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  • Hey, everyone.

  • It's me, Marie, and I'm recording this in LA.

  • I'm here with Josh and Kuma and we're hunkering down and staying inside due to the coronavirus

  • pandemic.

  • Now, I hope you and your family are well.

  • I did want to set some context with this interview, though, because when we recorded and sat down

  • with the incredible Gretchen Rubin, coronavirus wasn't a thing yet, so you won't hear any

  • mention of the current state of affairs in this conversation.

  • And, to be honest, my team and I went back and forth on whether or not we should even

  • release this.

  • But then I thought to myself: I think we all need a break from the news.

  • This conversation is incredible and I really hope it will inspire you.

  • Now, as it relates to the coronavirus pandemic, I want you to know that we created something

  • incredible for you.

  • It's actually a coronavirus support guide and it's over at marieforleo.com/blog.

  • Or you can just google my name, Marie Forleo, and coronavirus support, and you'll find it.

  • I'm also going live a lot more on Instagram.

  • I'm @marieforleo and I want to be a source of support and love and inspiration for you

  • during this time.

  • So come follow me over there.

  • Finally, take good care of yourself.

  • I'll be here for you week after week of new content and connections and don't hesitate

  • to reach out if there's anything you'd want me to know.

  • With that, enjoy the episode and I'll see you soon.

  • Hey, it's Marie Forleo and welcome to another episode of MarieTV and the Marie Forleo Podcast.

  • Now, if you're interested in a happier life, and let's be honest, who isn't?

  • My guest today has made it her mission to help us all find the way.

  • Gretchen Rubin is the author of the blockbuster New York Times bestsellers, The Happiness

  • Project, Outer Order Inner Calm, The Four Tendencies, and Better Than Before, among

  • others.

  • Her books have sold over 3.5 million copies worldwide and have been translated into more

  • than 30 languages.

  • On her award winning podcast, Happier with Gretchen Rubin, she discusses happiness and

  • good habits with her sister Elizabeth Craft.

  • She's been interviewed by Oprah, walked arm and arm with the Dalai Lama, and been an answer

  • on Jeopardy.

  • She lives in New York City with her husband and two daughters.

  • Gretchen, thank you so much for being here.

  • I'm so happy to be talking to you again.

  • Yeah.

  • This is a long time coming.

  • Yeah.

  • So, I want to go back in time.

  • So, you started your career in law and were actually clerking for Supreme Court Justice

  • Sandra Day O'Connor when you decided you wanted to be a writer.

  • And I feel like there's so many people in our audience right now, every different age,

  • from all parts of the world, who find themselves in a situation like that.

  • Meaning they want to make a big career change.

  • So, can you take us back there and talk to us about just what that process was like?

  • The thinking, the actions, all of it.

  • Well I went to law school for all the wrong reasons.

  • I was like, "I'm good at research and writing.

  • It'll keep my options open.

  • It's great preparation.

  • I can always change my mind later."

  • So, I went to law school, not because I had a passionate desire to be a lawyer, but just

  • because it felt like a logical thing to do since I didn't know what to do with myself.

  • And I was very fortunate.

  • I had a great run in law.

  • I was editor in chief of the Yale Law Journal, which is the Yale version of the law review.

  • And I was clerking for Sandra Day O'Connor, which is this amazing opportunity.

  • And one of the things about me that's still true and was true then is that I will become

  • really preoccupied with a subject.

  • I'll get intensely interested in something and just want to spend all my time thinking

  • about it.

  • So, I just went through this with color.

  • I went through it with placebo, like I get very interested in something.

  • And at this time I was out having a walk one day and I was on the Capitol Hill and I looked

  • up at the Capitol dome against the sky and I just asked myself this rhetorical question,

  • "What am I interested in that everybody in the world is interested in?"

  • And I thought, "Well, power, money, fame, sex."

  • And it was like, "Power, money, fame, sex."

  • And I became intensely preoccupied with researching the ideas of power, money, fame, sex.

  • Which to me seemed very linked.

  • They still do.

  • And I was just doing research and I was staying late at work and doing research and if you're

  • a Supreme Court Justice you can actually check out books from the library of Congress.

  • So, I would check out books for Justice O'Connor.

  • My favorite book was Deep in The Heart of Texas, the true story of three Dallas Cowboy

  • cheerleaders who are sisters.

  • It's an amazing book about fame.

  • And I just got more and more interested in it and I was writing and taking notes as I

  • was going, as I was thinking through the subjects.

  • And finally it dawned on me, this is the kind of thing somebody would do if they were going

  • to write a book.

  • And I had never thought about being a writer myself because I always thought either you

  • wrote fiction or plays or poetry or you were a journalist or you wrote academic books.

  • I didn't really think about creative nonfiction, which is what we would call it now.

  • But it occurred to me, "Well, this could be a book."

  • And then I thought, "Well, maybe I could write that book."

  • And then I went to the bookstore and got something called How to Write and Sell Your Nonfiction

  • Book Proposal.

  • And I just followed the directions and skip ahead, I got an agent and got a book deal

  • and that's how I did it.

