Do You Have Enough Knowledge To Do Expert Creative Work?

Preface

Most of the time the reason writers, visual artists, and other creatives aren’t yet accomplished isn’t because they are unintelligent or lack talent but because they don’t know enough. Many writers, painters, and other creatives across the globe reading this post are experts. Expert artists differ from non-experts in the knowledge they possess and can bring to the creative task.

Owl sitting on top of a bookExpert creatives have outstanding performances because their knowledge is extensive. An expert’s knowledge is ready at hand to be used and easy for the creative to access.

Most of the mistakes any artist makes are a result of incorrect or inadequate knowledge. If you have the knowledge, you won’t make the mistakes you would otherwise make.

Knowledge guidelines for practitioners in the arts are:

  • Absorb as much knowledge of your art, other arts, and of the world as you are able to.
  • Stop thinking that talent guarantees success, but do continually add to your knowledge.
  • Patiently watch the years of effort pass, your knowledge increasing, and your capabilities growing strong.

Creatives: Older Is Better Than Younger

Elderly woman artist copying a masterpieceIf you want to be successful in the arts, be older rather than younger. Older is better because most outstanding contributions to the arts are not made by people in their teens, 20s, 30s, or 40s, but in their 50s, 60s, and 70s.  Why is that so? The main reason why, artistically, older is better than younger is that to have the ability to do artistic work expertly and do increasingly superior work, the main factor is the artist’s KNOWLEDGE and its PRACTICAL APPLICATION over a period of time that is often long.

That people in the arts generally require a lot of time between their first exposure to their art and their first significant work is well documented. And also well documented is that usually considerably more time must pass before they do their best work. Why is so much time necessary?

It is because artist’s knowledge has to become more comprehensive with time, study, and practice if they are to reach the apex of their performance, make the fullest use of their capabilities, establish their reputation, and reap the highest rewards.

Man busy working and studyingNo artist has ever lived –Shakespeare, Michelangelo, Proust, Picasso, Mozart–who had so much talent that they didn’t need considerable knowledge to excel at a high level. Talent is a blessing, but talent alone isn’t enough.

Talent may be given to artists at birth, but knowledge must be earned through sweat and toil. Artists who reach high success like Faulkner in writing and Cezanne in painting put in many thousands of hours of exhausting work and study.

Absorb Knowledge of Your Field

Absorbing knowledge of your field is a requirement of any artist who wants to far surpass “mediocre” and “adequate.” Every art has a set of fundamental skills that must be mastered if the artist is to graduate to expertise. The rules of the art, its techniques, traditions, history, facts, principles, experts’ opinions, experiences of other artists living and dead, and criticisms the artist receives provide a foundation to help them solve problems that have to be solved if quality works are to be produced.

Eyeglasses on top of an open bookIn any field in which you are intensely engaged, such as serious writing or painting, the brain you feed with knowledge just goes on learning and learning and learning and your abilities grow and grow. The more knowledge you have, the faster you’ll recognize related information that’s relevant to solving problems you are facing. You’ll be able to say, quite quickly, “So-and-so handled the problem I’m now facing by…” Acquiring knowledge  is what you are doing all the time you’re working at your craft, talking with others about your craft, studying it, taking classes, reading, and practicing to develop your skills.

Set and Pursue Knowledge-Enhancement Goals

You would be smart to set specific KNOWLEDGE-ENHANCEMENT GOALS. The greater your knowledge and the then higher the quality of your works, the more tangible the successes you will have.

Many writers in particular are self-educated and have developed their knowledge through a rigorous learning program they designed themselves. It was only after a period of self-education that American author Jack London became the most popular and successful writer in the world.

London submitted stories hundreds of times before his first success. He realized that he had very little formal knowledge–hadn’t graduated from high school–and needed to educate himself. He got hold of the reading lists of universities and studied them on his own.

Woman reading a large bookThe more knowledge that is needed to excel in a field, the more formal education is needed, whether at a university or self-taught.  For example, writers must learn from their predecessors, their contemporary writers, their current times, and people in other fields so that  what has already been achieved becomes internalized and ready for a future use in the same way a master chess player knows the strategies and techniques past masters used to win matches. You won’t amount to much if you aren’t aware of what has come before you. In his advice to aspiring screen writers, Academy Award winning producer Tony Bill said, “Whatever you do—don’t read any ‘How-to-write-a-screenplay’ books. Just read a bunch of great scripts and let it go at that.”

Shakespeare learned from Chaucer. Proust studied the work of Englishman John Ruskin for six years and wrote a book about him. If he hadn’t done that, it is doubtful that he would have written–or even attempted to write–his monumental masterpiece In Search Of Lost Time.

Woman looking at Van Gogh Sunflower painting in an art museumFollowing in the footsteps of the greats is a vital route to writing knowledge, and knowledge leads to skills, and skills coupled with confidence lead to success. What helps is an aptitude for learning and learning fast, which I can hardly imagine a person in the arts not possessing.

An artist in one field learning from artists in other fields can be effective. You may wish to make cross-training a feature of your own training. For example, my own observation is that many painters like English artist Janet Weight Reed and Australian Michelle Endersby are also superb writers. They must have acquired that skill somewhere. Hemingway studied painter Paul Cezanne and translated some of Cezanne’s techniques into literary techniques.

Goals you set for increasing your knowledge, like any goal you might set, should be specific and should be programmed–a schedule set up. For example, if you want to improve your short story writing you may wish to develop a schedule to study short story masters Anton Chekhov, Guy de Maupassant, and Ernest Hemingway and read critical studies of their approaches.  Visual artists often select one or a small number of artists and study their work and what has been written about them

Be a Sponge

Yellow natural spongeLet’s hope that your mind is a sponge sopping up knowledge because people in the arts who can acquire knowledge quickly and remember large amounts of it have an advantage when trying to create something original.

 

Review

In any field you’re intensely absorbed in, your brain develops an insatiable hunger and just goes on learning and learning.

You can excel in the arts only when your knowledge is sufficient to excel. Not before. The person who studies harder will acquire knowledge faster and reach expertise sooner.

All artists benefit from setting knowledge-enhancement goals: “What must I know?” “Where will I find it?” “Who can help me acquire the knowledge I will need?”

 

You are a better painter, writer, actor, dancer, etc. now than you were five years ago because you have practiced and because you have acquired knowledge. The probability is that your knowledge is now substantial, and you are still adding to it and amassing it, and that your knowledge is reflected in the higher quality of your work.

 

© 2021 David J. Rogers

For my interview from the international teleconference with Ben Dean about Fighting to Win, click the following link:

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Should a Painter or Writer Plan the Work?

