I Don't Know How to Do Just One Thing, and That's Costing Me

I Don't Know How to Do Just One Thing, and That's Costing Me

Last year, international orders finally started coming in for my handmade macrame jewelry. Five or six of them, over about a month, on Etsy. Not a flood, but real — enough that I let myself believe something was actually working.


Then, right around late August into September, US tariffs went up. Customs tightened. Almost overnight, shipping to the US stopped making sense for a lot of small sellers, myself included. I had to stop.


What came after that is the part I don't usually say out loud.

I didn't just pause and regroup. I tried a couple of different things, in fairly quick succession: 

  • A second Etsy shop, this time for digital art prints. It didn't work. I have real admiration for people who can build something like that — it just needed more sustained focus than I gave it before my attention moved on.

 

  • A two-month trip to Thailand, partly to explore building a market there. I love Thailand, and I'd go back in a heartbeat. But I decided against actually selling while I was there — the local rules around foreigners running markets had tightened recently, and I wasn't willing to risk it, even informally. If I'm honest, there was a second layer to it too: the kind of selling that seemed to work there ran on a very social, outgoing rapport-building I don't naturally have. That's maybe its own thing worth sitting with — not a flaw exactly, but something I might want to outgrow a little.

 

  • Coming back to India, and, not long after, an unexpected opportunity to learn silversmithing properly — which is the one thing from this whole stretch that actually stuck

The honest lesson
I should have done my research before jumping into either of those. And even now, saying that, I still find market research genuinely uncomfortable. My mind is a creative one — it wants to make, not study a market before making. Most of the time, I go with the flow and figure it out as I go. I'm slowly, slowly trying to do this more deliberately now — but "slowly" is the honest word. It takes real time to do it right, and at the same time, I do need this to make money now, not eventually. That tension doesn't resolve neatly. It's just there.
What I do have, from all of this, are the silver and mixed-metal pieces I made this year — my first ones, still a little rough, sitting for now among the Unique Finds. First attempts always are. But I'm genuinely proud of them, and next year, I want to build a real, deliberate practice around silversmithing instead of a scattered one.


The pattern underneath it
Underneath these attempts is the same pattern, and I'm only now able to name it clearly — the same one I wrote about in the first part of this reflection: I don't know how to want just one thing at a time. Etsy jewelry, then digital prints, then a market in another country, then silver — each one genuinely exciting in the moment, and I still can't always tell, while I'm in it, whether an idea is real or just new.


The test I'm slowly building for myself: does this still feel true a week later, once the initial excitement wears off? Not "am I still a little interested" — almost everything passes that bar. More: would I still choose this if the shiny part were gone today? Silversmithing passed that test. A few other ideas since then haven't. I don't have a clean rule yet. Just a slightly better question than the one I used to ask, which was no question at all.


Where this actually leaves the business
Here's the part I want to say plainly, because it's easy to read a story like this and hear only the mess: every piece currently in the Spirit Collection — Sāmya, Selene, the sunstone and moonstone pieces people have actually chosen to wear — was made during these same scattered years, not despite them. The test I'm building isn't a fix for the scatter. It's what lets the real ideas survive it. That's not nothing. That's the actual method behind wearing your spirit rather than a tidy brand story about focus I don't have yet.

I don't have this fully figured out. But I know what's stayed, and I know what I'm building next — a slower, more intentional silversmithing practice, one piece at a time, using the same test that's already worked once.

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