  • So for me it wasn't as much leaving something as going towards something.

  • Just this desire to write this book.

  • And it wasn't even like, "I want to be a writer."

  • It was like, "I want to write this book."

  • Interesting.

  • Yeah.

  • You know in Star Wars where the Millennium Falcon is getting pulled in by the tractor

  • beam and they're like, "We have to go.

  • We can't resist or it's going to pull us apart."

  • Yeah.

  • That's how I felt.

  • At a certain point I was like, "I would rather fail as a writer than succeed as a lawyer.

  • I have to give this a shot.

  • I have to try and either fail or succeed.

  • But if I get another law job, I'm afraid I won't try.

  • I won't do it."

  • And so...

  • Did you have any inner conflict around leaving law or no?

  • The pull to write this book was so strong that you were clear for yourself.

  • I was very clear for myself.

  • But again, I was married, so my husband was working.

  • It was a pretty

  • And I did feel like if I was ever going to do it, this was the time because it was the

  • lowest risk time because we were moving from Washington D.C. to New York, I didn't have

  • a job.

  • And so it was a great open transition.

  • And I remember thinking to myself, "What more am I waiting for?"

  • What sign from the universe am I waiting for it?

  • If there's ever a time, the university is being like, "Right now."

  • And I thought if I wait, this moment could pass.

  • And so at that point I really was like, "This is the time."

  • But there was a day where, because my husband left law at the same time, he went to into

  • finance, and we had just been married and we got the letter from the New York Bar Association

  • asking us to pay our bar fees cause we'd both been admitted to the New York Bar.

  • It's expensive.

  • It's a lot of money.

  • And I remember saying to him, "Oh, are we going to pay our bar fees?"

  • And he's like, "Why would we pay our bar fees?

  • No."

  • And I'm like, "Okay, we're doing this."

  • Turns out you can go back into the bar if you just pay and like do some courses, but

  • at the time I felt like it was really...

  • That was it.

  • That was it.

  • And I was like, "Okay, this is happening.

  • I'm going to do this."

  • Wow.

  • So I didn't feel...

  • You didn't feel conflict.

  • No.

  • You just went for it.

  • I didn't really.

  • What was the hardest part for you about that transition?

  • Because obviously as an attorney, you are quite experienced at research and writing.

  • So, was putting the proposal together and getting that out into the world, did you find

  • that difficult?

  • Or because you were trained in some of those aspects, you were like, "Okay, this is just

  • another way to express myself."

  • That part wasn't as hard.

  • The parts where I had trouble with it was where there were no directions.

  • If I could look up a book and it's like, "This is what a proposal looks like."

  • I'm like, "Okay, I can do that."

  • But a lot of it is what are the unspoken assumptions of this career?

  • And how do people behave?

  • And there are all these agencies, how do I understand them?

  • Like for me it was like I knew nothing and I had so many great credentials as a lawyer.

  • I had many feathers in my cap and this, I didn't have a clip, I didn't have a short

  • story, I'd never published anything, I had nothing.

  • So, so part of it was just being nobody in a big world that I didn't understand.

  • I liked it when it was this is what, like, "Write a sample chapter."

  • I'm like, "I can write it.

  • I'll take my shot."

  • That felt clearer.

  • It was more of the...

  • The unknown.

  • The unknown, and there's things that people can't even explain to you.

  • You just have to get in there.

  • I feel like even now I'm still always trying to figure it out.

  • What are the assumptions?

  • What do we know?

  • What works?

  • Well, I know even the first time you and I spoke, which was at...

  • I think it was at a Penguin Random House event, right?

  • Yeah.

  • For BEA, the big book expo.

  • That's right.

  • And one of the things that struck me most about you, because I've heard about your work,

  • I've admired your work, I've known about you for years.

  • And I was like, "Oh, we're finally getting a chance to hang out and have a discussion."

  • I was like, "How have we never met before?

  • It seems strange."

  • I know.

  • Sad, it was.

  • But one of the things that struck me about you is how many great questions you asked.

  • So, I feel like that's just such an amazing trait that's about you.

  • Your curiosity and constantly asking great questions.

  • So, the reason I want to go into this is because one of the things that I've learned from writing

  • my book and talking about it on the show for a couple of years was how many people in our

  • audience also want to write books, are writing books, have written books.

  • So, I always think it's a good process.

  • And there was a stat quote in the New York Times that up to 80% of people believe they've

  • got a book in them.

  • Oh, interesting.

  • Yes.

  • Yes.

  • So, that's where I wanted to go there.

  • So, the first big blockbuster book, if I'm not mistaken, was Happiness Project.

  • Yes, that was the one.

  • But like many people, that was my fourth book.

  • So, I had worked very hard for 10 years to become an overnight sensation.

  • People were like, "It's your first book."

  • I'm like, "No.

  • That was my fourth book."

  • It was your fourth book.

  • My fourth book.

  • But it was the one that popped in the industry.

  • It did, yeah.

  • And I had done, at that time, I had had a blog to create an audience for the book before

  • it came out.

  • That was unusual at the time to do something like that.

  • But yeah, that was the book.

