January 26, 2015

A partner-publisher in the world of books: Genevieve DeGuzman of Night Owls Press


It was from discovering the book “The Fifth Age of Work” by Andrew M. Jones that I found out about its publisher, Night Owls Press. Their interests in topics like “work and business innovation” plus “D-I-Y culture and the collaborative economy” coincide with mine. Furthermore, they’re a small and independent press. Here, its Co-Founder and Managing Editor, Genevieve DeGuzman, gives her opinions on writing, editing, publishing, and the timelessness of books in both printed and digital forms:

On being a publisher of books:

Delighted to discover your business of Night Owls Press—Congratulations on your fifth year!—and liken your co-finding a book-publishing company to finding a type foundry. How did you arrive at the desire and decision to realize Night Owls Press?
We started the book imprint back in 2011. Before that, Night Owls Press was mostly me doing freelance editing and ghostwriting, odd jobs, and scattered projects here and there. As a free agent, I was fortunate enough to work on various book projects for a wave of startups and fellow entrepreneurs. From there, it seemed like a natural, organic step to forge ahead with our own publishing experiment. Our first book on coworking was born, “Working in the UnOffice,” and then eventually we started the imprint—our catalog.



Why start a book-publishing company 
in our Web-based and digital times?
As a publisher, we don’t really buy into the feud between print or digital, because we’ve always done both. To us, an e-book or paperback are just different formats. I personally enjoy producing both, with a slight preference for print. Digital books are convenient because you have the immediacy and the portability. And the margins for a publisher and author are better. Print books, however, are timeless. You can’t flip or browse through an e-book the way you can a print book. And there’s something intangibly pleasurable about paper. It’s the physicality and heft. You can sort of annotate e-books, but you can’t dog-ear pages or write in the margins. When reading an e-book, I miss the delights of creating my own marginalia. On a more practical level, a lot of our authors use their books to market their own services, or to promote their own work or research. Frankly, it means more to give a physical book to someone at a networking event or a conference than it is to e-mail them a PDF.

I think the more relevant question is whether a small press can survive in a world dominated by self-publishing and the big publishing houses. Are small presses even relevant anymore? I think so. Basically we consider ourselves filling a much needed gap. We are “partner publishers,” providing the end-to-end support of traditional publishing (editing and content development, production and distribution, marketing, and sales) with the independence of self-publishing. We are “all-in” when we work with authors, just like a traditional publisher, but with a lot more hands-on care and attention. We essentially become co-investors in the projects we take on.


Logo of Night Owls Press designed by Michael Kostuchenko

Concerning news related to book publishing, there was the Amazon story, foundation of self-publishing, advancement of eBooks and eBook software and readers, what are your takes on the evolving “landscape” of making and selling books?
I think self-publishing has empowered a lot of authors, which is a wonderful thing, but it also has downsides. It’s made it easier to publish, which unfortunately has led to a lot of knee-jerk, quick-to-market products where the quality is just lacking. People underestimate the time and care it takes to produce a good book. It can be a resource drain and expensive (especially if you’re hiring professional freelance editors and designers). When working with a press, prospective authors get a range of built-in editorial support for their manuscript, as well as distribution and marketing support for the book once it’s out.

Being a published author and seasoned editor, what are some of your must-dont’s to help writers, especially those who don’t have access to an editor, be better at writing, and to help editors be better at editing?
My advice: If you’re going to self-publish, don’t try to do it all. It has nothing to do with intrinsic skills or talent. Get help. When you’re still in the draft stage, hire an editor and make sure you hire the right kind of editor (most people need a developmental or content editor, and later a copyeditor and proofreader, not to mention a book designer and a publicist).

Some people don’t want to deal with the business of developing a manuscript, designing a book, figuring out distribution platforms, publicity, and sales. It can be overwhelming and time-consuming. One of our goals when working with authors is to help free up their time. With an editorial team behind them, authors can just focus on their content, to bring out the best book that shows off their expertise.

