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Do Nothing: A Life-Changing Philosophy from Celeste Headlee

Annie Cosby
June 18, 2024 | 9 min read

Celeste Headlee was working on a book when she realized that she was overwhelmed and unhappy. She was constantly getting sick and never had enough time for anything.

And she quickly learned that she was not alone. Burnout is real, and it's everywhere.

Like a true journalist, Celeste set out to find out why.

Do Nothing by Celeste Headlee

What Celeste learned was that we modern Homo sapiens live a very different life than the way our species has lived for most of our time on Earth. Through extensive research, she discovered where our unprecedented levels of burnout originated and decided to write a book about it.

Do Nothing: How to Break Away from Overworking, Overdoing, and Underliving is a call to reject the culture of overwork and live more intentionally. It's a call to help change our toxic culture of productivity — the “cult of productivity,” as Celeste calls it.

We chatted with Celeste about the historical evidence that humans are too busy these days and how we can all navigate the modern world in a healthier way.

ANNIE COSBY:How did Do Nothing come to exist?

CELESTE HEADLEE: I was actually working on a different book at the time but found that my life was not working the way it needed to. I was overwhelmed all the time. I was unhappy and getting sick.

I realized I needed to figure it out or I would never finish the book. So I started doing research in my spare time to try to figure out what was going wrong.

Pretty much everybody I talked to about my research would say, “Well, when you find the answer, please tell me!” And that's when I realized I wasn't the problem — I wasn't just one person having productivity and focus problems. It was us.

So it became a book.

AC: You’ve said before that you expected your tech use to be the problem, but you figured out it wasn’t.

CH: I did expect it to be technology. I expected to find that my web-surfing habits and my phone were too distracting for me. So I did some experimentation. I found studies saying that having your phone visible distracts you — and it does, absolutely.

So I would say, “OK, for the next two weeks, if I'm trying to focus, or when I’m sleeping, I will leave my phone in another room.” At one point, I got a dumb phone. I went without my tech for at least six weeks. And it helped.

But it did not solve my problem.

That's when I started to peel back the historical layers. To figure out: “OK, when did this start? When did we first start seeing complaints about this state of overwork, this addiction to busyness and productivity?”

And I found that [complaints] really begin after the Industrial Revolution. That's when we start to see all of these mentions of overwork and complaints of “I don't have enough time.”

Complaints started with the Industrial Revolution

Turns out we lived a very different life for most of the time that Homo sapiens have been on this planet.

AC: Can you speak to some of the habits and specific harms we’re talking about?

CH: We don't have enough time in the world to go into all the harm this lifestyle has caused, but I'll touch on a few things.

One thing, for example, is multitasking. Not only do we know that most people try to multitask, we also know that it’s very damaging to your brain. And when I say damaging, I mean literally.

There have been studies — replicated, peer-reviewed studies — showing that people who try to multitask on a regular basis get shrinkage in their brains.

There have been studies

We know that you are damaging your gray matter, and we don't know at this point if it’s reversible. Unfortunately, we also know that over 70% of people think they're the exception and that they can multitask.

It's really, really hard to get people to stop doing this. I will pass by people's computers and see 80 tabs open.

AC: That feels like a personal attack.

CH: And they have their cell phone sitting on their desk, straight up, looking at the screen so that they know as soon as a notification comes in.

AC: You're describing my workspace.

CH: This is very, very bad for your brain. And we do it because we think we're actually getting more done … when all of the evidence says the opposite. Not only are you getting less done but the quality of the work you're doing is terrible.

That's one of the reasons I use Freewrite to write.

Even minor multitasking affects you. There were tests in which researchers had people simply have email open somewhere in the background on their computer, and their IQ dropped by 10 to 12 points.

AC: That's terrifying, honestly. I think by now we've all heard that multitasking is bad for you, in some vague way, but to hear the details on brainpower is a bit shocking. 