Let me tell you about a problem I had:  I started to write a prescriptive how-to book for serious creatives interested in becoming skilled craftsmen in their art. It was to be titled A Book for Creative Writers and Painters in Training. But wouldn’t you know it, right away I was in a container of pens, pencils, and highlighters in front of a computer keyboardfix. I was writing what should be an easy section on planning what you are about to write or paint. Now planning is something I know a lot about. For years I was a trainer for a consulting company I founded. I trained thousands of people to use the best techniques of planning so they might effectively plan whatever business or career project they had in mind.

But I couldn’t go on when I realized that it would have been hypocritical of me to tell writers or painters how best to plan an artistic work when I had an epiphany, a realization which was that I never–never–plan  a written work.  I then asked myself a question: “Why don’t you plan texts?” and found myself answering “Because I consider planning unnecessary at least for me and writers and painters like me, of whom I’ll bet there are an astounding number.” It’s not that non-planning is superior to planning or planning superior to non-planning. They just suit people who create differently.

The Habit of Planning

Even as children girls and boys who will become writers and painters when they grow up have been told and taught by teachers to plan the work before they begin to execute it.  They are taught that in grade school, and in graduate school professors or experienced visiting artists and writers stipulate that every work should have a plan. Planning becomes a habit that isn’t questioned because “everyone knows you have to have a plan before you begin. How else will you know how to proceed?”

When these now adults feel that urge that stirs a person to create a work they immediately tell their mind to start concocting a plan that will guide them in making the idea for the work or the painting’s main emotion into a tangible reality, as a finished landscape or a finished novel, for example.  A novelist submitting a book proposal to a publisher must include a plan that the publisher will scrutinize and refer to to judge the potential of the book.

Having made a plan that the creative has thoroughly thought out, the writer or painter can tell anyone who asks what they are trying to accomplish in the work because the plan’s goals and sub-goals and the book’s or painting’s features are precise. Some writer’s working plans are so detailed that they are hundreds of pages long, and some painters make abundant pre-painting sketches and work-ups.

Road extending to the distance with the word start at the beginningSome creatives meticulously plan and think the work to be produced through to the last detail. But some non-planner creatives begin to paint or write without a subject in mind, preferring to permit the work to grow organically and emerge. Some writers, like me, begin without any conscious concept of how to proceed other than, at best, a notion not at all well-developed of what the work should probably be about.

For example, it seemed to me that a “How-to-live” book containing the knowledge, spiritual insights, and wisdom of the Japanese samurai I had acquired could be helpful in many practical ways to people now living everyday lives if it were adapted and written properly. I wrote a brief six -page proposal, it was accepted, I wrote the book successfully without a plan, and from its revenues I bought a house.

Like the speaker in the poem “The Waking” by Theodore Roethke, non-planners “learn by going where [they] have to go.” They start not knowing yet what they will create, waiting for an inspiration to guide them.  Writers will write something and then react to what is written, and then without a plan a work begins to take shape little by little. They write a book this way. Non-planning painters work the same way–each brush stroke an experiment.

hand of a child painting vibrant colors Non-planning Virginia Woolf said that her idea for Mrs. Dalloway started without any conscious direction. She thought of making a plan but soon abandoned the idea. She said, “The Book grew day by day, by week, without any plan at all, except that which was dictated each morning in the act of writing.” Had someone asked her what exactly she was trying to accomplish other than to follow a woman throughout a day she would have replied, “I’m not sure.” The planner- writers are sure of where they are going. Their plan tells them.

Research

The research cited in David W. Galenson’s book Old Masters and Young Geniuses: The Two Life Cycles of Artistic Creation sheds light on the question this post asks: should a painter or writer plan a work? The answer is that not everyone profits from planning the work because given the methods of creativity of some artists and writers planning a text or a painting is superfluous.

Mona Lisa paintingThe more spontaneous process which non-planning creatives like greats Woolf and Mark Twain (possibly America’s greatest writer) and Michelangelo and Leonardo da Vinci use to complete a work is contrary to the rational goal-setting, plan-making processes.  Following a plan inhibits certain creatives for whom a more spontaneous approach results in better work.

If a writer for whom planning the work is contrary to the way they think and create is forced to develop a plan, doing so will be difficult and stressful because doing so is unnatural to someone for whom planning a painting or a text is unimportant. Such people are dying to omit planning and to get to the keyboard or the easel and create the way they do best, relying on repeated inspirations to guide them to the right words and pigments as they experiment with this sentence or brush stroke, and that until they are satisfied that they have done the best they could, and the work finished.  With regard to a plan before starting the execution of the work they think: how can I possibly plan the death scene, for example, when I don’t know at the moment what my mood and state of mind will be when I reach that section a year from now?

Often in the act of executing the work the non-planning writer or painter realizes that the plan that seemed perfect as they imagined the work will simply and emphatically not do the job. I’ve had that experience with every book I’ve written. I ignored the plans and proceeded in what Galenson would call an “Experimentalist’s” manner. A plan sometimes has to be done because that’s what teachers and publishers want and “grade” you on, but no plan will ever satisfy a writer or painter whose methods of creating works make detailed plans unnecessary.

Planners and Non-planners

colorful abstract paintingGalenson describes two significantly different types of artists. The “everything must be planned” artists are called Conceptualizers: they must have a full-blown concept of the work they wish to create in all its detail before they begin writing or painting the work. Ernest Hemingway, William Faulkner, James Joyce, Herman Melville, and F. Scott Fitzgerald were Conceptual writers. Pablo Picasso was a Conceptual painter. Conceptualizers state their carefully- wrought goals for a particular work precisely before the work’s production. For their paintings conceptualizers like Georges Seurat (the best example of a painter who planned)–a very cerebral painter) make many detailed preparatory sketches that may be so detailed and finished that they are works of art in themselves. While painting, they closely follow a preconceived image they hold clearly in mind.

The other type of writer or painter Galenson calls” Experimentalists”–each new idea they set about to write is an experiment. Experimentalists such as Charles Dickens, Henry James, Twain, and Woolf, and painter Paul Cezanne have a totally different approach.  They allow the work–a novel’s plot, for example–to take shape as if it were growing organically on its own because they believe that creating should be a process of discovery.

