(Pardon the preaching, but you asked what is usually a religious trick-question.)
There are many ways of interpreting 'making your own meaning in life'. Psychedelicists simplify the framing into Choose your delusion.
The ones who truly focus on 'delusion' live life through a drug, either real or virtual.
They don't care that their objective life is meaningless because their subjective life is rich. This is all kind of Walter Mitty to me. But it works for some, to live in the Virtual Monastery of the Machine Elves or the Abbey of Brother URL. I will write them off as a reference point for this answer, because if it comes naturally to you, the solution is so obvious it does not submit to analysis.
It is also where you have to go, if you decide the answer is 'true'. The person who asks exactly this question is usually ready to hand you a religion of some sort. Montaigne was more Catholic than any priest, even if he had no faith. Ever since him, Jesuits have been asking this question of precocious schoolboys, and handing them Montaigne. (Now, maybe worse yet, Camus.)
The ones that focus on the 'choose' fall prey to the problem you identify.
Having control that is not power diminishes the feeling of meaning. Options become a burden, as you look at each and feel required to consider it, since what matters in the end is the choice.
The search becomes yet another course of problem-solving, which devolves into puzzle-solving and a 'scientistic' approach to life, even if your choices lead you far away from a grounding in science. You become a servant to your judgement criterion, a scientist with a paradigm.
The alternative is to focus on 'your'.
You can admit that all animals are addicted to some feeling of power, and take your own subjective passion as that judgement criterion. Then by the previous insight, you are the servant of your Self.
Neitzche captures this in the aphorism that "One must make of the Self a work of Art." Let me play out the nuances of this improved framing.
A work of art does not solve any problem, or to the degree it does, that problem is more easily solved in more utilitarian way. An artistic chair is not generally a better chair, it is one that conveys some part of the constructor's internal vision. But it remains an aspect of that internal vision to have chosen to make furniture rather than music.
And good art does not depend upon access to supplies and media. It is often driven by constraint, improved by what the artist had to work around. Some of the crazy Inca totems graffitied by street people onto stone blocks in the impoverished dying empire of Peru are truly awesome art.
So an artful life cannot be chosen for psychological comfort, or for utility. It will speak for itself, or it will go away. Nor can one blame lack of art on lack of opportunity.
Producing good art does not feel like a choice from among options, it feels like an expression of something internal, which is one way of identifying power.
Good art is also not a source of fear. You may bring fear to it, but to the degree you are your own master, there is no failing. So good art is done with respect toward, but not fear of, observers and their tastes. And the options foregone are not missed opportunities, they will simply appear in other art, rather than this piece.
It is continual choice, nonetheless. To claim it is given to the artist is to fall back into a realm of muses and therefore gods. We know better: to think this way is so unwise, given history, that it is irrelevant whether or not it is true. It should not be believed.
So the internal self that produces taste and determines what matters, although we might have been given large parts of it, does not belong to what produced it. It is still its own independent source of power in need of interpretation.