CH: And this is not a shaming thing! I'm not saying, “Oh, everybody's dumb.” We picked up these habits because we have been told to do so by experts or because it feels as though it actually makes us more productive.

We read those articles that say, “Here are the five things successful people do first thing in the morning” or whatever, but we never interrogate them.

We never say, “Wait a second, just because Bill Gates is doing this, is it actually better? Am I getting more work done? Am I experiencing better well-being?” The whole point of Do Nothing was to interrogate this, investigate it.

One of the conclusions that not just I found but that researchers have found, too, is that the concept of “being busy” is now a prestige issue.

When you ask people how they are, they'll say, “Busy!” And the busier you are, in our minds, at least, the more important you are.

AC: That’s so true.

CH: And it’s quite recent.

AC: Did you get any critical responses to the book that either disagreed or argued that it's not possible to “do nothing” in our society?

CH: Well, first, a lot of people thought I was telling people to stop working, which is clearly not possible. And that's not what I’m telling people to do. I’m saying: make work your moon and not your sun.

Another criticism, and this one is fair — in fact, I bring it up multiple times in the book — is that not everybody has flexibility in their work hours. I've been there. At one point, I was working several different jobs and was a single parent. I completely understand. Not everybody has flexibility in either what they do, when they do their work, or how they go about it. I tried to include solutions in the book for people in that situation.

Another criticism that is 100% fair is that I didn't talk a lot about the kind of systemic changes that have to happen to solve these problems. Because this is not a problem people can solve individually, not really.

If you look at the clinical definitions of burnout and the causes of burnout, you will discover that none of the causes can be treated through "self-care." None of them.

And so that's fair criticism. This is a book for people, so I’m just trying to provide some things individual people can do that will help in their everyday lives.

We do need a revolution, and I'm fully aware of that.

We need a revolution

But the rest of the criticisms, I think, come from people who are still very, very invested in the cult of productivity. Some of them are even consultants and public speakers who are focused on helping people dig deeper into the cult.

AC: Did the response to the book vary by generation?

CH: Yes, I got a number of messages from Baby Boomers who thought I was giving Millennials and Gen Z a pass to be lazy.

If any of those people are listening at this moment, you are wrong. Millennials and Gen Z don’t work any less hard than you did. In fact, they most likely work harder than you did, statistically speaking, as a young person.

I'm Gen X, and our reputation is kind of that we just don't care. But I have a lot of faith in Millennials and especially Gen Z. Gen Z does not tolerate what we tolerated, and I mean that in the very best way.

We put up with a lot of abusive crap from not just employers but from parents as well. And Gen Z seems to be aware of it, to be cognizant that it is not fair or just, and not be willing to tolerate it — for the most part. I mean, they're part of the system just like everybody else is.

But I have a lot of faith in them. Look at the rise in the union movement. That is being led by Millennials, with the strong support and sometimes leadership of Gen Z. That can be nothing but good!

Baby Boomers are struggling more, I think, and we can tell that by how many of them are staying in jobs well into their 70s and even 80s.

I am going to be the best retired person. If they gave grades, I would get an A+ every semester. I'm going to be the best. 

And I look at somebody who's 75 and still working an office job, and I'm like, “What are you doing?” Of course, I don't mean to — in any way, shape, or form — disparage those who have to. We have a system of inequality in our nation where there are plenty of people who do not earn the amount of money they need to retire, and Social Security doesn't cover that gap. I'm talking to the rest of you, who could retire and won't.

For one thing, these are very often the highest-paid people at their level. And as layoffs of younger people go on around them, they won't retire. That's terrible for the economy, it's terrible for society, but for you, too — it's terrible for you. 

Didn't you work your whole life for this very moment, when you can go live your life?

And I think that's a really good example of how much Baby Boomers are struggling to let go of this identity. Their work has become their identity, so it can be very scary to retire, because then, who are you?