The extreme Conceptual painter “is one who makes extensive preparations in order to arrive at a precisely formulated desired image before beginning the execution of the final work.” In contrast extreme Experimentalists “make no decisions for a painting before beginning to create what will become the final work” except to have needed materials and a space to work, etc.

watercolor landscape with mountains in blues and purplesOnce Conceptualizers find the crucial problem they advance slowly with a plan, but Experimentalists move fast without a plan. Experimentalist’s goals are imprecise. They have ideas about what the work will be like when it is finished, but are unclear about everything else until the piece is written, the painting mounted on a wall. That imprecision is how Experimentalists like to work, but it creates problems. Not clear as to what they want the final work to look like, they have trouble finishing works.

Because they have trouble finishing a work many Experimentalists often return even after many years to finish works they earlier abandoned. They “hang on” to works rather than being done with them. They have difficulty deciding when the work should be presented to the public in the form of a painting that is for sale, or a book that is ready to be offered to a publisher. It is said that Experimentalists Michelangelo and Da Vinci never really finished a single work. Mark Twain was very slow in producing works and labored over his books’ endings. His endings are never satisfying.

One of Da Vinci’s greatest contributions was his rebellion against the rigid procedures of traditional artists’ training that emphasized the use of careful preparatory studies, advocating in its place methods that allowed artists the freedom to develop their own ideas as they worked.

Which Bloom Early and Which Bloom Late?

orange and yellow tulips with green stems and leavesConceptualizers tend to bloom early, often with a striking new style or innovation or great success at the start of their career. They mature quickly, starting very early, not gradually through years of trial and error as Experimentalist painters like Jackson Pollock and Claude Monet did, but rapidly.  A young Ernest Hemingway’s innovative writing style quickly revolutionized writing throughout the world.  At twenty-six he took over as “the big man” in American literature.

A problem for Conceptualizers is that they may be captive to their early success and develop fixed habits of thought and become too committed to a single way of approaching artistic problems.  They become stuck.  Experimentalists experiment, writing works that are not all the same.  Another problem of Conceptualizers is that like F. Scott Fitzgerald, so mournful in his last auto-biographical short stories, many Conceptualizers spend their last years wondering where their talent has gone.

Experimenters tend to bloom late. As in the case of Impressionist Monet, their skills are not full blown at the beginning of their career as is often the case with Conceptualizers, but develop slowly over the course of a career spanning sometimes decades: they get better and better as time passes.

Is One Method Better than the Other?

It may be thought that non-planners are not as well-organized as planners and may produce disorganized works, but that not true. They organize as they go. Throughout history, both methods have produced superb works.

 

© 2021 David J. Rogers

For my interview from the international teleconference with Ben Dean about Fighting to Win, click the following link:

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Finding Fulfillment in the Arts

Abstract watercolor in blues and greensPeople in every walk of life and in every hemisphere on earth–in cities, on deserts, in towns and villages–long to create something. My nine year old grandson is a talented artist and cellist studying architecture. His six year old sister takes dance and will begin taking piano lessons in the fall. Their forty two year old father was an excellent cellist in his youth and was inspired by the performance of a famous cellist to return to it last year. My wife, is a former cellist, and has taken up water colors and has returned to the piano. I write every day. I have for many years, and when I am not writing I am thinking about it and planning what I will write. We are representative people no different from millions of others with whom we share the globe because the current era is an Age of Heightened Creativity. Little children and women and men of all ages are bent on having creative experiences. They will not let their creative instincts be stifled.

I think it is worthwhile to look at what happens to creative people who have turned to art for fulfillment.

If You Are to Be an Artist, a Decisive Moment Occurs

A decisive moment occurs early in your life or later—an experience happens—and if you are to be an artist, you become aware that this art is the direction that fits you as no other direction will. You feel that it will lead to fulfillment that you probably would not enjoy were you to follow another route. You’ve had a crystalizing experience in a critical moment when you were first focused and organized toward an artistic purpose you knew was right for you and which you wished to pursue further, a sudden attachment to an artistic field that brought with it a motivation and a sense of knowing what you wanted to do in life.

Watercolor paints with brushIt became a permanent part of your entire being–an idea, a theme, or an image that became a guiding force in your life. You may not be conscious of it, but it starts you out in a creative direction, and gives you a sense of moving steadily in that direction, of heading straight toward something concrete and specific. Making a living in art is difficult and so most artists must find financial security other than in art. But whatever your occupation if you are to be an artist you will define yourself first as an artist, an accountant, HR manger, or English teacher second.

Nature Cooperates With Gifted People

In his Confessions Saint Augustine wrote, “People travel to wonder at the height of mountains, at the huge waves of the sea, at the long course of rivers, at the vast compass of the ocean, at the circular motion of the stars, and they pass by themselves without wondering.” Artists may be guilty of being so totally absorbed in their work that they neglect their health and their families, but are rarely guilty of passing by themselves without wondering. They wonder insatiably about themselves, and explore themselves continually. They do not always understand how it happened that they are more gifted than others but are fascinated by what capabilities they discover in themselves that make their art possible.

Nature equips artists for the creative pursuit that most suits them, making available to them what often will be their most highly developed skill, their core capability, and with an aptitude for a particular art–for painting rather than writing, or acting and not dancing, for example.

Girl with headphones listeningNoted composers and performing artists in musical fields–so sensitive to sound and tone—possess what the Germans call Horlust–“hearing passion.” Writers–particularly poets and lyrical writers–have a word passion (they adore words), and painters adore colors and shapes, often from the cradle.

The Self-Absorbed Artist

Artists are absorbed in themselves and smitten by their craft for many practical reasons: first of all because the task of being creative is not like any other tasks.  Art comes from the mind of the one person you are, and your duty is to probe that mind’s depths and breadths every time you create. You must plumb from it words, or music, or colors that will be shaped into a finished work with your name on it that will be passed on to an audience who will think, “This is the creation of… (your name); no one else’s. I wonder what they’re like.”

The Inner World of Artists

In a poem poet Emily Dickinson said that the soul selects her own society and shuts the door. Often what is sacrificed and left outside the artist’s closed door is the world of ordinary life–of Wordsworth’s “getting and spending,”

Jean Paul Sartre said, ‘Rather than face the real and terrifying risks of becoming, many human beings prefer not to develop behind the structures, rules, and patterns that society gives them.” Those things may have little or no importance for creative people. Marcel Proust said, “Those who have created for themselves an enveloping inner life pay little heed to the importance of current events.”

Door opening to sceneWhat is inside the shut door is the artist’s rich inner life from which creative products pour–without stopping if the artists explore themselves more and more deeply. Transformation of what is inside the artist into what is outside is the overriding goal –to make a book, a painting, a song or a symphony — that is completely as the artist wishes and offering it out to be shared with an appreciative world.

To Artists We Remember Best, Their Art Is All-engulfing.

