Let Daydreaming Daydream


Painting: “11” by Karen Kaapcke, an entry in the 2016 Atlas Art Contest.

I have written about daydreaming numerous times (see here, here, here, here, and here in the blog, see here in Republic of Noise, and see my story “The Diagnosis“). I have daydreamed all my life; since infancy I was able to absorb myself in something simple for hours. I was kicked out of ballet class at age six because I would dance around the room instead of following directions (and was completely unaware that I wasn’t following directions). I was terrible at sports involving quick reactions, because my mind was on other things.

Generally I like being this way. It slows me down but also allows me to play with ideas, words, sounds, images. I am usually working on a story in my head over a period of months. It may not be anything I write down; I simply enjoy working out the details and carrying it in my mind. At other times, I work on projects or just let the thoughts wander.

All of this goes to say that I have some experience with daydreaming. Usually, when I read discussions of it, I find that they are slightly on the wrong track. They seem to focus on how daydreaming helps or hinders productivity (or so-called “creativity,” which is usually meant as corporate creativity). This carries two questionable assumptions: (a) that mental processes are valuable only insofar as they serve productivity (and so-called “creativity”), and that if we just found that key to productivity and creativity, people would be ever so much more productive and creative.

So it was somewhat refreshing to see Emily Reynolds’s New York Magazine piece “Everyone Should Make More Time for Daydreaming.” After that iffy title, the piece hit some good subtleties. Challenging the assumption that daydreaming is “a waste of time,” Reynolds cites some research and commentary suggesting otherwise, and goes on to say that daydreaming takes different forms, some helpful, some not. But not all daydreaming has to boost your output, she notes:

But this isn’t to say that you should reframe daydreaming as a “productive” activity, one aimed at particular or favorable outcomes. “Positive constructive daydreaming need not have a goal,” Kaufman agrees. Whether you do it mindfully or mindlessly, it’s worth spending a little time each day imagining the world beyond the present moment.

All fine and well, except for two things. First, there was really no need to cite Kaufman here; is the idea to give her statement a kind of scientific glow? Something from Dante or Emerson (for instance) might have worked better.

Second, I am not sure that daydreaming should be practiced deliberately. That seems to turn it into something else. Reynolds advocates some kind of “mindful daydreaming”–a combination of whimsy and awareness–but isn’t that already second nature to some people? If people set out to do this for the sake of becoming more creative, wouldn’t that corrupt the endeavor?

There is something wrong with the search for a “key” to creativity (or productivity). The people clamoring for it are not typically yearning for more poetry; no, they want more creativity on the job, in the service of profit. It is creativity on someone else’s terms. Also, they neglect the interaction of subject matter and creativity. Creativity exists only in relation to something. The best way to increase your creativity is to immerse yourself in that subject. You will start thinking about it, playing with it, imagining its possibilities, daydreaming about it. You won’t get there by trying to become more creative.

In his scathing (and brilliant) article “Ted Talks Are Lying to You,” Thomas Frank writes that “the literature of creativity [is] a genre of surpassing banality” in that it exemplifies conformity, not creativity, and is directed not at artists, musicians, actors, and writers, but at the professional-managerial class. Reynolds’ piece certainly doesn’t fall in this category, but it could step more boldly outside the trend.

In short: It’s good to recognize that daydream is not just a waste of time–that it is essential to some natures and endeavors. But there’s no need for daydreamer-chic, daydreamer mindfulness training,  or Amazon (Inc.) treehouse daydreaming sessions. Let daydreaming do what it does best: take its own way.

Introversion: Pro-Idea, Anti-Noise, or Something Else?


Over the past few years I have heard much discussion of introversion and extraversion but little agreement about what they are. In fact, I have seen multiple implicit definitions of introversion within the same article or discussion.

It would not matter much, except that people in power are starting to say, “introverts are this,” “introverts are that,” “introverts need this,” “introverts need that.” Interior designers, engineers, and consultants have been creating “Quiet Spaces” in workplaces. Schools have undergone training to become more introvert-friendly. These initiatives may hold some good but need vigorous (and rigorous) questioning.

