When I was 27, I almost learned to play the piano. I’d gone to a dinner party, and the host—a film editor, not a musician—sat down at an old upright and played something slow and emotional. It wasn’t flashy. He used both hands, sure, but he wasn’t showing off. It sounded like he was speaking with the keys. I remember thinking: I want to do that. The next morning, I looked up local music teachers in the Yellow Pages. Then I paused. It would take years to get good. I imagined scales, clunky fingerings, early lessons spent on “Chopsticks.” I was already behind, wasn’t I? Weren’t musicians supposed to start as kids, in musty practice rooms and Suzuki classes? So I didn’t sign up. I closed the phone book. I’m 64 now. That was 37 years ago. I could’ve played piano for 36 of them. But I didn’t. The time passed anyway. I’ve felt that little pang more than once—the sense that something will take too long, so why bother? But the joke’s on me. Time doesn’t care what I start or when. It just keeps ticking along. I’ve repeated this pattern a lot:
I started investing in my twenties—barely knew what I was doing, but I opened an account, picked some index funds, and let the engine run. In hindsight, it was one of the smartest things I did. Not because I was smart, but because I started. I’ve seen so many people wait until they “understand it better,” consuming articles, books, podcasts, cocktail party chatter. But understanding comes after action, not before. The real magic takes years to show up—but only if you give it those years. And yet, when I did start something, even haltingly—learning to draw in my 30s, building a business in my 50s—the results weren’t instant, but they were profound. Not because I got good fast, but because I gave myself the gift of accumulating time. One drawing became a dozen, became a hundred, became a part of my life. It’s not laziness. It’s logic. Time feels like a cost. I worry I’ll waste it, or I won’t finish, or I’ll never get ‘there.’ But what if time isn’t the obstacle—it’s the opportunity? You don’t plant a tree because you’ll get shade tomorrow. You plant it because one day, someone will sit beneath it. Maybe that someone is me. Maybe it’s the version of me who’s grateful I began, no matter how long it took. So here’s what I try to remember when I hesitate: I will be 65 eventually. Or 75. Or 95. I can either get there having started… or not. But the time will tick on anyway. It’s inexorable. And if I do start—whether it’s art, music, health, education, or anything else—I might be surprised. I might find that the joy isn’t just at the finish line. It’s in all the mornings I show up. All the pages, the practices, the stumbles, the moments I almost quit but didn’t. Start late, I tell myself. Start again. Start over. Just start. Your pal, Danny |
Each Friday, I send advice, ideas, stories and tips to 25K creative people like you. Author of 13 best-selling books on creativity. Founder of Sketchbook Skool w 50k+ students
For the last quarter century of his life, my grandfather spent hours each day at his word processor, writing recollections, essays, and articles. He had been a doctor, but like many aging artists and writers, he turned to the page to make sense of the life he had lived. Every decade, he wrote a new version of his autobiography—hundreds of pages of translucent, onion-skinned remembrance. Some he mailed to me or my mother, but most sat in desk drawers or binders, unread, unappreciated. When he...
Each morning, I would stagger out of bed and sit at my kitchen table with a journal and a pen. For the next fifteen minutes, I would fill three pages with whatever oozed out of my bleary brain — anxieties, questions, nightmares, prognostications. It was part of my quest for clarity and perspective, a journey that had led me through religion, philosophy, self-help, and finally to Julia Cameron’s The Artist’s Way. Her book prescribed a weekly artist’s date and morning pages, and I had dutifully...
” … I recently read, I forgot where, that gimmicky [drawing] methods, e.g. left-hand work, blind contours, upside down, etc, is a not legitimate way to produce a finished, repeat 'finished', work. Meaning I can understand it is a great practice skill sharpener. And yet, I would probably be willing to agree that unusual limiting techniques are a bit gimmicky for finished art. But yet, some of the great pieces of history appear exactly as though one were altering his or her usual perceptions...