The critical part for me as a book editor is making sure that expertise comes through in a compelling, engaging way. The main problem with a lot of the raw manuscripts I see is that they’re usually too statement-focused. They read like manifestos without any real narrative center and progression of ideas. In these cases, the prose tends to be shock-and-awe, declarative, the writing full of strings of ideas that don’t really coalesce and go anywhere. Authors often come to us with manuscripts that have been cobbled together from blog posts or hasty drafts. Turning that body of work into a book is a complex process. As an editor, I help authors build that necessary narrative arc, that progression of points and ideas.

To strengthen a manuscript, I often advise authors to do research, to interview experts or practitioners in the field they’re writing in, for example, and to include those experiences. Really it all comes down to stories. Stories really do make a big difference as vehicle for information and ideas. I can’t emphasize enough how important narrative color and drama are to the reading experience, even in a how-to book or guide.


Books edited, published, and promoted by Night Owls Press

Who and/or what do you look up to as sources of motivation 
and guidance in your work as a book publisher?
We really admire the trailblazers in the hybrid publishing world like She Writes Press, based in the San Francisco Bay Area. I love what they’re doing with their authors and admire the reach they have.

Can you give a tour of how an idea gets real? For example, please pick one of your books in your catalog. What were the steps and tools used to materialize it?
Whew. It’s a long process, a journey. We talk at length about our publishing process here.

What is advantageous about being a small 
and independent press? 
Wonderful question. We also address this in detail in our blog post “Why Authors Should Publish with a Small Press.”

On creativity and working:

One of my residual resolutions is to read books. Impressive that you are a highly avid reader. How did you discover books? And how do you manage to be an active reader of books?
Reading is such a pleasure for me that it’s hardly a matter of making time for it. I often have to schedule time away from reading. I joke and call myself a “homebody with a wanderer’s soul.” In a cheesy way, reading lets me be that. I’ve committed to being a regular book reviewer on Goodreads and LibraryThing too, so that encourages me to read and get more involved in conversations around books.

Most people don’t know this about me, but I’m a chronic re-reader. The first-time I read a book or an article, I read for sheer pleasure, often at a quick pace. In this reading mode, I’m usually just an observer, a sponge. The second time, or even the third time around, if it’s a favorite work, I read to discover, mull over, extract. Good writing is never accidental; it’s earnestly deliberate. There are effects and subtexts the writer wants to convey—even if we’re not consciously aware of them (probably more apparent in fiction than nonfiction). Usually I’ll find that I gain some new insight with each re-reading. Life experience and age filters reading differently; something that moved me in a certain way at 22 moved me in a different way when I turned 35.

Was there a part of your work that was particularly trying, 
and how did you deal with it?
I can be annoyingly self-critical when it comes to editing, but I’m much worse when it comes to my personal writing projects (mostly fiction). It can get to a point where the self-deprecation is no longer charming but paralyzing. There’s a common saying among neurotic creative types, especially writers: “you simultaneously think your work is absolute crap, but at least it’s better than anybody else’s crap.”

As a creative entrepreneur or freelancer, it’s important to learn how to harness that roller coaster of emotions and self-doubt. (A good school of thought for entrepreneurs is Stoicism. Tim Ferriss has a great post on this.) I try to stay grounded by facing my deepest fears head on—mulling over the worst-case scenarios in my head—and nurturing an instinct for what I can control and can’t. The kind of anxieties and fears experienced by entrepreneurs have their roots in uncertainty, they say. Uncertainty is probably the biggest downside of running your own business and a deterrent to many who want to start a business. It’s not easy accepting risks.

Whenever I start to feel that tickle of frustration or fear or worry, I dwell on what we’ve achieved and how far we’ve come. It’s always going to be an upward climb, and the idea is to learn how to enjoy those obstacles and challenges. Come on, smooth-sailing is boring anyway.

How do you stay creative? 
Obsessive documentation. Compulsive note-taking. Keeping an open mind. After all, creativity is simply making connections between disparate parts.

