Frankart, director of photography and producer, prepares the camera

Zach Frankart, director of photography and producer, prepares the camera

Pre-production is a stressful part of the filmmaking process that’s not often talked about. Most filmmakers are probably too exhausted when it’s all over to even want to think about it. Leading up to rolling sound and cameras, you have to figure out money, people, locations, and scheduling. You spend months planning for two days of filming to make a 10 minute short film. The amount of time that goes into making a film cannot be understated.

How I prepare to make a film

I watch and read a lot. I hoard ideas and inspiration from others like an animal gathering food as they head into winter. Watching films and reading about how they were made helps me in a couple ways. 

First, I learn from their mistakes (and I’m reminded of my own) so I don’t make them. Second, I can find inspiration for things to try. It’s not about watching someone’s work so you can rip it off - it’s so you can make new connections. If I take this piece from here, and that piece from there, and combine them with this original idea, what happens? That’s when you can discover something new and figure out what it is you have to say about it.

This time, though, it was a little different.

Cameron Kelly and Trent Rowland get in character

Cameron Kelly and Trent Rowland get in character

About that thing I said

As I wrapped up my last short film in 2014, I wrote:

I don't know that I'll ever make a film that fits a traditional narrative - such as two people sitting at a table talking. And that's OK, because part of what I love about film is that there's so much room to explore.

I thought about that for awhile. I really meant it - I didn’t know if that staple of filmmaking was something I’d ever end up doing. And then, I decided to challenge myself. Why can't I have fun making a movie with two people sitting at a table? Why can't I add the same subtext and nuance to that? And what would it be like to work from someone else's script? I wanted to find out.

Working with someone else's script meant this project wasn't just about my vision, but also the writer's perspective. We collaborated closely, sending about a half dozen versions of the script back and forth over a 3 month period. Most versions only had minor changes, but a couple saw drastic cuts to see how far we could go. In my mind, a big part of filmmaking is to see how much you can say with as little as possible. While the original version of the script was 29 pages and written with the intention of being a stage play, we settled on a shooting script that was around 15 pages, but still felt true to its original vision.

Zach Frankart's script with shooting notes

Zach Frankart's script with shooting notes

How to make a movie when you’re busy with life

Another big thing that was different time around - I'm making a movie when I have 2 kids. Here's how you do it:

  • Work through your lunch break so you can take meetings and make calls.
  • Stay up after everyone else is in bed, even though you know you'll have to be up in a couple hours (when your 6-month-old baby wakes up).
  • Do it because you have to, because you're compelled to make art. 
  • Do it because it's fun.
A brief moment of downtime on day one

A brief moment of downtime on day one

Nothing can stop us now

Well, a few things can stop us.

Less than a month until our production date, and we still hadn’t confirmed a location. Then it’s 2 weeks out and I don't know if we'll be making this thing. This is the time you just want to quit. Pack it up and go home. But you can't. Right?

Most people do quit, though. Making a movie isn’t hard. The individual pieces are hard - finding and scheduling and getting permission and paying for things. Those aren’t easy. Too many people hit the first or second or tenth roadblock and decide that enough's enough. But if you stick with it, it does start to come together. 

A week before we were set to film, just as it felt like everything was about to fall apart, the opposite happened - we got things in order, and people offered to pitch in even more than we had asked. Let’s go!

The best analogy I can come up with is this: Making a movie is like wrangling a bunch of marbles on a slick table. Your goal is to get them to all roll in the same direction. The thing is as you push one along, it bumps into another, which sets off a new chain of events. Oh, and the table has holes and spikes and marble-eating monsters. You have to get through with as many marbles - and fingers - left as possible. Things go from completely in control to violently random, until all is calm and everything settles into place.

And then you start filming.

Cameron Kelly, Zach Frankart, and Trent Rowland on set

Cameron Kelly, Zach Frankart, and Trent Rowland on set