  • For a lot of people that's where they became aware of my work.

  • And for the Happiness Project, this is a personal question of mine, did you have that idea and

  • then pitch that book and sell it or did you have the idea, do your actual year experiment,

  • and then write the book about it?

  • When I got the idea I was just going to do it for myself.

  • Like I said, I get really interested in things.

  • So, I'm constantly going off in these weird directions.

  • Oh, I'm so interested in perfume and I'll just march off and spend all this time researching

  • something.

  • So, at first it was like, "I should have a happiness project.

  • Could I make myself happier?

  • What would you do to make yourself happier?"

  • I was just doing all this research.

  • I was finishing up my book, my biography of JFK, at the time.

  • So, it started out as a research project that was just for me and me thinking about, "Well,

  • what would I do, what can move the needle, what would I experiment with?"

  • And then it just got bigger and bigger and got more and more interesting, and I was like,

  • "Wow, this is taking over my life."

  • And then finally I was like, "Well maybe this should be my next book.

  • This should be my next book project."

  • But it was interesting, it was unusual for nonfiction because usually, and maybe people

  • don't know, usually with nonfiction, you write a proposal and you sell it off the proposal

  • and maybe a sample chapter.

  • Whereas with fiction usually you've written most of it or all of it.

  • Especially if you're just starting out.

  • And for this book I would talk to people about it and they didn't get it.

  • They would make these suggestions to me and I'm like...

  • Somebody was like, "Oh, you really like Benjamin Franklin.

  • Why don't you do a thing where you apply all of Benjamin Franklin's rules?"

  • And I'm like, "See that's not as good an idea as my idea."

  • And so I remember saying to my agent, "People are not getting it.

  • I think I need to really write a lot of it and actually have it figured out and show

  • it to them because I don't think that they understand how great this is going to be."

  • And so I had written quite a bit of it before I sold it, which is unusual for a nonfiction.

  • Usually you would sell it much earlier in the process and I felt like I wasn't able

  • to describe it until I had actually done it and written through it.

  • Yes.

  • So, that was not the norm of the way that I approached it.

  • But with this project, I did do it that way because sometimes you have to write quite

  • a bit before you can even know what it is that you're doing.

  • I love you for saying this.

  • Thank you for saying that.

  • Because there were times for me in this process, and I think in many writing processes, especially

  • a lot of times when I'm talking on MarieTV, I think through my episodes and I script them

  • and I research them and I have to wander a little bit to actually come to what I think,

  • but I get clarity through the writing process itself.

  • And I made the biggest mistake, I talked about this on book tour and I want to talk about

  • it now.

  • I made the most rookie mistake with Everything is Figureoutable, that I wasted, Gretchen,

  • oh my goodness, probably like three months torturing myself.

  • Ready for it?

  • I tried to write the introduction first.

  • Okay.

  • Yeah.

  • Yeah, yeah, yeah.

  • But it's a good process.

  • It's a good process.

  • It's painful.

  • Super painful.

  • But I love that for you, with such a book that's made an impact on millions of lives,

  • The Happiness Project, that you yourself, you were having difficulty being able to articulate

  • and position it so people would get it and then you went through the process, "Let me

  • just start writing this thing."

  • And then it came to life for you.

  • And I'll tell you what, if you look at that book, you're like, this is the obvious structure

  • for it.

  • It's literally month to month.

  • But in real life everything feels much more tangled up.

  • And I rewrote the sample chapters, fully rewrote, four times.

  • And I remember the third time I sent it to my agent and she's a very kind person, and

  • she said, "I am so sorry to say this, but you're still just not there yet.

  • It's not where it needs to be."

  • And I was like, "Oh my gosh."

  • And I have to go back and rebreak the whole thing.

  • Then like then everything was figured out.

  • But I had to go through that process of, "Well, what if I took this angle on the material?

  • And what if I took this angle on the material?"

  • Because when you're not writing a book, you don't realize how central the structure is.

  • That's right.

  • The structure is everything.

  • And there's so many ways you could structure an idea that once it's presented to you, you're

  • like, "Well, this is the obvious way to structure it."

  • But no one, and this is why I love having these discussions, do you guys find this interesting?

  • Team Forleo's here, as you guys know, there's a lot of people, it's not just me and Gretchen

  • sitting in a room.

  • I find the creative process and hearing about what happens behind the scenes so utterly

  • fascinating because so often we only see a finished product.

  • Yes, when it's all printed nicely.

  • Printed nicely and edited down and tight and right.

  • Also, too, for someone like you, you're prolific and your work is so strong, research based,

  • story-based, has impacted so many lives and I just think thank you for sharing this because

  • people may be like, "It's Gretchen Rubin.

  • She knows her structure."

  • No, she wrote her chapters over and over and over again.

  • And Better Than Before, which again, if you look at it, they are 21 strategies on how

  • to change.

  • Here are the 21 strategies.

  • That took me months and months and months of just like, “what if you did it this way,

  • what if you did it that way, what clumps together, what pulls apart?”

  • There's so many ways of thinking about things.

  • But I think you're right.

  • Often talking through it...