Along with reading, I write and note-take on a regular basis. I’ve joined several writing groups online and in person to encourage me to write, to keep stoking the fire. Everyone should keep a notebook. Personally, it helps me keep a handle on the swirl of information and perceptions I have, all the half-worlds of stories and ideas that often get lost in the day to day. Later, I can take those notes and work them out on the page. Most of the things I write never see the light of day or are ever shared, but sometimes there are winners. And I live for those hardscrabble, hard-won gems.

Staying creative also means not being a slave to the cult of serendipity and inspiration; it’s not always about the endorphin rush. Staying creative means working through mental blocks or bad moods. As a writer, that means writing even when the words aren’t flowing, even when writing a sentence feels like pulling blood from a stone. In practical terms, that means setting daily goals and putting in the necessarily mileage. (“500 words a day is a good day.”) Sometimes—most of the time—it means producing work that will make you shudder and fill you with self-loathing, but I’ve learned to work past that. The real writing is in the rewriting and editing anyway. First drafts are necessary precursors of getting ideas trapped in your head down on paper. I try not to put too much pressure on myself at this stage. That frees me up creatively.

How important is it for you to follow your instincts?
Very important. The gut is our other less celebrated brain. It deserves to be listened to. Sometimes the top brain, with its constant chatter and over-thinking, needs to be put on mute. Go with your instincts.

If a person approached you and said, “I want to be a book publisher. How do I become one?”, what’s your response?
“You must be a masochist!” Just kidding, sort of. Publishing is a tough business. You need to know editorial, production, distribution, and marketing. Because there are so many moving parts, publishing is highly collaborative; you’re only as good as your teams and the people you work with, from editors and designers to printers and publicists. It’s also important to master the tools of the trade like Word, Pages, InDesign, and Photoshop, and to understand the basic principles of good book design.


Cover art iterations with illustrators Monkey + Seal

You also need to have a proficiency and passion for communication, language, and rhetoric on paper. Doing all these things by the seat of our pants was a big mistake in our evolution as a press in the early days—and we’re still continually learning. Finally, it helps tremendously if you’ve worked in the business either at a literary agency, publishing house, editorial firm, or bookseller.

• • •

All images courtesy of Genevieve DeGuzman.

• • •

Directly related: Designer and Novelist Elaine Chen on pursuing the architecture of writing

• • •

Read more from Design Feast Series of Interviews
with people who love making things.


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January 22, 2015

Pride, Work, and Necessity of Side Projects: Skot Waldron of Locurean



What are you working on—on the side?

I was approached, a little over a year ago, by my now Locurean business partner Whit Whitmire about an idea he’s had for a long time. I had no idea at the time that Whit was the land/agriculture/cattle buff he is, until I got to know him and see him in action. His family owns Brasstown Beef, a cattle farm that supplies all-natural, antibiotic, hormone-free pastured beef and pork. He began talking to me about all of the “problems” within the local farming, food, and drink industry. Indeed, he was greatly frustrated by the failings of the resources available—or lack thereof—for simply finding and connecting with conscious, responsible suppliers/vendors of the food and beverage products we want.

We’re tired of spending our time Googling search terms in hopes of discovering producers nearby. We don’t want to wade through the endless string of websites that boast “local” or “farm-to-table,” but no list of a single farm. We don’t want to waste our time on multiple user-UNfriendly, exclusionary, or crowd-sourced websites and listings characterized sharply by a lack of curatorial management.

I’m no farming/food expert like my pal, Whit, that is, unless liking good food makes me one, and yes, being born and raised in the South has made me appreciate the culture of food that much more. Just listening to what Whit had to say caused me to look at the industry in a new way. Not to mention, it was a great business idea. So, I jumped on board. We formed the partnership and got moving with idea generation and scoping out exactly what Locurean would be.

From local farms, markets, restaurants and supper clubs to distilleries, breweries, vineyards and much more, we look forward to offering the first comprehensive and holistic platform for finding businesses and organizations dedicated to the production, use, and support of local food and drink.