Their work has become their identity

AC: Yeah, just anecdotally, in my own life, I do see a lot of older folks identifying as their job, and I see Gen Z repelling that. I'm a Millennial, so I'm somewhere in the middle, but I'm definitely at the age where I’m starting to feel defined by my career and I don't love it. What advice would you give to break away from that?

CH: The first section of Do Nothing explores how we got here, and how this is not the way human beings have lived for most of our history on this planet. All of that is aimed at changing our psychology.

And the reason that's the bulk of the book is because that's the hard part, right? Helping people recognize that we have a problem and also realizing that this is not your problem. This is our problem. Our whole society has been brainwashed.

That's the hard part

And once you realize that, you'll see it everywhere. It’s like when you get a new car, and suddenly it seems like everyone drives this model of car. But it requires complete change in perspective to see that thing that has been sitting in your vision the entire time.

AC: Do you see this as a specifically American problem?

CH: I examined all over the Western world, but I would love to see African, Asian, and Middle Eastern writers add in their own history and culture to this discussion. From what I found, the worst places in the world for being addicted to productivity are the U.S., Canada, UK, and Australia. Essentially, all of the countries that were colonized or ruled by Britain at some point.

Now, that is not to say that Europe is doing great. They're just doing better. And I will say that they are much more willing to experiment with what Americans see as radical changes, like the four-day work week, a six-hour workday, shutting off company email at 5 p.m. All those things that are a lot healthier for both your brain and body.

But in the end, most countries are following the lead of the U.S. and the UK, meaning that if they have to get up at 4 a.m. to make a business meeting because it's based in New York, they do.

AC: Since writing Do Nothing and moving on to other projects, do you still have to challenge these ingrained notions, or do you find it easier to overcome?

CH: I'm a work in progress like anybody else. It's a daily battle because, like I said, this is systemic. This is society. And the pressure is constant to get just one more thing done.

But my life is a lot better across the board since I started making the changes outlined in the book. I'm not perfect at it. But life is just better now.

I rarely get sick. I have hobbies now — useless hobbies that don't “add to my brand.”

AC: [laughs] You're not going to monetize them?

CH: I don't monetize them! I throw parties. I have a ridiculously active social life. I'm not irritable all the time. I don't snap at people.

That’s my message. It gets better.

It gets better.

--

“Do nothing.” As a command, it sounds a bit ominous. Like a warning. Like you’re a hindrance rather than a help, or circumstances are beyond your control.

But as the title of Celeste's book, it’s an invitation to eschew humanity’s innate urge to do something.

Because that urge to do something – anything — is innate to human beings, right?

No, Celeste argues, it’s not. For most of humanity's existence, we've lived very differently. More slowly. With less work. And less stress. And it's long past time we embraced that humanly urge to do nothing once again.

Find Do Nothing and all Celeste's books, including We Need to Talk: How to Have Conversations That Matter and Speaking of RaceWhy Everybody Needs to Talk About Racism—and How to Do It, wherever books are sold.

Learn Celeste Headlee's Research and Writing Process with Freewrite

 

December 10, 2025 6 min read

Singer-songwriter Abner James finds his creativity in the quiet freedom of analog tools. Learn how his creative process transcends different media.

Abner James went to school for film directing. But the success of the band he and his brother formed together, Eighty Ninety, knocked him onto a different trajectory.

The band has accrued more than 40 million streams since the release of their debut EP “Elizabeth," and their work was even co-signed by Taylor Swift when the singer added Eighty Ninety to her playlist "Songs Taylor Loves.”

Now, Abner is returning to long-form writing in addition to songwriting, and with a change in media comes an examination of the creative process. We sat down to chat about what's the same — and what's different. 

ANNIE COSBY: Tell us about your songwriting process.

ABNER JAMES: The way I tend to write my songs is hunched over a guitar and just seeing what comes. Sounds become words become shapes. It's a very physical process that is really about turning my brain off.