If you are an artist you are the embodiment of your art. There can be no separating one from the other–art, artist–the work, the producer of the work.  You are a daughter or son, citizen of a country, lover, and teacher, true, but you’re also an artist and that artist’s identity may be your center of gravity.

Your art is always somewhere in your mind. It is being processed–being worked up into a properly embellished work–and it is impossible to extract your personality from the work. You cannot be hidden even if you wished to hide. Creative works are the products of the whole person: your intelligence and courage, talents, training, and commitments, your energy, and your memories.

Novelist Henry Miller said, “I don’t care who the artist is, if you study him deeply, sincerely, detachedly, you will find that he and his work are one.” Novelist Joseph Conrad said, “The writer of imaginative prose stands confessed in his works.” Pablo Picasso said, It is not what the artist does that counts, but what he is…What interests me is the uneasiness of Cezanne, the real teaching of Cezanne, the torment of van Gogh, that is to say the drama of the man.” Artists may try to eliminate themselves from the work, but they can’t. Henry James said that the artist of a work “stands present on every page of every book from which he sought so assiduously to eliminate himself.”

pink rose openingPoet W.H. Auden wrote, “Speaking for myself, the questions which interest me most when reading a poem are two. The first is technical: ‘Here is the verbal contraption. How does it work?’ The second is, in the broadest sense moral. What kind of guy inhabits this poem? What is his notion of the good life or the good place? His notion of the Evil One. What does he conceal from the reader? What does he conceal even from himself?” William James said it is the amount of life in the act of creation which artists feel that makes you value their mind.

How Is Creative Excellence to Be Identified In a Person?

As a creative you’re specially endowed with (and may have been born with) not only “creative stuff” but with an assortment of personality qualities that equip you specifically for the writer’s, painter’s, actor’s, composer’s, architect, or dancer’s role. And it’s that identity that gives you the sense that you’re a person with a definite life task—to write, dance, paint, etc.–to create something that comes from your mind, your spirit, and your muscles.

What does a person need to be creative: an active, complex, and excitable mind, and a combination of such inner qualities as curiosity, obsessiveness, doggedness, and endurance.  Plus an openness to experience, and an abundance of physical strength and energy. And a high tolerance for ambiguity.

Develop an interest in life as you see it; the people, things, literature, music—the world is so rich, simply throbbing with rich treasures, beautiful souls, and interesting people. Forget yourself” (Henry Miller).The most interesting thing in art is the artist’s personality. Artists need intensity: “Nothing is at last sacred but the intensity of your own mind” (Ralph Waldo Emerson).

purple neon designArtists must be people of action because their main goal is production of works over which they think and sweat. Jean Paul Sartre said, “There is no reality except in action” and said, “Man is nothing else than his plans; he exists only to the extent that he fulfills himself; he therefore nothing else than the ensemble of his acts.”

Artists must be feeling beings because whatever the art may be, the artists’ aim is to express emotions. “Every day I attach less and less importance to the intellect. Every day I realize more that it is only by other means that a writer can regain something of his impressions, reach, that is, a particle of himself, the only material of art” (Marcel Proust). When they are denied the expression of emotions they experience conflict and tension that must find an avenue of relief.

According to critic Malcolm Cowley “Genius is energy–mental energy first of all, but sometimes…physical, emotional, and sexual energy. Genius is vision, often involving the gift of finding patterns” (where others see a random collection of objects.) “Genius is a memory for essential details. Genius…is the capacity for brooding over a subject until it reveals its full potentialities…Genius is also a belief in oneself and the importance of one’s mission, without which the energy is dissipated in hesitations and inner conflicts.”

Besides genius, a creative person has to have talent: technical skills, self-critical ability, and notions about how to present their work so that it appeals. The only obligation that art can be held to is that it be interesting.  Who will be the judge of that? Composer Igor Stravinsky preferred the general public: “I am convinced that the spontaneous judgment of the public is always more authentic than the judgment of those who set themselves up to be judges of works of art.”

The Artist’s First Notable Work

The “years of silence” artists often experience is the period when they–even those who are highly gifted–have few tangible successes, or none at all. But that period is not wasted or unimportant. It is a crucial period of growth when the artist acquires knowledge and experience that through practice will culminate in the artist’s first notable work.

What follows then is the full flowering of the artist’s capabilities. Those capabilities become automatic. Then there usually is a rapid increase in the artist’s production of his or her best works that continues for years. There need not be a period of decline. Many artists produce popular works into old age.

Smiling child with art suppliesChildren and adults may drop out, but those who turn to art may well be playing the cello or dancing or painting, only getting better and enjoying their art perpetually–all their lives– with fond memories of what they accomplished and of the exciting people they met on the path they took.

 

© 2021 David J. Rogers

For my interview from the international teleconference with Ben Dean about Fighting to Win, click the following link:

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Why Do Writers, Painters, and Other Artists Bloom Late?

deep pink proteaAlthough talent in the arts most often shows itself early, because it takes so many years to develop their talent and become highly proficient in the arts, people who will become expert musicians, painters, performers, and writers can expect to be late bloomers. Artists who perform at a high level do not demonstrate remarkable talent in short order.  They are not usually in their twenties or thirties, but in their forties, fifties, and sixties. All spend many years developing the knowledge, attitudes, and skills that will eventually enable them to be recognized for their mastery. All arts involve learning form and the art’s devices, and the need for control, craft, revisions, and structure–time consuming efforts.  All begin by imitating existing techniques they have studied.

Harriet Doerr’s first novel was published when she was seventy three, and won the National Book Award.  Playwright George Bernard Shaw and novelists Sherwood Anderson and Joseph Conrad were famous late bloomers. American short story specialist Raymond Carver was too. Painters Henri Matisse, Paul Gauguin, and Grandma Moses bloomed late, as did composer Camille Saint Saens. Gauguin worked for years in the French stock market before quitting and turning to art, and Polish Conrad who would become the quintessential stylist in English, didn’t speak or write a word in English till he was in his twenties.

Gold color rose bloomA survey of 47 outstanding instrumentalists found that their ability was first noticed on average at the age of four years and nine months. Then they began a very long and arduous period of development of their talent. Pianists work for about seventeen years from their first formal lessons to their first international recognition, involving many thousands of hours of intense practice. The fastest in one study was twelve years, and the slowest took twenty-five years. In other fields you may even be an early bloomer, but in the arts if your expertise is to be at a high level of mastery, unless you are a Dylan Thomas, a rarity who was at his peak at nineteen, you had best avoid discouragement and expect to bloom late.