How do you manage to work
on your side project(s)?

The way I manage everything else—with iCal.

Seriously, it took some time to figure it out, but it’s definitely doable. Takes some understanding from all parties involved. Communication is huge.

Why have side projects?

At Multiple, Inc., we have the opportunity to work with clients in all kinds of industries. So, we kind of know our way around a lot of different “things.” A side project is just one more way to learn about a different “thing.” Plus, when it makes a difference, all the better. Oh wait, and sometimes it can make you more money too. Sometimes.

• • •

Diptych courtesy of Skot Waldron.

• • •

Read more about the joy of side projects.


This debut series is provided in affiliation with 50,000feet.


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January 14, 2015

Pride, Work, and Necessity of Side Projects: Brandon Keelean’s Together+



What are you working on—on the side?

Right now, I’m in the middle of creating a children’s book addressing the stigma of HIV in communities throughout South Africa titled “Growing Together.” I wrote the book alongside Jacqueline Hull and am working with a wonderful illustrator, Jenelle Huddleston. The book tells the story of Khulani, a young caterpillar ostracized at his new school because of his disease. Khulani is HIV-positive like more than 6 million people in South Africa, and he struggles to find acceptance among the other bugs who mistakenly believe his disease is a curse. The story culminates in a school-wide soccer match during which Khulani is finally able to prove himself. With the guidance of the school headmaster, Fr. Mantis, the other bugs come to understand they should treat Khulani with the respect he deserves.

The book is an initiative created as part of Together+, and is actually the second in a series. The first, titled “Blooming Together,” was written by two of my former classmates at Notre Dame and tells the story of four flowers whose journeys parallel those of refugees living in South Africa.

Together+ started as a campaign created by my classmates and myself at the request of the Johannesburg-based Kgosi Neighbourhood Foundation while I was still a student at Notre Dame. Since then, it has expanded into an organization that helps facilitate design-driven projects to improve communities.

Right now, we’re working on a project to address poor indoor air quality due to combustion heating—a serious issue in poorer Johannesburg neighborhoods and throughout the world. The World Health Organization has a great primer on the subject if you want to learn more.

How do you manage to work 
on your side project(s)?

I have a great team. I couldn’t do it without them. In addition to Jacqueline and Jenelle, I work directly with my former design professor Robert Sedlack; Paul Horn, Executive Director of Kgosi Neighbourhood Foundation; Andréa Pellegrino, a social impact strategist and principal at Pellegrino Collaborative; and Jimena Holguin, Program Manager for Community-based Research at Notre Dame’s Center for Social Concerns. When life gets busy or I run out of capacity, I always have people to fall back on.

Over the years, countless others have been involved in this project. There are too many people to list individually, but Together+ owes many thanks to our partner organizations in South Africa who have supported us, including Cotlands, Médecins Sans FrontièresAfrican Center for Migration and Society at the University of the Witswatersrand, Dominican Convent School, and The Catholic Institute for Education.

I also owe thanks to Sappi and their Ideas That Matter program. Together+ was awarded $40,000 in September to cover the material and production costs for “Growing Together.”

Why have side projects?

It’s uncommon that a project touches your heart, but this one did. And it continues to keep me grounded in the realities of the world. I have been fortunate enough to travel to South Africa four times, for up to two months at a time, and it has been wonderful to connect deeply with the community in Jeppestown, a neighborhood of Johannesburg and where Kgosi Neighbourhood Foundation is located. The community faces challenges, sure. All communities do, and some of the situations community members face are heartbreaking. But the people I’ve met have some of the most uplifting spirits you could imagine. It’s incredibly rewarding to work alongside a community so full of life and positivity. They are my motivation.

• • •

Diptych courtesy of Brandon Keelean.

• • •

Read more about the joy of side projects.


This debut series is provided in affiliation with 50,000feet.


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January 9, 2015

Pride, Work, and Necessity of Side Projects: Mr. Walters’ Nerfect



What are you working on—on the side?