Definitions, by definition, make all the difference. It makes little sense to discuss what has been discovered about introverts, unless you mean something specific by the term “introvert.” State your initial definition, explain why you have chosen it over other possibilities, and proceed from there.

In a 2014 article in Scientific American, Scott Barry Kaufman gives a sampling of the many floating definitions of introversion. They run the gamut and then some. He then reveals that psychologists have put forth a model of four types of introversion: social (where you like to be alone or spend time with a few close friends), thinking (where you pay close and continual attention to your own thoughts and feelings), anxious (characterized by self-consciousness and shyness), and restrained (where you tend to think before you act). He then offers a quiz to help you find out which kind you are.

Even there, I see many complications (which he acknowledges as well). To be a “thinking” introvert, must one primarily be interested in one’s own thoughts and feelings, or can one be absorbed in thinking about something else, such as music, a language, or a mathematical problem? The quiz presumes the former, but I object.

As for the other types, when I look at the questions, my response is often, “It depends.” The ambiguity does not bother me; I don’t feel a need to narrow myself down by type and subtype (on other people’s terms). But others are busy doing just that—not for me in particular, but for “introverts” at large.

So, for instance, “Quiet Spaces,” envisioned and designed by Susan Cain and others, exist to give introverts an environment that brings out their best. The intent here is good but the execution narrow. I would not want to work in one, and in this I am not alone. I don’t like the lounge-y feel, the glass walls all around (frosted, but still), the lack of bookshelves, or the colors. Give me a good old office with solid walls, a windowed door, an actual desk, a window to the outside, and plenty of shelves. Or, if space is lacking, just give me a cubicle and some quiet. Again, I see the good intentions but question the assumptions and aesthetic choices.

Nor can a workplace accommodate everyone. I am skeptical of attempts to identify employees’ personality types and tailor workplaces to them. Instead, find the structures that suit the situation at hand. Where the work calls for thinking, make room for it. Where it calls for discussion, create forums. Allow people to work alone, coming together when necessary. Also, let them treat the job as a job, not as an all-consuming career (unless they really want the latter). That way, they can pursue their interests in their own time.

What about schools? Attempts to create introvert-friendly classrooms may also rely on false or skewed assumptions. Some assume that introverts dread speaking to the whole class and prefer speaking to a partner (e.g., in a “think-pair-share” activity); this is not necessarily true, though it may be true for some. Some count unequivocally as introverts yet thrive in class discussion, precisely because it is about something interesting. Some dread the “think-pair-share” activity because of its “buzz” (so many people talking at once) and its tendency to water down the ideas before they reach the full forum.

Here too, one can reach students by paying attention to the subject matter. When the point of class discussion is to reach greater understanding (about a work of literature, a mathematical concept, or a philosophical idea), students may sit quietly and think, venture a tentative idea, or offer an insight. All of this contributes to the understanding. Lessons themselves can vary. One lesson might consist primarily of lecture, another of whole-class discussion, and another of a combination (or something different). In each case, students may participate in a variety of ways.

And what about the world outside of work and school? Here again, beware of constricting generalizations. I just read an article titled “Introverts Love Facebook, and Extroverts Hate It. Here’s Why.”How does the author justify such an assertion? Here we go:

Everything about Facebook serves the emotional and psychological needs of introverts. It gives them a place to socialize and chat with people they like, without having to deal with the elements of in-person dialogues that make them uncomfortable. It allows them to say their piece, without being interrupted, scowled at, or patronized.

What? Who says introverts are uncomfortable with in-person dialogues? There are those who vastly and vehemently prefer such dialogues to the groupy, chatty, like-y, Facebook-y stuff. I myself dislike Facebook precisely because it’s so social (in Hannah Arendt’s sense of the word). Unless you have a private chat, which tightens you with its tiny windows and bubbles, you have to accept group conversations,  which aren’t even conversations. I recognize the efficiency of Facebook (it helps you stay in touch with many people at once), but it can’t hold a candle to a letter, phone conversation, or conversation in person.