And one of the things that occurred to me when I was traveling, actually, was that I would love to be able to do that but from a writing perspective. What would happen if I sat down and approached writing in the same way that I approached music? In a more intuitive and free-form kind of way? What would that dig up?

AC: That's basically the ethos of Freewrite.

AJ: Yes. We had just put out a record, and I was thinking about how to get into writing for the next one. It occurred to me that regardless of how I started, I always finished on a screen. And I wondered: what's the acoustic guitar version of writing?

Where there's not blue light hitting me in the face. Even if I'm using my Notes app, it's the same thing. It really gets me into a different mindset.

 "I wondered: what's the acoustic guitar version of writing?"

I grew up playing piano. That was my first instrument. And I found an old typewriter at a thrift store, and I love it. It actually reminded me a lot of playing piano, the kind of physical, the feeling of it. And it was really fun, but pretty impractical, especially because I travel a fair amount.

And so I wondered, is there such a thing as a digital typewriter? And I googled it, and I found Freewrite.

AC: What about Freewrite helps you write?

AJ:I think, pragmatically, just the E Ink screen is a huge deal, because it doesn't exhaust me in the same way. And the idea of having a tool specifically set aside for the process is appealing in an aesthetic way but also a mental-emotional way. When it comes out, it's kind of like ... It's like having an office you work out of. It's just for that.

"The way I tend to write my songs is hunched over a guitar and just seeing what comes. Sounds become words become shapes. It's a very physical process that is really about turning my brain off."

And all of the pragmatic limitations — like you're not getting texts on it, and you're not doing all that stuff on the internet — that's really helpful, too. But just having the mindset....

When I pick up a guitar, or I sit down at the piano, it very much puts me into that space. Having a tool just for words does the same thing. I find that to be really cool and inspiring.

"When I pick up a guitar, or I sit down at the piano, it very much puts me into that space. Having a tool just for words does the same thing."

AC: So mentally it gets you ready for writing.

AJ: Yeah, and also, when you write a Microsoft Word, it looks so finished that it's hard to keep going. If every time I strummed a chord, I was hearing it back, mixed and mastered and produced...?

It's hard to stay in that space when I'm seeing it fully written out and formatted in, like, Times New Roman, looking all seriously back at me.

AC: I get that. I have terrible instincts to edit stuff over and over again and never finish a story.

AJ:  Also, the way you just open it and it's ready to go. So you don't have the stages of the computer turning on, that kind of puts this pressure, this tension on.

It's working at the edges in all these different ways that on their own could feel a little bit like it's not really necessary. All these amorphous things where you could look at it and be like, well, I don't really need any of those. But they add up to a critical mass that actually is significant.

And sometimes, if I want to bring it on a plane, I've found it's replaced reading for me. Rather than pick up a book or bring a book on the plane, I bring Traveler and just kind of hang out in that space and see if anything comes up.

I've found that it's kind of like writing songs on a different instrument, you get different styles of music that you wouldn't have otherwise. I've found that writing from words towards music, I get different kinds of songs than I have in the past, which has been interesting.

In that way, like sitting at a piano, you just write differently than you do on a guitar, or even a bass, because of the things those instruments tend to encourage or that they can do.

It feels almost like a little synthesizer, a different kind of instrument that has unlocked a different kind of approach for me.

"I've found that it's kind of like writing songs on a different instrument, you get different styles of music that you wouldn't have otherwise... [Traveler] feels almost like a little synthesizer, a different kind of instrument that has unlocked a different kind of approach for me."

AC: As someone who doesn't know the first thing about writing music, that's fascinating. It's all magic to me.

AJ: Yeah.

AC: What else are you interested in writing?

AJ: I went to school for film directing. That was kind of what I thought I was going to do. And then my brother and I started the band and that kind of happened first and knocked me onto a different track for a little while after college.

Growing up, though, writing was my way into everything. In directing, I wanted to be in control of the thing that I wrote. And in music, it was the same — the songwriting really feels like it came from that same place. And then the idea of writing longer form, like fiction, almost feels just like the next step from song to EP to album to novel.