As a full-time working artist, I personally don’t see any particular project being on the side. At one time in the past, when I worked as a graphic designer for various agencies, I guess I could’ve considered any creative enterprise, personal and such, a side project.

These days, either by intent or luck, I create work in a variety of disciplines, and what naturally comes out of me, what I’m interested in, is what I exhibit in gallery shows, and the items I mass-produce are those I sell at various events, venues, and via retail relationships.

I guess, based on where we first came into contact, we could say that my brand of artistic novelties, Nerfect, might be considered a side project of sorts, and at one time, when I had regular jobs, it was. In this brand, I developed a variety of wares featuring my artwork and characters, including t-shirts, stickers, buttons, toys, etc.

Many artists might see such an enterprise as a side project, a necessary part of funding their major projects, but I see it as an equal avenue to explore ideas. It’s an affordable and accessible way for people to bring some of my artwork home.

How do you manage to work
on your side project(s)?

When people ask me what I do for a living, I usually explain that I work on a handful of different jobs just to make ends meet, and this is the truth. I usually have a lot of projects that I’m working on for my own enterprises or for a client, and they tend to overlap time-wise. I gave up the luxury of actual free time ages ago, when I decided to strike out on my own, so I’m pretty much on the clock all the time.

I keep a pretty detailed calendar at home, and am a huge fan of being able to jot things down as they come to mind, or if I discover something outside. I’m never without a Field Notes book, which I use to sketch out ideas, note take, and to recreationally draw in.



I also keep a couple Word files on my desktop of my ideas and goals. Every couple days, I’ll add to them, review and reorganize things. It helps me keep myself organized, to know what I need to get done for the week, and sometimes the process helps me revaluate if that brilliant idea I had a couple weeks ago, still is strong, or if it can be put on hold.

At the end of the day, I’m not one of those creative types that has a ritualized schedule that yields creativity. It’s the variety of personal experiences and unexpected discoveries which helps get that part of my brain working. Being able to document and organize your ideas is the key to keeping everything working for me.

Why have side projects?

As a creative person, it is just in my nature to be working on things. The creative process, and the happiness that comes from completing a successful project, is what I love. I don’t understand how people go through life without something like this.

The act of making things and taking up personal projects on the side can also transform you. You learn things about yourself and find alternatives to the journey you take through life. Very few people come across that thing that changes their life, playing it safe and doing simply what is expected of them.

• • •

Diptych courtesy of Mr. Walters. Photo taken during Show of Hands 2014 of his Field Notes spread.

• • •

Read more about the joy of side projects.


This debut series is provided in affiliation with 50,000feet.


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January 7, 2015

At 36th CreativeMornings in Chicago, Audience Takes the Stage


To end a year of gatherings, the Chicago chapter of CreativeMornings invited, for the first time, audience members to take the stage and share their wisdom. Members applied to speak via video during November. From the submissions, four were selected. By order of appearance, the speakers were Stefani Bachetti, Sandy Weisz, Julie Schumacher, and Bryan Kveton. Each gave a generous bit of applied perspective, in just five minutes.



Raise the act of scribing

Bachetti(1) urged the audience to take their notetaking to the next level by utilizing a method of sketchnoting. On the surface, sketchnoting has the appearance of storyboarding, or the fidelity of comic-book art. There are large letters, panels, and portraits, with dashes of diagrams. Sketchnoting can be superficially deemed art. But it’s not, according to Bachetti, who emphasized the essential purpose of sketchnoting: “It’s about communicating an idea.” The output of sketchnoting is immediate in its illustrative results, buts it’s the input that conditions sketchnoting as a discipline of active learning. It is an innovative option to its traditional (and just as innovative) basis of notetaking.