  • I remember Stephen King was saying that when he writes a novel, it's much, much longer

  • and there's all these red herrings and he doesn't understand what his themes are until

  • it's done.

  • And then he goes back and he takes out all the dead ends.

  • Interesting.

  • Because he doesn't really understand the point of his own novel.

  • And I think there is that casting about.

  • Yeah.

  • And also, too, it may be challenging for especially someone like me, and I believe you and I share

  • a little bit of this trait, we like structure.

  • Yes.

  • And we like things to be organized and...

  • Linear.

  • I'm always saying this is linear.

  • Is it linear?

  • Is it linear?

  • Yes.

  • Does it make sense?

  • And also, I'll just speak for myself, I ain't going to speak for you Gretchen Rubin, but

  • a little bit controlling.

  • And writing projects like this, wanting them to come out so people can follow them and

  • really get benefit from them, but the process of getting there, it is anything but linear

  • and structured and organized.

  • Yeah.

  • And I don't know about you, but I write the whole thing all at once.

  • Some people are like, "Can you just send me the first two chapters?"

  • I'm like, "I don't know the first two chapters until I have the final two chapters.

  • Because everything's being written simultaneously."

  • And also moved around because something informs it.

  • Yes.

  • Moved around.

  • Moved around.

  • A huge part of my editing is just rearranging sentences.

  • I'm like, "I wrote this, why didn't I write it in the proper order?"

  • This is just a mystery to me.

  • I write things in the wrong order.

  • I do it too.

  • All the time.

  • I'm just like, "Oh, if I just move this sentence, everything makes so much more sense."

  • Why did I do it a different way to begin with?

  • I also like talking about this too because writing is such a huge component of anyone

  • who has a creative business right now.

  • Meaning you have to write your social captions, your emails, copy for your website.

  • Your bio.

  • Your bio.

  • If you ever have to give a presentation or a speech.

  • There's so many aspects and actually, right Elsa?

  • I don't know where you are, Elsa.

  • But we were talking about this earlier.

  • We were talking about like how difficult it was, and it is, to write copy and she was

  • sharing with me how it's especially challenging for her at the beginning.

  • I said, here's what I want you to know.

  • It's challenging for all of us at the beginning.

  • It's the messiest when you're first starting to write something that needs to be real good

  • in the end.

  • You have to just keep pushing through though, the beginning muck where my sentences are

  • all over the place.

  • Yeah.

  • And often it builds and so it does get easy because the more you've done it, the more

  • you have to work with or adapt.

  • But it is hard to start.

  • So, one of the things I love in The Happiness Project is that you actually give us a fantastic

  • set of questions to consider designing our own.

  • So, I just want to read the first three if that's okay and then I have some questions.

  • So, what makes you feel good?

  • What activities do you find fun, satisfying, or energizing?

  • You guys, we'll probably put these up in the lower third so you can write them down for

  • yourselves.

  • What makes you feel bad?

  • What are sources of anger, irritation, boredom, frustration or anxiety in your life?

  • And then this third one, is there any way in which you don't feel right about your life?

  • Do you wish you could change your job or city or family situation or other circumstances?

  • These are such brilliant questions.

  • Oh, good.

  • I love them.

  • I feel like these are the kinds of questions that you can ask yourself at any time to launch

  • any type of self improvement project on a small scale or a large scale.

  • Do you still ask yourself these questions?

  • Absolutely.

  • And it's interesting because I think you kind of need everything.

  • You need more fun and enjoyment and pleasure and a life where you just experience nothing

  • negative would not be happy.

  • But on the other hand, I think there's this, because of the negativity bias, we experience

  • the negative more strongly.

  • So at least for my Happiness Project, it was much more about trying to bring up the negatives.

  • When you say bring up the negatives, what do you mean?

  • Like, I'm not getting enough sleep so I'm really exhausted.

  • So, how do I fix that?

  • Maybe I feel guilty because I was losing my temper with my kids all the time.

  • What do I do so that I'm not losing my temper?

  • But I think you're right.

  • It's a constant process because everything's always changing in our lives and so you have

  • different challenges and maybe you get one thing under control so then you want to up

  • your game or try something different.

  • Yeah.

  • I think these questions are amazing.

  • Let's talk about the arrival fallacy from Happier at Home.

  • You write: "One of the persistent follies of human nature

  • is to imagine true happiness is just out of reach.

  • We start off with, you're too young for that, or it's too soon for that, or I'll have plenty

  • of time for that later, but it quickly becomes, it's too late for that, or I'm too old for

  • that."

  • And I'm wondering if we can talk into that and also share about waiting too long to make

  • a snowman.

  • Yeah.

  • Well, the arrival fallacy is just this idea: When I get my house I'll be happy, when I

  • publish my book I'll be happy, when I lose 30 pounds I'll be happy.

  • When it's the new year, I'll be happier.

  • My version of the arrival fallacy is to think, well, everything will calm down.

  • Everything's going to calm down after the holidays.

  • It's going to be really quiet in the summer.

  • It's the biggest B.S.

  • It never calms down, it never gets quiet.