I resist the excessive tilt toward gregariousness, talk, quick answers, busyness, aggressiveness, and so forth. Yet I also resist the push to classify people, especially when the basic definitions are unclear. Personality research is fine, but those involved should acknowledge its questions and doubts, strive for precise language, and exercise caution around policy and products. It is sad to see “groupthink” arising around introversion, when introversion, like extraversion, holds so many variations and possibilities.

Note: I took the above photo at Anne Loftus Playground (around 8 a.m., before children and parents started arriving).

I revised this piece three times after posting it. Latest revision: October 26, 2017.

The Key to Creativity?

While one must walk through much of life alone, one also draws on the wisdom, experience, and practical assistance of others. Books (including literary, religious, philosophical, historical, and scientific texts) address many of our persistent questions. Their guidance has a place;  we would be stranded and parched without it. We seek out books not only for insight, but for help.

But if there’s a futile quest for assistance, it’s the quest for a “key” to creativity–some some way of life, some practice that others package up and that (supposedly) will release our creative powers. When I read articles about how to become more creative, I ask: why don’t people allow creativity its idiosyncrasy, and why do they covet creativity in the first place?

The answer to the second question seems obvious. Who wouldn’t want to make something original, something that involves both imagination and skill? Who wouldn’t want to write a truly good poem, song, or play, or invent a needed (or utterly useless but amusing) device, or give a memorable speech? Who wouldn’t want to do this day after day? It sounds like the happiest possible life–making a contribution to art, literature, technology, and other fields.

But it is not entirely happy. If you think differently from others, if you see untried possibilities in the material before you, then you may find yourself questioning what other people take for granted. You may never feel that you “fit in.” Now, fitting in is not the most important thing in the world, but outsiderness takes courage and some sacrifice. You grow used to seeing things differently and verging, moment by moment, on offending others, hurting their feelings, and losing your place among them. (This sense of outsiderness is especially acute in a culture of group thinking and group “likes.”)

Moreover, a creative life takes time and work. You don’t just go around bubbling with ideas; you have to sit down and pull them off. This means setting aside blocks of time–time that could be spent with others, or at work, or in relaxation. If you have a job on top of that, and a family, you may end up with no time for pastimes and insufficient time for anything else. You may be continually torn between necessary things.

In addition, such a life has disappointments. One has ideas that don’t pan out or that, when brought to completion, are not as brilliant as they seemed. One comes to see flaws in one’s own work; very little of it ultimately seems good, even if others praise it. (In addition, good work often goes unrecognized.)

Now, many people involved in creative work (including myself) have accepted the demands and letdowns of such a life. They would not give it up permanently for anything (almost). I say “almost” because generalizations of this kind tend to prove false at some point.

That leads to the first question: why don’t people want to allow creativity its idiosyncrasy? In each person it takes a different form, and each person practices it in a different way. There are certainly good habits (such as regular practice), and conditions that can make those habits fruitful. But where one person may work best in dim light, with no sound, another may prefer brightness and music in the room. One may work regularly, in the mornings; another may snatch time whenever it comes. Moreover, there are probably as many kinds of creativity as there are personalities; the creation of a sonnet is profoundly different from the creation of an advertisement, even though both work within constraints of time and space.

Thus I was puzzled last month to see a New York Times article suggesting that the buzz of a cafe can boost creativity. It cites a study in which subjects brainstormed product ideas with varying levels of background noise. Now, why would anyone equate “brainstorming” (especially of ideas for products) with creativity overall? Certain kinds of ideas may come more easily when there is a background hum–but that does not apply to all ideas, nor is idea generation the whole of creativity. Some writers spend part of their writing time in a cafe, among others, and part of it alone. Some prefer to spend all of their writing time alone (but take in conversations and sounds when out on a walk).

Granted, such studies can teach something when put in proper perspective. Annie Murphy Paul cites and discusses a study (originally published in Creativity Research Journal) suggesting that those who show creativity are marked (in the interpretation of cognitive psychologist Scott Barry Kaufman) by “a tolerance for ambiguity, complexity, engagement, openness to experience, and self-expression.” Paul speculates that these qualities may account for the “flaky artist” stereotype. An artist (or other seriously creative person) may be inherently “flaky” in that he or she works flexibly with a range of possibilities and projects.