Trouble Getting Started: Two Examples from The Arts

Late Bloomers have trouble getting started, but once they decide what to do with their lives, there is no stopping them. Sometimes the very tardiness of their entering into a field is a powerful motivator to make up for lost time, “catching up” with people of equal age who started years sooner and often surpassing their accomplishments. They think,  “I have no time to waste anymore.” They buckle down, focusing, achieving, feeling surges of vitality which if they are in the arts they turn into paintings, novels, plays, movies, buildings and museums, and so on.

Green and purple flowersNovelist Raymond Chandler was fired from his high-paying executive job (chairman of five corporations at the same time) and found himself without an income. Luckily, he had a talent and became a writer, but not producing a first short story until the age of forty-four and his first novel at fifty-four. That book–The Big Sleep–was a success and spawned quickly many other works–many novels, short stories, essays, articles, and screen plays. Vincent van Gogh, a troubled soul, spent most of his life searching unsuccessfully for a field to work in,  trying this and that, believing that there was an appropriate occupation for everyone, including himself. He turned to a life of serious painting at thirty-three. In the brief five years remaining in his life his energy, which was almost superhuman and beyond belief, was ignited, and he produced three thousand works.

The Life Pattern of Late Bloomers

Pink lotus on purple backgroundWhen the majority of their friends and associates are settled in a career and life style, late bloomers are not. Late bloomers may eventually reach the height of their achievements and fulfillment which I call “their true destiny,” but later in life. Their lives fill us with optimism. They demonstrate that whatever your condition at present, whatever your age, a fulfilled life, even one you may not have  remotely anticipated, may await you.

To bloom is to reach your true destiny, to live intelligently, not stupidly, to come into your own, to find fulfillment. The discovery of your true destiny can come early in life, or in the middle, or late. It’s the bell curve: of those who bloom: a minority bloom early, the great majority bloom in their middle years, and a minority bloom in their sixties, seventies, or later. But some people never bloom because they don’t set their minds to.

The Sense of Constructing Yourself As You Go Along

Pink lotus on dark green backgroundIf you’re a late bloomer, you’ve made false starts. You haven’t peaked yet, haven’t reached your destiny yet, but you may be determined to bloom one day. Late bloomers are more willing than most to persevere and if need be to fail but try again and again until they reach a life they desire. If you are a late bloomer, more than most people you have the sense that you’re constructing yourself as you go along, even rejecting what other people may call golden opportunities if those opportunities don’t appear to lead you in the direction you desire most.

For example, I had published books before with good presses, starting in my mid-twenties, but my first important book with a major publisher (Doubleday) was published when I was forty-two. The next best seller was published three years later. Before I knew it I was making speeches about them to audiences of thousands in auditoriums across North America and in Europe. I have a flair for public speaking and present myself well, and was approached by an agent Red-orange poppy with little blue flowers and green grasswith the goal in mind for me to have a national television talk show. It was an excellent opportunity and would have paid extremely well. But my wife and I talked it over and I decided that what I wanted to do with my life above all else was simply to sit at a computer in my upstairs work room while my four children played noisily downstairs and my wife came up once in a while to say hello, and produce artful paragraphs that reflected my years of hard work and training.  To me that was blooming. I turned the opportunity down.  Late bloomers often make similar very difficult decisions while they are constructing themselves.

Late Blooming Is Problem-Solving

When people try to solve problems, the solutions arrived at toward the end of the solution-generating period are the best. The most effective problem-solvers tend not to accept as the solution the first or the first flurry of solutions that come to mind. Their thinking is, “This is a good-looking solution all right, but there may be better ones,” and they continue to work on solving the problem. They hold out for a better answer. This is called “deferred judgment” and requires that you live in ambiguity, possibly for a long time. But people in the arts have a higher tolerance for ambiguity than the great majority of people. It’s not far -fetched to view late bloomers as people who defer judgment for a period of time–even many years–living  patiently in ambiguity until finding a solution to the problem of living their life and reaching what is, for them, a more highly fulfilling existence that makes full use of their talents. If your life is not fulfilling, you know it. No one need tell you.

The Importance of Missions, Callings, and Occupations

Pink and purple anemoneMost people–possibly all–who find fulfillment later in life find it in a mission, calling, or vocation. You cannot be dissatisfied when you’re doing the work for which you feel you were brought into the world, a thought that consoled Raymond Carver through his alcoholic’s torturous life. Psychologist Charlotte Buhler was concerned with people finding fulfillment in a “task” as artists find in their art. She wrote, “We find our most complete fulfillment if we can be ourselves and do what we like to do while dedicating ourselves to a task we believe in. In this we transcend ourselves, but simultaneously we satisfy ourselves.”  George Bernard Shaw said, “This is the true joy in life, being used for a purpose recognized by yourself as a mighty one.”

 

Getting More Education and Training Is a Route Many Late Bloomers Follow

Late bloomers need more time to get settled. My son was a high-powered advertising salesman making a lot of money. He began to dread his work. He was unhappy because he felt he wasn’t doing anything meaningful. He wanted to work in a helping profession. He had been hit by a car and sustained serious injuries and underwent a long, painful recovery.  His friend was killed in that accident and my son was deeply affected. He felt a powerful need to apply himself to serving an important goal that went beyond his own self-interests. In his late thirties he went back to school and acquired a Master’s degree in social work. He now provides therapy to people who survive traumas as did he.

Red chrysanthemumsGoing back to school as a transition to another field is a strategy late bloomers find appealing, in essence ending one career and starting another.

Some Goals and Interests the Late Bloomer Just Does Not Forget

Or, you may set out again in pursuit of goals that were dear to you in the past and you’ve neglected, possibly for a long time. Especially determined people are more likely than most to find success by changing their lives in mid-stream, pursuing abandoned purposes and projects, resuming activities and interests that they have laid aside, sometimes many years earlier, but never stopped thinking about. Herbert guided tours through the North Woods before stopping to assess what he wanted. After asking himself hard questions about where his life was going he returned to his earlier interest in medicine. He went back to school and became an MD. Wally Amos was an unsuccessful Hollywood talent agent who found that he had always enjoyed most baking cookies. So later in life he opened the first store in what would grow into the Famous Amos Chocolate Chip business.

It Is Never Too Late To Become the Person You Are Supposed To Be

No matter your age or position in life– a seventy-three year old grandmother of ten, a middle-aged druggist, or a young clerk, housewife, or college student– you can always become the person you have the wherewithal to be. Because you haven’t bloomed yet doesn’t mean you won’t.  Your heights of satisfaction and accomplishments may be ahead of you. When you bloom isn’t the important thing. Blooming at all is.