  • It never does.

  • I think you can

  • But it's this idea that...

  • Or another way, it's a version of the arrival fallacy.

  • It's not the same thing, but it's very tomorrow focused, is to think, "Well, this'll be easier

  • tomorrow."

  • Starting in 2020, I'm going to exercise.

  • Starting on my birthday that's when I'm going to start really watching the budget.

  • Because it always seems like things are going to be easier tomorrow.

  • You're going to be happier tomorrow and everything's going to be easier tomorrow.

  • You're going to have more willpower.

  • You're going to have less temptation.

  • You're going to have less time pressure.

  • No.

  • Whatever tomorrow is, it's probably a lot like today.

  • Yeah, so I think maybe the fix is catching ourselves when we are falling into that fallacy

  • and recognizing now's the time.

  • Yes.

  • Now's the time.

  • It's interesting.

  • There was just an article in the Wall Street Journal and it was talking about there are

  • many, many more people living single today than there ever have been.

  • And one of the things they said, for to be happy as a single person, one of the things

  • you have to do is to be like, "If I want to buy an apartment, I should buy an apartment

  • now.

  • If I want to go to Mexico, I should go to Mexico now."

  • Don't wait for some kind of future when you're going to have a different situation.

  • Really do everything that you can to feel as happy as you can right now and to live

  • your life the way you want rather than thinking, "Well, I'm in a temporary position right now."

  • Your life is your life.

  • Do what you want right now and then tomorrow, who can say?

  • And can you tell us this story about the snow and the snowman with this?

  • It was around you watching the snow.

  • Do you remember this?

  • I'm probably trying to jog your memory.

  • You were watching the snow out the window.

  • Oh, yeah, yeah, yeah.

  • Yes.

  • Mo, I experience this all the time.

  • In fact, I was thinking about this for my next book actually, which is this idea of

  • I don't need to experience to the uttermost the weather conditions, because there's always

  • going to be another time.

  • There'll always be snow to make a snowman, or there's always going to be a beautiful

  • sunset.

  • I don't have to go out there.

  • Or I don't have to go out and look at the moon because I have my whole life to look

  • at the moon.

  • But then the snow goes away and you never made the snowman or the whole winter goes

  • away and you never made the snowman.

  • And I was thinking about that with all of nature.

  • I think, "Oh, I should walk in the park and make sure that I see all the cherry blossoms."

  • And I'm like, "Oh, well I'll wait a week or two."

  • Okay, they're not going to be there in a week or two.

  • And I'm like, "Oh, I could see them next year."

  • There's no guarantee.

  • That's right.

  • That's really that big one.

  • There's really no guarantee.

  • So, I'm someone who loves to get rid of clutter.

  • So, I really loved Outer Order, Inner Calm.

  • It was fun to contemplate.

  • Oh, my goodness.

  • So, when we're shooting this, my birthday is coming up, I'm not sure exactly when this

  • will air.

  • But people were asking me, "What are you doing around your birthday?

  • What's your whole plan?"

  • And I said, "You know, I'm actually taking some time."

  • And they're like, "Are you going on a trip?"

  • And I said, "No.

  • You know what I'm doing?

  • I'm going to be at my house and I am completely clearing out all of the clutter."

  • And I'm not a person...

  • You're here in the studio, and my team knows, I can't stand clutter.

  • It literally drives me nuts.

  • If I ever come in and there's just too much shit all over the place, I'm like, "Nope,

  • we got to get it out.

  • I can't do it."

  • It's really a thing for me.

  • So, I'm sure you're just licking your chops at the thought of doing a deep dive.

  • Doing the deep dive and just getting every And I...

  • We live in New York City, the spaces aren't big, we do not have a huge department.

  • So I don't have a lot to begin with.

  • I'm not a person who stores a lot of things.

  • You don't have an attic and a basement and a garage and an extra bedroom and a pantry.

  • But even the fact that my drawers don't have enough open space.

  • Do you know what I mean?

  • All that stuff.

  • So, I loved these questions.

  • You say: "Our rooms can shape our thoughts and our

  • possessions can change our moods."

  • There's three big questions that you say we can ask ourselves when clearing clutter.

  • Would you like me to read them?

  • Yeah.

  • So one, "Do I need it?"

  • Two, "Do I love it?"

  • And three, "Do I use it?"

  • Tell us about your evolving relationship with stuff because it feels like it showed up in

  • all of your books and then we got to Outer Order, Inner Calm.

  • Well that's very perceptive because I've long been preoccupied with people's relationships

  • to objects and possessions.

  • I just find that super, super fascinating and there's a whole gigantic interesting literature

  • and in fact, one of the books that I wrote, which is this very weird little art book,

  • is called Profane Waste and it's all about why people destroy their own possessions.

  • Because that was something that I was obsessed with for a long time.

  • Why would somebody destroy their own possession?

  • But the need it, use it, love it, sometimes people are sort like, "You should get rid

  • of as much as you can and you'll be happier with less."

  • And I think for many people that's true.

  • Simplicity lovers.

  • You and I are both simplicity lovers and so we like getting rid of things.