Yes, I can see how that could be so. But an artist also needs a counterbalance to the flakiness in order to do anything well. The proportion of spontaneity and discipline will vary from person to person and from field to field. Some focus intensely on one project or idea at a time (but may toy with thousands of possibilities within it). Others may test out divergent projects until one takes hold. Some may stick to one medium throughout their lives; others may experiment wildly. Some may work assiduously on a project (and not touch any others) until it is complete; others may prefer to move back and forth between projects.

Where do creative ideas come from? Recently I wrote an essay about how a good curriculum can stimulate creativity by combining and juxtaposing works and ideas in interesting ways. I emphasized, though, that such a curriculum does not “produce” creativity (such as the student’s piece cited in the article), nor does creative work “result” directly from it. Creativity does not lend itself to mass production.

It’s difficult not to be intrigued by creativity. (I wouldn’t be reading articles about creativity if I were uninterested in the subject.) Many of us many have a speck of Dr. Faustus in us; we may want a secular devil, unaffiliated with hell, to sell us creative brilliance. or at least a sliver of it, in appealing wrapping. It would be a tantalizing offer. (This may explain why people don’t allow creativity its idiosyncrasy: they may hope to acquire it somehow.) There may even be something in such an offer–a helpful suggestion or insight, for instance. Artists (and other “creative” people) have a great deal in common–temperament, habits, interests, even pain–and can offer each other advice and understanding. Beyond these shared attributes, though, their distinctive trait is their ability, even when learning from others, to find their own way.

Note: I revised this piece (for flow and clarity) after posting it.

  • “To know that you can do better next time, unrecognizably better, and that there is no next time, and that it is a blessing there is not, there is a thought to be going on with.”

    —Samuel Beckett, Malone Dies

  • TEDx Talk

    Delivered at TEDx Upper West Side, April 26, 2016.



    Diana Senechal is the author of Republic of Noise: The Loss of Solitude in Schools and Culture and the 2011 winner of the Hiett Prize in the Humanities, awarded by the Dallas Institute of Humanities and Culture. Her second book, Mind over Memes: Passive Listening, Toxic Talk, and Other Modern Language Follies, was published by Rowman & Littlefield in October 2018. In February 2022, Deep Vellum will publish her translation of Gyula Jenei's 2018 poetry collection Mindig Más.

    Since November 2017, she has been teaching English, American civilization, and British civilization at the Varga Katalin Gimnázium in Szolnok, Hungary. From 2011 to 2016, she helped shape and teach the philosophy program at Columbia Secondary School for Math, Science & Engineering in New York City. In 2014, she and her students founded the philosophy journal CONTRARIWISE, which now has international participation and readership. In 2020, at the Varga Katalin Gimnázium, she and her students released the first issue of the online literary journal Folyosó.


    On April 26, 2016, Diana Senechal delivered her talk "Take Away the Takeaway (Including This One)" at TEDx Upper West Side.

    Here is a video from the Dallas Institute's 2015 Education Forum.  Also see the video "Hiett Prize Winners Discuss the Future of the Humanities." 

    On April 19–21, 2014, Diana Senechal took part in a discussion of solitude on BBC World Service's programme The Forum.  

    On February 22, 2013, Diana Senechal was interviewed by Leah Wescott, editor-in-chief of The Cronk of Higher Education. Here is the podcast.


    All blog contents are copyright © Diana Senechal. Anything on this blog may be quoted with proper attribution. Comments are welcome.

    On this blog, Take Away the Takeaway, I discuss literature, music, education, and other things. Some of the pieces are satirical and assigned (for clarity) to the satire category.

    When I revise a piece substantially after posting it, I note this at the end. Minor corrections (e.g., of punctuation and spelling) may go unannounced.

    Speaking of imperfection, my other blog, Megfogalmazások, abounds with imperfect Hungarian.

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