Puzzling obsession

Weisz’s presentation about puzzle-hunts, which are games where groups of people solve a series of puzzles in a particular area, was a truncated version of his thorough talk at Chicago-based Cusp Conference in 2014. It was telling that his obsession with orchestrating puzzle-hunts originated at the age of ten, when his father created a puzzle-hunt for him. Weisz has been improving his craft of designing puzzles for collective engagement and executing them as group adventures. Where Bachetti urged elevation of notetaking, Weisz’s elevation is directed towards the equally primal invention of the puzzle, which, like sketchnoting, takes information and manipulates it toward broadening one’s mind, in Weisz’s case, at a dizzying level.

When an audience member described Weisz’s puzzle-hunt creations as a “line of work,” he chuckled and called the comment “cute.” But I agree that making something like a puzzle-hunt is no different than the effort it takes to excel at being an artist, a magician, a tightrope walker, a designer of sex toys, and so on. For something composed of many interconnected parts, mostly mental and totally unpredictable, this qualifies surely as work—a lot of it.



Flow

While listening to Schumacher’s talk, I recalled the philosophy of martial-artist Bruce Lee: “Running water never grows stale. So you just have to ‘keep on flowing.’” Schumacher encouraged fluidity. From her experiences as a middle-school teacher, she lived lessons turned into observations that fed her professional frontier. No longer a middle-school teacher, Schumacher has evolved into a writer and editor. Whether it’s the daily act of human-to-human interaction or finding ultimately what one truly feels is fulfilling to do for a lifetime, Schumacher prescribed more flow, less friction.

Another observation, a recurring lesson, that Schumacher gave, was: “How you respond makes a difference.” To be reactive is easy than to be reflective. The latter gives more cause to breathe and minimize regret.



More cow bell

Kveton’s presentation made me recall a past talk by Chicago-based singer-songwriter Elle Cassaza, who, like Weisz, also spoke at Cusp Conference 2014. Both revealed the ingredients of a song tailored to exude that appeal—that much pursued hook. To Kveton, the recipe for a solid song consists of a subject, complemented appropriately by chords, lyrics, and melody. “Recipe for success” is an overworn phrase, but Kveton’s presentation reinforced its relevance in forming identity, building character, and making something potentially catchy.



In twenty minutes, four individuals, who practice distinct creative interests, gave unique takes about creativity and how it can be applied. Education—CreativeMornings’ global theme for December 2014—ensued.


(1) My assumption: Stefani Bachetti joined the Sketchnote Army.

• • •

Big thanks: to Grind (Host), Basecamp, Braintree, DieCutStickers.com, for being Partners of Chicago CreativeMornings #36; to organizer Kim Knoll and operations manager Kyle Eertmoed of Knoed Creative, who spoke at Chicago CreativeMornings #7; to the team of volunteers—Benjamin Derico, Anica Wu, Chris Gallevo, Keith Mandley II, all—for greatly helping to make CreativeMornings happen in Chicago.

Read more about the people who make the Chicago chapter of CreativeMornings possible.

• • •

My coverage: view more photos of 36th CreativeMornings in Chicago; read more write-ups about Chicago CreativeMornings.

• • •

2011 was Chicago CreativeMornings’ debut year. Download the entire collection of selected insights.




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January 1, 2015

Tweeted December 2014: Food for thought


Tweet icon designed by Adame Dahmani from The Noun Project collection

“Being a writer is like being an individual proprietor:
You don’t like the way I do things, get out of my shop.”
—Peter Carey
Tweeted by @parisreview on December 30, 2014

“The most essential gift for a good writer
is a built-in, shockproof, shit detector.”
—Ernest Hemingway
Tweeted by @parisreview on December 30, 2014

“What you have to do as a writer is...write day in and day out
no matter what happens.”
—William Stafford
Tweeted by @parisreview on December 30, 2014

“Creativity is greater than the sum of its parts.”
—Maya Angelou
Tweeted by @parisreview on December 30, 2014

“Make the content the focus.”
—Austin Dandridge
Tweeted by @TechPoetMonica on December 29, 2014

“Take more chances. Make more art. Launch more often.”
—Cynthia Morris
Tweeted by @creativemorning on December 29, 2014

