Lawrence Pearsall Jacks, a Unitarian minister, summed it up decades ago:

The master in the art of living draws no sharp distinction between his labor and his leisure, his mind and his body, his work and his play, his education and his recreation. He hardly knows which. He simply pursues his vision of excellence through whatever he is doing and leaves others to determine whether his is working or playing. To himself, he is always doing both.

Fritz on happiness

What is more important than happiness is involvement.  We want to be involved with our lives, other people, projects, and the creative process.  In that involvement, we will experience a range of moods, emotions, feelings from high to low.  It comes with the territory.  And, in those wonderful moments, when you are happy, it is something to appreciate for what it is, an exquisite interlude that makes up in height for what it lacks in length.


Robert Fritz

Many pro authors say you should try a dumb trick if your writing is moving frustratingly slowly: just banish a certain part of your A to Z for a bit. This paragraph can’t contain any “A”s. Try it. You find that your brain has to slow down and focus on that arbitrary limit. It distracts you, making you pick all of your words with caution.

Okay, that was just one paragraph without using the letter “E” and it took me about three hours to assemble. It’s a great writing trick because all too often, you get trapped by your own writing style. Water carves grooves in rock after a number of years, you see. When that happens, that’s becomes the only path the water wants to take. An arbitrary but ironclad rule forces your writing to flow into new directions.

Nietzsche on the dangers of waiting

12.00 Normal 0 false false false EN-US X-NONE X-NONE MicrosoftInternetExplorer4 /* Style Definitions */ table.MsoNormalTable {mso-style-name:"Table Normal"; mso-tstyle-rowband-size:0; mso-tstyle-colband-size:0; mso-style-noshow:yes; mso-style-priority:99; mso-style-qformat:yes; mso-style-parent:""; mso-padding-alt:0in 5.4pt 0in 5.4pt; mso-para-margin-top:0in; mso-para-margin-right:0in; mso-para-margin-bottom:10.0pt; mso-para-margin-left:0in; line-height:115%; mso-pagination:widow-orphan; font-size:11.0pt; font-family:"Calibri","sans-serif"; mso-ascii-font-family:Calibri; mso-ascii-theme-font:minor-latin; mso-fareast-font-family:"Times New Roman"; mso-fareast-theme-font:minor-fareast; mso-hansi-font-family:Calibri; mso-hansi-theme-font:minor-latin; mso-bidi-font-family:"Times New Roman"; mso-bidi-theme-font:minor-bidi;} [I]n nooks all over the earth sit men who are waiting, scarcely knowing in what way they are waiting, much less that they are waiting in vain. Occasionally the call that awakens—that accident which gives the “permission” to act—comes too late, when the best youth and strength for action has already been used up by sitting still; and many have found to their horror when they “leaped up” that their limbs had gone to sleep and their spirit had become too heavy. “It is too late,” they said to themselves, having lost their faith in themselves and henceforth forever useless.
Friedrich Nietzsche

Self-Denial

“A character who needs the accoutrements of worldly success will never be seen by the audience as heroic. Heroes are invariably ascetic, denying themselves pleasures and comforts that ordinary people take for granted.… In war films, the hero often declines invitations to partake of food or sex…. The hero can’t relax, can’t have fun. In westerns … all he owns in this world is in that tiny bundle behind the saddle we see when he first appears. We don’t know if he ever changes his shirt or if he even has a shirt to change into, so minimal are his earthly possessions. In detective, police, mystery, and spy films, the central character usually lives in a one-room apartment … but it’s hard to say the hero lives there – it’s where he flops when he’s overcome with exhaustion.… Like religious and mythical heroes of earlier years, the hero is in this world, but not of it. He denies himself the pleasures ordinary mortals yearn for precisely because he isn’t an ordinary mortal.”

—Howard Suber, The Power of Film


Self-Denial