Orange DahliaHave you bloomed?  If you haven’t what are you going to do about that? People who aren’t leading satisfactory lives haven’t bloomed at all, and many are trying to, but many   have never started trying, and just as many have given up. Better to start if you haven’t already, whatever your age or condition in life. You can always forget the past and start out again, making no excuses for starting out late.  Experiment, follow your instincts, and assess yourself and your feelings about your life. Are you going right or are you going wrong?

You can either search for fulfillment or flee from it. You can’t trade it for someone else’s fulfillment because theirs seems easier or more profitable or praiseworthy. Yours is yours. It stands in need of you. You are asked to fit yourself to it. It is given just as it is, just as the yellow sun and blue sky are given just as they are.

 

© 2021 David J. Rogers

For my interview from the international teleconference with Ben Dean about Fighting to Win, click the following link:

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Writing Vivid Descriptions

Good writers should have an “eye” and an excellent memory of people, places, and events that they have experienced in their lives themselves or have heard or read about and can clearly envision as they compose. They should be able to create vivid descriptions full of images–word pictures–that enliven the text and appeal to the reader’s senses, particularly the sense of sight, but the other senses as well. Descriptions are not window dressing or “filler” that a writer need pay little attention to, but a feature of writing fiction, nonfiction, and drama that is indispensable. Poorly written descriptions detract from the quality of the written piece. On the other hand, exceptional descriptions can compensate for weaknesses in other areas. If there is one quality descriptions should possess it is vividness. Vividness gives writing impact and is memorable.

Woman thinking in sunsetWriting vivid descriptions is a skill writers should strive to refine. Yet it is a weakness of many writers. If your ability to write effective descriptions is lacking it should be worked on vigorously and made a strength. Like painters, writers benefit from maintaining some form of “sketch books,” notebooks to which the writer adds descriptions that could be incorporated into a final text later. Anton Chekhov, master of masters of the short story, referred to “images and scenes which are precious to me and which for some reason I carefully saved and put aside.” Whenever a particularly potent and useful description comes to mind, don’t waste it. Write it down in the notebook before you forget it.

Descriptions are an integral part of the written piece, serving a major role of evoking an atmosphere, a mood, a spirit of a person or places, and establishing a tone and a setting. American writer Stephen Crane was influenced by French Impressionism painting and made it a point to include colors in his descriptions whereas Ernest Hemingway often mentioned the weather in his. Chekhov wrote 588 pieces. He was all business when he wrote them, wasting no words. He did not consider descriptions less important than plots, and his descriptions stand out.

Good writers with a talent for language often find pleasure in writing effective descriptions in an appealing style that readers sometimes find the feature of the piece they remember most. Anyone seriously interested in literary description will probably find their way to the writings of Joseph Conrad and be spellbound.

The following are examples of vivid descriptions from my own writing:

 

Sudden Storm

It was summer, and in summer the lake, so much a part of our childhood, was always inviting. That day the two of us –my sister Sharon, eight, and I, ten– inhabited our bodies with inexpressible joy. She was on the shore holding my hand. I was standing in the water. Suddenly a wind Big wavepicked up. Into the air fluttered two hundred gulls with noisy wings. Above us clouds raced each other headlong across the coal black sky. Onto the shore crashed a procession of liquid walls–white-crested, angled slightly off to the south where blocks of limestone twenty feet high lay as if dropped from the heavens by gods. The magnificent waves rose–hills of water that seemed to pause, suspended for a moment at their peak as though they could rise no higher, and then crumbled and broke on the shore like a multitude of shattered stars. The spume spread and undertows slid back like shears below the breakers. Wave upon wave upon wave upon wave rose, lunged, and plunged like a field of gray-green wheat bowing under the wind. Just a moment before there had been not a breeze, not a breath of wind. But now all the wind in the world seemed to be concentrated on that strip of earth. It was a lion of a wind unleashed, untamed, cool, cold, with a sparkle, bite, and sting–many winds in fact, one gust coming, ending, another coming, another waiting–bringing pouring in to us the odors of water, of fish, and of the wind itself. The hoarse roar of the foaming waves filled all the air with the sounds of artillery.  Trees on the shore bent as though made of rubber and our drenched bodies glistened.

Everything in our field of vision was in motion–beach umbrellas pulled out of the sand and hurled west, end over end into the high grass where frightened field mice must have cowered in terror. Unattended blankets were lifted up like magic carpets and whipped skyward. Trees shook. Grass was flattened as though pressed by an iron. The canopies of the concession stands snapped. Bathers to our left and right and further up the beach gathered their blankets and loose clothes, and children sprinted with their parents for the shelter of the beach house. Sharon and I lay flat on the ground clutching the earth with our hands and raised our heads and watched men dragging row boats higher up onto the beach away from the waves, leaving behind ruts in the sand: such things making this one day permanent in our minds. Thirty years later when Sharon was dying, that was the childhood day she remembered best.

 

Where I Live

It is a very nice little Midwestern American town, clean and peaceful. To the east, on the shores of Lake Michigan, the houses are very grand, elegant, and old, and the streets are lined with magnificent trees.  The library is in the middle of town next to the town sculpture and City Hall and a rose garden and a facsimile of the log cabin of the first resident.

When you ride the commuter trains up from downtown Chicago, thirty miles south, the uniformed conductors, assembled like partridges in little talkative groups beside their waiting trains, tell each other one last lie, sometimes involving women who come alive only at midnight on Saturdays. Then the train leaps from the dark, oil-reeking station and you, a passenger,  look out the window and see the lines of office and factory workers on the streets and an urban panorama of gray back porches cluttered with terracotta flower-pots and bicycles and broken washing machines. Leaning over the railings of the porches are people–not all of them poor–with the great mournful eyes of cats. The light of day falls dramatically on them, particularly at the moment the sunlight fades and becomes evening, and you find yourself wondering if it is possible these people you can see with your own eyes but will never meet are happy. Disappearing behind you, the wilderness of massive structures towers into the sky as if put there to hold up the clouds.

 

Youth’s Nights of Happiness: Night Of The College Dance

(Reprinted from my short story “The Kiss,” DuPage Valley Review.)

college town“Young couples sitting on benches held each other, kissed, and heard the melancholy saxophone through the open windows of the gymnasium. Past a grove of gray trees, out on the lagoon, among mallards drifting on the water like leaves and bull frogs hidden in the shadows like thieves, students in row boats whose oars dangled free and made little splashing sounds, lay back, their bodies warm and glowing under light blankets. Contented, they were looked down upon by a pageantry of stars that seemed so close together that a finger wouldn’t fit between them. And while laughter floated like smoke through the night, they spoke of the incredible deeds they would one day perform.”