“You deserve the trust and freedom to speak candidly and honestly,
and to count on your colleagues to do the same.”
—Jesse Hertzberg
Tweeted by @swissmiss on December 22, 2014

“Oftentimes, we live and go through life just accepting things
for the way they are. And oftentimes, all we have to do
is make a decision to change.”
—Steve Larosiliere
Tweeted by @creativemorning on December 22, 2014

“What I feel very uncomfortable about is being called amazing
and inspiring for standing up for what’s right.”
—Sally Rumble
Tweeted by @sallyrumble on December 21, 2014

“Be freethinkers—ask what’s true, not who else believes it.”
—Bill Maher
Tweeted by @billmaher on December 20, 2014

“Every calling is great when greatly pursued.”
—Oliver Wendell Holmes
Tweeted by @johnmaeda on December 19, 2014

“Are we raising kids who don’t know how to dream big dreams,
whose biggest goal is getting the next A?”
—Carol Dweck
Tweeted by @TEDTalks on December 18, 2014

“Every day, we should be striving to learn something new.
We should have an unquenchable curiosity.”
—Ken Jennings
Tweeted by @TEDTalks on December 15, 2014

“The fact designers are debating font choice on a protest shirt
is exactly why we earn the reputation for not giving
a shit about real life.”
—Joseph Hughes
Tweeted by @nczeitgeist on December 13, 2014

“It takes a certain amount of nerve just to be a writer.”
—Harold Brodkey
Tweeted by @parisreview on December 12, 2014

“You can’t just educate the kids, you also have to educate the parents.”
—Fawn Johnson
Tweeted by @TheAtlantic on December 12, 2014

“For designers, elegance = empathy;
for engineers, elegance = efficiency. We need both.”
—John Maeda
Tweeted by @johnmaeda on December 12, 2014

“The best writing is certainly when you are in love.”
—Ernest Hemingway
Tweeted by @parisreview on December 12, 2014

“I’ve never seen good results from people trying to speak
about things they don’t know firsthand.”
—Michael Haneke
Tweeted by @parisreview on December 12, 2014

“Carefully constructed sentences cast a tint
of indefinable substance over a story.”
—Annie Proulx
Tweeted by @parisreview on December 11, 2014

“Being able to see the pathology of underlying disease really helps us
apply diagnosis and treatment across multiple species.”
—Barbara Natterson-Horowitz and Kathryn Bowers
Tweeted by @TEDMED on December 10, 2014

“People rarely need more creativity—they simply need more courage.
It’s easier to blame creativity than admit lack of conviction.”
—Scott Berkun
Tweeted by @berkun on December 9, 2014

“Never underestimate the impact increased compassion
can have on your life.”
—Russell Simmons
Tweeted by @UncleRUSH on December 8, 2014

“Some people are born with an amazing gift for storytelling;
it’s a gift which I’ve never had at all.”
—Aldous Huxley
Tweeted by @parisreview on December 8, 2014

“I never write except with a writing board...
And I use all sorts of things. Write on the sole of my shoe.”
—Robert Frost
Tweeted by @parisreview on December 8, 2014

“If you’re young and take a while to respond to a text
from an old person, don’t front like you just saw it. We know.”
—Ryan Evans
Tweeted by @ryanevans on December 7, 2014

“Stress Less Achieve More. Judge Less Serve More.
Age Less Laugh More. Grudge Less Forgive More.
Doubt Less Be More. Fear Less Love More.
—Cory Booker
Tweeted by @CoryBooker on December 7, 2014

“Nothing happens without creativity.”
—Russell Simmons
Tweeted by @UncleRUSH on December 7, 2014

“The metaphor of life as a trip is one I’m fond of—we have limited time
in limited places yet there are interesting experiences all around.”
—Scott Berkun
Tweeted by @berkun on December 7, 2014

“Aliens, seeing Humans kill over land, politics, religion, and skin color,
would surely ask, ‘What the f*%k is wrong with you?’”
—Neil deGrasse Tyson
Tweeted by @neiltyson on December 6, 2014