  • And I actually take great joy in giving something away or when something wears out, I love getting

  • holes in my socks.

  • Me too.

  • We wore through our carpet on our stairs and I'm like, "Why do I find that so satisfying?"

  • We've used it up.

  • Used it.

  • Yes.

  • That feels so good to me.

  • The last bit of the toothpaste, I find it immensely satisfying.

  • The last chunk of cheese.

  • I'm like, "Yes!"

  • We did it all the way to the end.

  • But at the same time I think that we want to have room for just things that we love

  • that maybe we're not using all the time, but we just like.

  • My mother gave me these beautiful vintage paper hats that you use for New Year's Eve

  • and they're these beautiful colors and they're just so neat and I don't know what to do with

  • them.

  • But I just keep them in a drawer and every once in a while I look at them and they just

  • give me immense pleasure.

  • I don't need them or use them, but I love them.

  • So, there's room for that.

  • Because I love them.

  • So, I don't think you have to just get rid of.

  • People are like, "If you haven't touched it in a year.

  • Get rid of it."

  • I'm like, "Well, I think that's..."

  • I have my yearbooks from when I was in grade school.

  • We're not going to get rid of those.

  • Yeah, I want to keep that.

  • Weirdly, somebody emailed me and I'm like, "I'm going to look her up in the yearbook."

  • Just the other day.

  • And also that's irreplaceable.

  • Or somebody said to me, "Well, what about my journals from my teenage years?"

  • You can never get that back.

  • The extra Kitchenaid mixer, that you can get rid of.

  • The teenage journals, I wouldn't get rid of that.

  • So I think need it, use it, love it covers everything that is adding value to our life

  • in some ways.

  • Some things aren't used but they're not useless.

  • But then there's just the stuff like...

  • I just found things.

  • I'm like, "I didn't even know we had it."

  • This happened two months ago.

  • I wrote a book, Outer Order, Inner Calm, and literally this just happened to me.

  • I'm looking in the kitchen drawers, these are our top kitchen drawers that were in all

  • the time.

  • I'm like, "That's interesting.

  • We have a garlic press.

  • No, we have two garlic presses."

  • So I'm like, "Well we can definitely give away one garlic press because we don't need

  • two."

  • So, which is the best one?

  • So, keep the good one, give away the other one.

  • And then like two days later I'm like, "We don't ever use a garlic press."

  • Because I don't cook.

  • My husband cooks and he buys the little jars where you get an already minced.

  • So, I'm like, "Why do we have any garlic presses?"

  • I have no recollection of these even coming into our apartment.

  • I have no idea why we have them.

  • We definitely don't need them.

  • We never used them and we had two.

  • Get rid of that stuff and you just feel so good.

  • And then somebody who would use it gets something.

  • Gets some joy.

  • Get some joy out of it.

  • And some pleasure.

  • Put them to work.

  • How do you deal with your family with the clutter?

  • Because I remember it was a challenge when my stepson was a teenager.

  • So, it was myself, my stepson, Josh, we were all in a small apartment.

  • And I just remember...

  • I didn't handle that well, I will tell you.

  • I failed in that department because I have a particular idea.

  • If I look around and I see visual clutter, I have to do a whole mental thing to calm

  • myself down.

  • How have you managed that with your family?

  • Well, you're pointing out something that comes up all the time because different levels of

  • tolerance for clutter and desire for tidiness is a big source of conflict.

  • At work and at home because people just have different levels where they feel comfortable.

  • My way is best, of course.

  • No, I'm just kidding.

  • I'm horrible, I'm horrible, you guys.

  • I don't mean that, it's a joke.

  • My sister is clutter blind.

  • She's one of these few people who literally...

  • Doesn't see it.

  • Doesn't see it, doesn't notice it, doesn't care.

  • I go in, she lets me clean up her stuff because I get so much fun from it.

  • But she doesn't really care.

  • But that's unusual.

  • I'm really lucky because my husband and I are both the same.

  • He will say things like, "Why don't we take 20 minutes and clean up?"

  • And like we'll just sort of...

  • Do it.

  • If things are getting messy.

  • And he's very supportive of if I'm like I'm going to go through the kitchen stuff.

  • Or I remember one time I was helping him go through his clothes and I was holding up like

  • two things at once and being like, "Yes or no."

  • And I held up a pair of pants and he's like, "I've never seen that pair of pants before

  • in my life."

  • I'm like, "Well, then somebody snuck here and here and put them there because I don't

  • know why they're here."

  • Whose pants are these?

  • Whose are they?

  • I'm like, "I think they're yours since they're in your closet."

  • So, he's very tolerant of it.

  • My daughters, especially, I think as teenagers, there's an autonomy thing where they want

  • to control their space and one way to control your spaces to have it be messy.

  • So, my own view is like, is this where you want to spend your points?

  • That's right.

  • Your argue points.

  • Again, I fail in this department many times.

  • But it's hard when...

  • It's one thing if it's your room and I can close the door and it's, "Okay, if you want

  • to live that way that's fine in your room."

  • But then when it spills out into the kitchen, the living room, the shared space, it can

  • be hard.