 

The College Town Where I Lived

The night of the dance, I remember, was perfect too–that crispness of Midwest autumn, a small drowsy college set in a little town of narrow, winding cobblestone streets crowded with lovely old gnarled oaks, maples, and sycamores and wild, untrimmed hedges. Pinnacles, domes, and spires of church towers, like the great cathedrals of Europe, rose gradually and wonderfully and were visible everywhere. In the yards, along crumbling stone fences sprouting moss, lichens, and ferns, were an abundance of rose gardens that were sadly withered at that time of year. The town was surrounded on all sides by tractors and threshers left overnight in wheat fields, and the campus was split in two by a river with an Indian name.

 

Riding Freight Trains

(The day after we graduated from high school my friend Nick and I–he eighteen, I seventeen–talked it over in a corner drug store and decided to ride freight trains for a while: college could wait. We took a bus to the Chicago city limit and walked behind a billboard and across an empty lot to a little train yard. A freight train came by and we hopped it, heading due west where we hoped adventures we couldn’t tell our parents about waited.)

 

At The Welcome Inn, Wyoming

Down the wide main street and prominently visible from our freight train, the alluring green neon sign of the Welcome Inn burned brightly. It was a small, squat, one-story square log building that night and day hummed and trembled with pulsing music and in which who knew what went on. But we were curious to find out. This was our second visit. The first time through we had entered that tumult of sweat and whiskey, amidst the glow of the red bar light and clouds of floating smoke, and stood at the bar next to a tattooed woman snapping a bull whip and wearing a black satin cape with shining red lining and had seen a man with a chin scar and an eye-patch get angry and pull a pistol on another man. The second man took the gun away from the first and slugged him over the head with it. He turned to us disgusted with his friend, who lay dazed and prone on the floor, people stepping over him, and said, “He’s always doing that,” and that was the end of that.

Old cars with dented fenders and gaudy garters dangling on their rear-view mirrors and pick-up trucks with rifle racks cradling ominous shotguns and carbines were parked four deep in the lot. When the door of the Inn swung open, muscular men, their shirt sleeves rolled up above the bicep, sauntered out arrogantly, their arms tight around the waists of conspicuously made-up women, their heads thrown back in exaltation and abandon, and the chime of laughter spilled into the night like water.

 

 

My Childhood: Rag Man

(Adapted from “Edgewater” that appeared in East on Central magazine)

Keeping to no particular schedule other than it be daylight nearing early evening, the old gray nameless Rag Man came down our alley. He appeared to be a rag himself–sitting high atop a large, heavy-laden, horse-drawn, creaking wagon stacked with old lamps, washboards,  card tables, vacuum cleaners, newspapers,  pots and pans, and such. His loud gruff voice preceded him by half a block as he bellowed “Rags, old iron” as though we were all asleep in bed and needed to be woken. As the wagon approached, you heard, faintly at first, and then more purely, the rhythmic clomp, clomp, clomp, clomp of the shod hooves of the old gray horse. Its head hung low and swayed to the rhythm of its plodding gait. Passive, not straining or wrenching at the reins, it would lift its head with majesty and shake its harness chains vigorously and musically. But uncomfortably. Then you heard its snorts as it struggled futilely with its bit. You noticed its huge bulbous brown eyes, glazed with an expression of weariness and pitiful sorrow. You noticed too the sunlight shimmering off the sweat coating its flanks and the twitching muscles of its legs and rump shaking flies away. How can I forget–how could you forget were you there too–that elegant parade of a rattling wagon, Rag Man, and Rag Man’s horse?

 

My Dear Father and Me

Man and boy walking along water's edgeThere was a tenderness and manly sweetness in my father’s manner, and too, the restraint of a gentlemanly politeness and natural shyness about speaking of things that moved him most profoundly, and which I knew indisputably he felt toward me, as I did toward him.

 

The Silent Coal-Shoveler

(Appeared in Muses Gallery)

Sometime before the cruel, cold Chicago winter days came each year, the coal-shoveler would appear in the alley. I would walk past him and his pile of coal on the way to school. When I returned home, the coal was gone and the coal-shoveler–his work done–was gone too,

Behind the apartment buildings, beside a pile of coal a story high, toils the always silent, always alone, never-speaking, never-grunting, never-complaining, muscular black coal-shoveler. From chilly dawn, all day long while I am at school or at the playground, in the alley behind my house, that cadenced scrape of his shovel between coal and pavement can be heard, and the coal thumping, tumbling, like pieces of thunder down the wooden chute into a dark, cool cellar.

 

These are some of the descriptions that I first wrote in a notebook and later incorporated in longer pieces. Among other pleasures, descriptions give the writer a chance to play–to play with similes and metaphors and other expressive words.

 

© 2021 David J. Rogers

For my interview from the international teleconference with Ben Dean about Fighting to Win, click the following link:

Interview with David J. Rogers

 

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Filed under Descriptive Writing, Developing Talent, Human Potential and Achievement, Imagery in the Arts, Memory, Uncategorized, Writing, Writing improvement

31 Prescriptions for Serious Writers

“Writing a novel is a painful and bloody process that takes up all your free time, haunts you in the darkest hours of night, and generally culminates in a lot of weeping over an ever-growing pile of rejection letters. Every novelist will have to go through this at least once and in some cases many times before they are published, and since publication itself brings no guarantee of riches or plaudits, it’s not unreasonable to ask what sort of a person would subject himself to such a thing” (Alice Adams).

Prescriptions:

Have a strong belief in and respect and enthusiasm for writing. To many serious writers writing is the central activity of their lives: no other activity compares. It is probably true that the majority of people, young or old or in between, don’t like to write. But there is just something about the act of writing that people struck by the writing bug find irresistible. Many aspiring writers wait all day for the half hour between putting a child to bed and sleep when at last they are free to pound away at a keyboard.

Be patient because all writers who reach high excellence in their craft will have done so via a long, sustained period of learning and application. P.G. Wodehouse wrote that “Success comes to a writer, as a rule, so gradually that it is always something of a shock to him to look back and realize the heights to which he has climbed.” “If the promising writer keeps on writing—writes day after day, month after month…he will begin to catch on” (John Gardner.)

Fountain pen on an open book Have a need for self-expression and self-disclosure. Good writers reveal themselves in their work. Readers want writers to reveal themselves. A novel, for example, enables authors to convey a wealth of information that expresses them.  Your writing, even the way you turn a phrase and the metaphors you use (why did you use an image of a fish then instead of a train?) and your vocabulary and points of view, tell the reader what you’re like. Writers have a need to discover exactly what they are thinking by writing it out, and then to artfully communicate it to the reader who wants to know.