“Never forget that one of the biggest things you can do in any day
is extend a small act of kindness, decency or love toward another.”
Tweeted by @CoryBooker on December 6, 2014

“Just because you can’t figure out how ancient civilizations built stuff,
doesn’t mean they got help from Aliens.”
—Neil deGrasse Tyson
Tweeted by @neiltyson on December 5, 2014

“Designers work differently based on situational models:
‘designer as creator’ → ‘designer as translator’
→ ‘designer as facilitator.’”
—Ashleigh Axios
Tweeted by @AshleighAxios on December 4, 2014

“If we provide teachers with well designed tools
that are already connected with the standards, we help them succeed.”
—Ashleigh Axios
Tweeted by @AshleighAxios on December 4, 2014

“Of talent, some might say you’ve ‘Got it down to a science’.
But only when it’s also beautiful have you ‘Raised to an Art’.”
—Neil deGrasse Tyson
Tweeted by @neiltyson on December 2, 2014

“A surprising stat: In the developing world, more people die of cancer than HIV, malaria and tuberculosis combined.”
—Anders Kelto
Tweeted by @anderskelto on December 1, 2014

“Branding sophistication is worth the effort.”
—Neil Blumenthal and David Gilboa
Tweeted by @thinkstudionyc on December 1, 2014

• • •

See: Patronage series of duly discovered


Please consider supporting Design Feast
If you liked this lovingly-made collection, show your appreciation by helping to support my labor of love—Design Feast, which proudly includes this blog. Learn more.

December 31, 2014

Patronage Package 12 of Duly Discovered



Advice

“There’s No ‘I’ in Teacher…”
by Rebecca Rufo-Tepper

“Business owners can’t do it all on their own…”
by Brad Farris

“12 New Year’s Resolutions for the Purpose-Driven Author”
by Dara Beevas and Amy Quale

Books

“Mexican Chef Margarita Carrillo: Guide to Her Country’s Cuisine”
by Carrie Kahn

Interviews

“Guest DJ Jessye Norman: From Augusta To Valhalla”
by Tom Huizenga

“J. Cole: ‘Ain’t Enough Of Us Trying’”
by NPR Microphone Check

“Portraits” with creative types based on their jewelry collections
by Leah Ball

Music

Tiny Desk Concert by J. Mascis

Tiny Desk Concert by St. Paul and The Broken Bones

Song “Two Weeks” by FKA twigs

Podcasts

The Parentalist hosted by Sarah Spear

Stories

“Time for A Holiday Favorite: ‘Santaland Diaries’”
by David Sedaris

“Boundary-Pushing Late Night Hosts Move On…”
by Eric Deggans

“Why Some Scientific Collaborations Are More Beneficial Than Others”
by Joe Palca

“Amazing Photos Show Clouds Filling The Grand Canyon”
by Bill Chappell

“Liberia’s Daily Talk: All The News That Fits on A Blackboard”
by Ofeibea Quist-Arcton

“‘New Republic’ Staffers…Clash…Its Mission and New Methods”
by David Folkenflik

“Medicine’s Subtle Art Gives A Man The Chance To Breathe Again”
by Jon Hamilton

“Dieter Rams: If It Doesn’t Serve a Purpose, Get Rid of It.”
by Stephanie Kaptein

“A Miami School Goes From Blank Canvas to Mural-Covered”
by Greg Allen

“If Everybody Had An Ocean…Surf Our Way to Mental Health?”
by Anders Kelto

“Study Shows Riding The Quiet Car is Crushing Your Spirit”
by Shankar Vedantam

“Church Leaders Look to…Calm St. Louis Parishioners”
by Emanuaele Berry

“German Government May Say ‘Nein’ to After Work Emails”
by Soraya Sarhaddi Nelson

• • •

See my series of tweeted food for thought.


Please consider supporting Design Feast
If you liked this lovingly-made collection, show your appreciation by helping to support my labor of love—Design Feast, which proudly includes this blog. Learn more.