  • So, I'm lucky because I find it relaxing to tidy.

  • I don't like to clean, but just putting things away, I find relaxing.

  • So, I do a lot of that kind of low level.

  • And then I just close the door to their rooms and say, "Okay, you can do whatever you want."

  • Yeah, no, that's good.

  • That's smart.

  • I don't think I'll have teenagers in my home anymore, so I feel like I've crossed that

  • bridge.

  • Thank goodness.

  • Yeah.

  • So, Gretchen, as we wrap up, you've done so much incredible work and research.

  • All these books, all the people that you've helped.

  • I'm curious, creating change is a big common theme in your work.

  • What do you believe is a common denominator of people who are actually able to make significant

  • change in their lives and have it last?

  • That's the million dollar question.

  • I know.

  • Any insight you can provide for us.

  • It might not be one thing, but anything that you've noticed in your career.

  • I think what it is, is I think that when people really think about themselves and do it in

  • the way that's right for them, that's their temperament, their nature, their interests,

  • their values, rather than saying some magical person that's going to hand me seven bullets

  • on a single page PDF and I just will execute.

  • I think that we all, people are so different and that a lot of times when people don't

  • succeed or when they really feel discouraged, it's because they're trying to do it in a

  • way that's not right for them.

  • And it's not that there's anything wrong with them or they lack willpower or they're lazy

  • or whatever it is that people say, it's that they're doing in a way that's not right for

  • them.

  • And so a very obvious example of this is morning people at night people.

  • Because all the expert advice is: If this is important to you, get up early to do it.

  • Get up early and write that novel, get up early and run those three miles.

  • Okay.

  • But the research also shows that there truly are morning people and night people.

  • And there's a fascinating book called internal time, which if you ever want to have something

  • to show to somebody, it's real, this book will make the case for you.

  • Some people are night people, it's largely genetically determined and a function of age

  • and they are just at their most productive and creative and energetic later in the day.

  • And so if you're like, I need to get, I need to exercise, I need to exercise, I need to

  • get up early and exercise and I'm failing and I'm failing and I'm failing.

  • Maybe it's because you're a night person.

  • So, the problem isn't the exercise.

  • The problem is you're barely getting to work on time in the morning.

  • And the idea that you're going to get up early and exercise is just not realistic for you.

  • For me, the idea that I would go for a run at 4:00 o'clock or go to an exercise class

  • after work, I would never do that.

  • But for a night person, that can be great because they're going to be up until midnight

  • or 2:00.

  • So what you're better off doing if you're a night person is saying, "Can I organize

  • my life so my day starts later?"

  • Some people can't do that.

  • Some people don't have that flexibility.

  • But some people do and they don't even take advantage of it because they feel like there's

  • something wrong with them.

  • I'm like, "You're a night person.

  • Don't do anything before 10:00 AM."

  • If you can roll out and have a cup of coffee at 9:45, that's what's going to work for you.

  • Because you'll work till 2:00.

  • I can't do that.

  • And so I think when you see that people are making change, it's often because...

  • Another thing is accountability.

  • So, I have a personality framework that I came up with, the four tendencies, and what

  • I see is that one kind of person, the obliger, really needs outer accountability to meet

  • inner expectations.

  • So, if they want to read more, they need to join a book group.

  • If they need to exercise, they need to take a class or workout with a trainer, workout

  • with a friend or whatever.

  • And sometimes people are like, "Well, that's weak.

  • I want to be motivated by myself."

  • Or they'll say something like, "Well I had such good luck on WeightWatchers but I don't

  • need to go to the program.

  • I'll just do it on my own."

  • And then they fail over and over and over, and they're like, "Why is it that I do so

  • well when I'm part of the program but I can't do it on my own?"

  • I'm like, "Because it's outer accountability."

  • And obligers need outer accountability.

  • Once they know that they need outer accountability, there's a million ways to plug in outer accountability,

  • but you have to recognize that that's what you need.

  • I don't need outer accountability, but if somebody else does then there's a million

  • ways to get it, but you have to recognize that that's the piece that's missing.

  • Yeah, so it feels like it's a lot of self awareness and also really understanding that

  • there are different recipes for different people.

  • For me, I think that's one of the downsides of where we are a little bit in culture.

  • I love the fact that everyone can create content.

  • That's a beautiful thing on so many levels.

  • But on the other side of it, to your point, "These seven bullets."

  • It's like, "No."

  • Sometimes I even get frustrated with myself because...

  • Not frustrated myself, but if I'm answering a question on MarieTV or we're doing a particular

  • episode on a topic, I always try and put in a disclaimer and say, "Hey guys, this isn't

  • comprehensive.

  • I'm answering either this question for this individual based on what I know and my intuition

  • and all the things that come with my gifts."

  • In your experience of like seeing people over and over.

  • Yes.

  • Or if I'm talking about this particular topic, my answer is not comprehensive.

  • I'm not writing a book.

  • It's a five minute video.

  • And I think to your point, it's just so good because I can hear people in our audience,

  • especially around the, "If you're a nighttime person," there's so much pressure that this

  • is the only way and there are many paths.