For whatever reason, that started feeling like a challenge that would be deeply related to the kinds of work that we do in the studio.

AC: Do you have any advice for aspiring songwriters?

AJ: This sounds like a cliche, but it's totally true: whatever success that I've had as a songwriter — judge that for yourself — but whatever success I have had, has been directly proportional to just writing the song that I wanted to hear.

What I mean by that is, even if you're being coldly, cynically, late-stage capitalist about it, it's by far the most success I've had. The good news is that you don't have to choose. And in fact, when you start making those little compromises, or even begin to inch in that direction, it just doesn't work. So you can forget about it.

Just make music you want to hear. And that will be the music that resonates with most people.

I think there's a temptation to have an imaginary focus group in your head of like 500 people. But the problem is all those people are fake. They're not real. None of those people are actually real people. You're a focus group of one, you're one real person. There are more real people in that focus group than in the imaginary one.

And I just don't think that we're that different, in the end. So that would be my advice.

AC: That seems like generally great creative advice. Because fiction writers talk about that too, right? Do you write to market or do you write the book you want to read. Same thing. And that imaginary focus group has been debilitating for me. I have to silence that focus group before I can write.

AJ: Absolutely.

"I think there's a temptation to have an imaginary focus group in your head of like 500 people. But the problem is all those people are fake... You're a focus group of one, you're one real person. There are more real people in that focus group than in the imaginary one."

--

Learn more about Abner James, his brother, and their band, Eighty Ninety, on Instagram.

November 29, 2025 4 min read

The Great Freewrite Séance: A Ghost'ly Charity Auction Full Terms & Conditions

These Terms and Conditions (“Terms”) govern participation in The Great Freewrite Séance: A Ghost'ly Charity Auction (“Auction”), organized by Freewrite (“Organizer,” “we,” “us,” or “our”). By registering for, bidding in, or otherwise participating in the Auction, you (“Participant,” “Bidder,” or “Winner”) agree to be bound by these Terms.

1. Auction Overview

1.1. The Auction offers for sale a limited number of Freewrite Traveler Ghost Edition units (“Items” or “Ghost Traveler units”), each personally signed and drawn on by a featured author.

1.2. All proceeds, net of explicitly disclosed administrative costs, will be donated to the charity or charitable initiative (“Charity”) identified on each auction item’s page, as chosen by the respective author.

2. Eligibility

2.1. Participants must be at least 18 years old or the age of majority in their jurisdiction, whichever is higher.

2.2. Employees of Freewrite, the participating authors, or any affiliates directly involved in the Auction are not eligible to bid.

2.3. By participating, you represent that you are legally permitted to take part in online auctions and to pay for any bids you win.

3. Auction Registration

3.1. Participants must create an account on the auction platform or otherwise register using accurate, current, and complete information.

3.2. Freewrite reserves the right to verify identity and to disqualify any Participant who provides false or misleading information.

4. Bidding Rules

4.1. All bids are binding, final, and non-retractable.

4.2. Bidders are responsible for monitoring their bids; Freewrite is not liable for missed notifications or technical issues on the auction platform or the Participant’s device.

4.3. Freewrite reserves the right to:

  • set minimum bids or bid increments;
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5. Winning Bids and Payment

5.1. The highest valid bid at the close of the Auction is the Winning Bid, and the corresponding Participant becomes the Winner.

5.2. Winners will receive payment instructions and must complete payment within 48 hours of the auction’s close unless otherwise stated.

5.3. Failure to complete payment on time may result in forfeiture, and Freewrite may offer the Item to the next highest bidder.

5.4. Accepted payment methods will be listed on the Auction platform. All payments must be made in the currency specified.

6. Item Description and Condition

6.1. Each Ghost Traveler unit is authentic, and the signatures, doodles, and messages are original works created by the participating author. These are authors, not artists. By bidding on the Item, you acknowledge that you are receiving a one-of-a-kind unit marked with unique art and messages and you agree to these terms and conditions.

