The $100 Startup: Reinvent the Way You Make a Living, Do What You Love, and Create a New Future



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The 100 Startup Reinvent the Way You Make a Living, Do What You Love, and Create a New Future by Chris Guillebeau (z-lib.org).epub

BECOME AS BIG AS YOU WANT TO
BE
 
 (AND NO BIGGER).
 
“Nothing will work unless you do.”
 
—MAYA ANGELOU
 
 
A
mong the people we’ve met in our story thus far, a few are active risk
takers, charging ahead to storm the castle, career or finances be damned if
they  fail.  But  far  more  common  are  those  who  carefully  take  the  time  to
build a business step by step. It’s a myth that all those who choose to go it
alone are Type A motorcycle riders, betting it all on the success or failure of
one project. Entrepreneurs are not necessarily risk takers; it’s just that they
define risk and security differently from the way other people do.
Tsilli  Pines,  an  Israeli-American  designer  who  now  lives  in  my
hometown  of  Portland,  Oregon,  exemplifies  the  group  of  cautious
entrepreneurs. Over the course of eight years, she crafted a business making
ketubot,  custom-designed  Jewish  wedding  contracts.  During  most  of  that
time,  the  business  was  a  night-and-weekend  project  she  worked  on  after
coming  home  from  the  design  studio  where  she  was  employed.  With  a
regular  paycheck  from  the  day  job,  Tsilli  felt  safe  experimenting  with  the
business and learning as she went along. She also noticed an important side


benefit to working this way: With limited hours to spend on the business,
she had to make them count.
Thanks  to  referrals  from  happy  couples,  the  business  grew  slowly  but
steadily,  with  more  orders  each  year.  Each  ketubah  was  a  labor  of  love,
priced  at  $495.  As  2009  drew  to  a  close,  Tsilli  felt  prepared  to  make  the
leap.  She  gave  notice  to  her  boss  and  colleagues  and  prepared  to  go  full-
time. This was it! She had jumped!
Except  …  the  view  on  the  other  side  wasn’t  all  she  had  expected.  The
first  week  of  freedom  felt  great;  the  second  week  she  began  to  wonder,
What do I do all day? “I underestimated the value of having some work that
was  collaborative  and  not  self-directed,”  she  said.  Over  the  next  few
months, the business earned less than expected. Orders were still coming in
and the situation was far from desperate, but Tsilli felt trapped, drained of
the creativity she had thrived on while starting up.
“The  all-or-nothing  paradigm  was  too  much  pressure,”  she  continued.
“I’m running a creative business, but it’s a creativity killer for me to define
my whole income on the need to continuously deploy my creativity.” It was
a hard decision to make, but six months after leaving the design firm, she
approached the owners with a proposal: How about coming back part-time?
They said yes and were happy to have her.
Moving back to the studio three days a week was the right fit. When she
had  left  six  months  earlier,  she  had  a  lot  of  responsibility  as  the  lead
designer; there was no way she could stick around in a lesser role without
first  leaving  for  a  while.  Coming  back  in  under  the  radar  gave  her  the
security  of  having  a  certain  amount  of  fixed  income  while  retaining  the
freedom  of  working  half-time  on  her  other  projects.  Also,  Tsilli  now
worked  as  a  contractor  instead  of  an  employee,  and  that  gave  her  an
unexpected  but  important  sense  of  still  earning  all  her  income  “on  her
own,” with roughly half coming from the studio and half from her business.
It was right for her to leave, and it was right to go back. The business is
still profitable, but without the pressure of needing to rely on it exclusively.
Tsilli  summarizes  it  like  this:  “The  feeling  I  have  is  that  I’m  still  laying
brick  after  brick.  The  different  pieces  interlock,  and  over  time  they  may
build to critical mass. But right now I’m in a good place.”



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