  • Oh my gosh.

  • And you know a great resource if you want to see that play out is a book called Daily

  • Rituals by Mason Curry.

  • Yes.

  • It's not really about rituals, it's really just about habits.

  • But what you see is some people stay up late and some people get up early and some people

  • drink coffee and some people drink vodka and some work alone and some work in a busy studio

  • and some work 17 hours a day and some work for half an hour.

  • These are all like...

  • Productive.

  • Extremely productive creatives.

  • There's scientists, there's painters, there's writers, choreographers, every kind of outstanding

  • person.

  • And what you realize, it's not that they have the same habits, but they figured out what

  • works for them and they make sure that they have it set up.

  • If I need to work in a crowded studio with a million people around me like Andy Warhol,

  • I will create The Factory and I will be in the center of all this action.

  • Okay, I'm Gertrude Stein.

  • I write a half an hour a day.

  • But nothing interferes with it.

  • Flannery O'Connor, one of my favorites, she wrote for two hours every day, but she said

  • nothing interferes with that two hours.

  • I can't write any more than two.

  • Yes.

  • But nothing interferes with that two.

  • And so it's more about figuring yourself out and then guarding that.

  • Yes.

  • And I love this conversation also because I think for me in my creative life, I've had

  • to try on different things.

  • Yes.

  • It's not obvious.

  • It's not obvious.

  • And so there could be a rock star that you admire or a dancer or a writer or whomever

  • and you're like, "Oh, this is their secret to success."

  • And I think for everyone listening now to give yourself permission to try on a habit

  • or a ritual, just like you would go try on a coat in a store, and you try it on for maybe

  • a week or two weeks and see if you thrive.

  • And then if not, right?

  • But also if something isn't working, rather than saying, "There's something wrong with

  • me."

  • Yes.

  • Why is it that Marie, she can do it, it should work for me.

  • It's like, okay, if it's not working for you, that's information.

  • Now you know that doesn't work for you.

  • What's something else to try?

  • One thing that people often say is you should start small.

  • That's the way to make a change.

  • Start small, make incremental change, gradual changes, work up to it.

  • But some people aren't interested in that.

  • They want to go big or go home.

  • Yeah.

  • They're like, I only want to make big changes or else I lose interest and I lose momentum

  • and I don't have my enthusiasm.

  • Great, if you've been trying to do an incremental change and it's not working, do something

  • big.

  • If you've been trying to do something big and bold, try something little.

  • Because you're exactly right.

  • You may have to try on many identities and many approaches.

  • Before you find that little recipe that works for you.

  • Yeah, and I think one thing is work pace.

  • Some people are marathoners and some people are sprinters.

  • So, marathoners are people like me.

  • We like to start early and work steadily and maybe not that much any one day and have a

  • lot of room at the end.

  • And we feel like that unleashes our creativity.

  • But then there are sprinters and they like to be right up against a deadline and they

  • feel like the adrenaline crystallizes their thoughts and it gives them energy and they

  • feel like they burn out or lose interest if they start too early or they just spin out

  • and spend too much time.

  • But people are always saying to marathoners like me, "No, you need the excitement of the

  • deadline."

  • My sister is a TV writer and she worked for a showrunner who thought everybody did their

  • most creative work if they were up against a deadline.

  • So, he would falsely, he would orchestrate like emergencies because he thought that's...

  • But she was a marathoner.

  • So for her it was very, very hard to work that way.

  • Whereas as a marathoner I'm like, "Why don't you start earlier?

  • Give yourself more time.

  • Let your thoughts expand."

  • Because that's what works for me.

  • Yeah.

  • But again, if you and I need to co collaborate, well maybe we need to talk about how we can

  • create a system that'll work for both of us.

  • But there's nothing better about my way or your way.

  • But again, if you feel like you burn out if you start too soon, maybe you do better with

  • a little more urgency.

  • Or if you feel like you're really anxious being up against a deadline, maybe pull it

  • back and give yourself a little bit more breathing room.

  • Thank you so much.

  • Your work is incredible and this is why I love it because it's so nuanced and it's so

  • personalized and it really also challenges each of us to make decisions for ourselves

  • and create those recipes for success.

  • Gretchen, thank you for coming on MarieTV.

  • Thank you.

  • This is so

  • I feel like we could talk all day.

  • All day.

  • Now, Gretchen and I would love to hear from you.

  • So, from everything we talked about today, what's the biggest insight you're taking away

  • and most importantly, how can you turn that insight into action starting right now?

  • Leave a comment over at marieforleo.com and let us know.

  • And while you're there, be sure to subscribe to our email list and become an MF insider.

  • You're going to get great emails from me filled with love and positivity, and they will help

  • you stay on track.

  • Until next time, stay on your game and keep going for your dreams because the world really

  • does need that special gift that only

  • you have.

  • Catch you soon.

Hey, everyone.

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グレッチェン・ルービンはいかにして幸福のエキスパートになったか (How Gretchen Rubin Became The Expert On Happiness)

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    林雲淡 に公開 2021 年 01 月 14 日
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