6.2. Because Items are customized and signed by hand, variations, imperfections, or unique marks are to be expected. These are considered part of the Item’s character and not defects.

6.3. Items are provided “as-is” and “as-available.” Freewrite makes no warranties of merchantability or fitness for a particular purpose.

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7.1. Shipping costs, import duties, and taxes may apply unless explicitly stated otherwise.

7.2. Freewrite will make reasonable efforts to ship Items within the estimated timeline but cannot guarantee delivery dates.

7.3. Title and risk of loss transfer to the Winner upon delivery to the carrier.

7.4. Freewrite is not responsible for delays, damage, or loss caused by the courier or customs agencies.

8. Charity Donation

8.1. Net proceeds from the Auction will be donated to the Charity designated on each Item page.

8.2. Donation amounts and recipients may be disclosed publicly unless prohibited by law.

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9.2. Participants may not reproduce, distribute, or publicly display the authors’ doodles without permission where such rights are applicable, except as allowed by law (e.g., resale of the physical Item).

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10.1. By participating, you consent to Freewrite’s collection, use, and storage of your personal data in accordance with our Privacy Policy.

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11. Prohibited Conduct

Participants may not:

  • engage in bid manipulation, fraud, or collusive bidding;
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Freewrite may ban or disqualify any Participant violating these rules.

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To the fullest extent permitted by law:

12.1. Freewrite is not liable for indirect, incidental, special, or consequential damages arising from the Auction or purchase of Items.

12.2. Freewrite’s total liability in connection with these Terms shall not exceed the amount of the Winning Bid actually paid by the Participant.

12.3. Freewrite is not responsible for technical malfunctions, internet outages, system failures, or other issues beyond its control.

13. Cancellation and Force Majeure

Freewrite may cancel, postpone, or modify the Auction due to unforeseen circumstances, including but not limited to natural disasters, system failures, strikes, or events affecting participating authors or the Charity.

14. Governing Law & Dispute Resolution

14.1. These Terms are governed by the laws of Michigan, without regard to conflict-of-law rules.

14.2. Any disputes arising under these Terms will be resolved through binding arbitration or the courts of the specified jurisdiction, as applicable.

14.3. Participants waive any right to participate in class-action lawsuits relating to the Auction.

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Freewrite may update these Terms at any time. Continued participation in the Auction after updates constitutes acceptance of the revised Terms.

16. Contact Information

For questions or concerns regarding the Auction or these Terms, contact: hello@getfreewrite.com.

November 25, 2025 1 min read

This is a great gratitude writing exercise to be done alone or in a group, with people of any age.

How to Play

    1. Designate someone to read out each prompt below. (Feel free to add your own prompts.)
    2. After each prompt is read, set a timer for one minute. (With younger kids, this can be shortened. For older folks who want to freewrite meaningfully, more time can be added.)
    3. Each person freewrites by finishing the sentence and elaborating until the timer goes off. (For little kids, this can be done verbally with an adult recording their answers. Hilarity will ensue.)
    4. Remeber that freewriting — allowing yourself to write with abandon — enables you to let go, tapping into your subconscious to explore your thoughts more deeply.
    5. When everyone is done with all the prompts, take turns going through some your answers. Some people may be eager to share. Others may not want to. Respect their decision.

The Prompts

  • I'm grateful for... [After you've finished this prompt, repeat it five times. Challenge yourself and others not to repeat a singe word with each new answer.]
  • The silliest thing I'm grateful for is...
  • The littlest thing I'm grateful for is...
  • The biggest thing I'm grateful for is...
  • The grossest thing I'm grateful for is...
  • One thing I love about myself is...
  • My favorite thing that happened this year was...
  • My hope for next year is...

This writing exercise has resulted in some sweet answers — and many hilarious ones, too. If you try it out, do let us know.

Write on.