Be more self-disciplined in matters concerning your work than most people in other fields .Success in writing is largely a matter of discipline.

Learn to overcome boredom and fatigue, particularly through positive self-talk and physical conditioning. .

Sacrifice for the sake of your writing. Anton Chekhov said, “It is difficult to combine the desire to live with the desire to write.” In A Moveable Feast Hemingway wrote, “On Thursday I was…feeling virtuous because I had worked well and hard on a day when I wanted to go to the races very badly.” For some writers writing is more important than their family.  The family goes to the zoo; they stay home and write. “Generally (Eugene) O’Neill elected to lead an existence completely removed from what the great majority of people would call life, It was centered on, was focused on, organized around work” (Malcolm Cowley). Toni Morrison didn’t do anything but write, to the exclusion of everything else.

Take pride in your extraordinary writer’s memory nature has equipped you with. Your writer’s imagination depends so much on remembering what you’ve heard about, read about, or seen. Whatever happens to writers they never forget it, but store it for future use. Katherine Anne Porter said, “We spend our lives making sense of the memories of the past.” Writers must have a gift to remember sensations and images that were experienced at times many years earlier and to relive them in their original freshness and vividness. Not just memories, but detailed memories: “Thus the greatest poets are those with memories so great that they extend beyond their strongest experiences to their minutest observations of people and things” (English poet Stephen Spender). A writer may not be able to remember a telephone number or to pick up a dozen eggs at the store, but will never all his life forget the expression on his mother’s face as she came in the door that particular day. He has a perfect memory for that. Memory is a writer’s workshop.

drawing of a hand with a penPossess extraordinary energy. No outstanding writing achievement has ever been produced without hard work. One of Joyce Carol Oates’ novels had 5,000 pages of notes. When writers are functioning at their best they work at white heat for an hour, a month, or years. Creative people don’t run out of steam.  Their enthusiasm doesn’t wane very long.

Don’t spend your time working on easy problems. Good serious writers work on problems that are hard for them because they’re stimulated by things that are difficult. They not only solve problems, they create them because when they solve those they make progress and become better writers. That’s how they create work that no one has seen the likes of before and expands their abilities at the same time. A major intuitive skill effective problem-solving writers have developed is being able to identify the specific point to approach the crux of the problem.

Be resilient and able to overcome obstacles and to persevere. Many writers persist however difficult the physical and mental effort of pursuing their goal might be. “Creative people are those who are more willing to redefine the ways in which they look at problems, to take risks, to seek to overcome daunting obstacles, and to tolerate ambiguity even when its existence becomes psychologically painful.” (Scott Barry Kaufman and James Kaufman)

Enjoy writing’s sweat factor and be able to produce tremendous amounts of work. Writers–creatives–love to work. Production is the writer’s main goal. Usually the greatest writers are also the most prolific.  Cynthia Ozick said, “There is a definite relationship between being major and having a profusion of work to show. You could write one exquisite thing, but you would never be considered more than a minor writer.”  Thomas Wolfe sometimes wrote 5,000 words in a night. Georges Simenon who was capable of writing 60 to 80 pages per day, produced 200 novels, 150 novellas, autobiographical works, numerous articles and scores of pulp novels under two dozen pseudonyms. Ray Bradbury took two hours to write a poem, half a day to finish a short story, and nine days to write a novel.

Strive for the fullest development of your skills. Developing skills leads to competence, then to expertise, then excellence, then greatness. If you feel you have the skills, you’re less likely to be haunted by self-doubt and your writing will flow more freely.

Young man typing on a laptopHave a strong concern for your technique and style. The reader isn’t meant to notice a writer’s technique, but other writers are aware of it immediately. The first thing you notice about writers is their style. Toni Morrison said that “getting a style is about all there is to writing fiction.” An appealing style is so important to a writer that writers joke about it:, ”If you are getting the worst of it in an argument with a literary man, always attack his style. That’ll touch him if nothing else will” (J.A. Spender).

Maintain an artistic vision and heightened perception. To writers the world is inexhaustibly rich with aesthetic potential. There are dimensions of reality they are sensitive to that other people overlook, perceptions of what might be called “hidden reality.” It’s the business of the writer, who has the creator’s faith that they are seeing a true reality, to find, collect, and communicate that reality in their work. Eugene O’Neill: “I am a dramatist…What I see everywhere in life is drama.”

Have a capacity for self-criticism and objectivity about your work and your abilities. Writers must learn to lay their egos aside as they would any other impediment.

Be sensitive to life and open to experience. Insatiably curious, writers plumb what is outside them in the world and their own thoughts, sensations, and emotions.  They are not afraid of what ogres they might discover in the world they write about or in themselves.

Be what you are: more self-confident, rebellious than the vast majority of people. Writers who lose their youthful rebelliousness are in danger of losing their talent as well.

Have a large tolerance for ambiguity–larger than the great majority of people. That’s one reason writers are generally such effective problem-solvers.

Be restless because you can’t help but be. Writers often move on to other projects just when what they’ve accomplished becomes clear. (Months may pass, years may pass, but be sure to get back to your project and finish it.) The first stanza of a poem by Wordsworth may have been written 28 years before the last stanza was written.

Strive for competence and constant improvement. Writers are never content very long. They are guided by a persistent willingness to write with more expressive power.

Value independence. Writers must be allowed to move unrestrained in their own direction under their own power. No voice should be more persuasive than the writer’s internal voice saying “X is the truth I must pursue.”

Spend a lot of your time alone. Most successful writers would agree with historian Arthur M. Schlesinger that “everything that matters in our intellectual and moral life begins with an individual confronting his own mind and conscience in a room by himself.” Writers often prefer solitude over socializing.

Have the ability to focus. Creative people often learn at an early age that they will achieve more if they focus their efforts on one area rather than dividing them among a variety of pursuits. Writers are capable of intense concentration, losing all sense of time and place, conscious only of the work before them. They will let nothing divert them from accomplishing it. Gustave Flaubert said that only writing mattered to him, and that he kept all his other passions locked up in a cage, visiting them now and then for diversion. Focusing is intense. Emily Dickinson said that if she felt physically as if the top of her head was taken off, she knew that was poetry.

Be playful and value the simple and the unaffected. Writers are in love with simplicity and bring to mind a Chinese proverb: “A truly great man never puts away the simplicity of a child.”

Computer, cup of coffee, and woman's hands writing in a notebookBe able to muster an abundance of physical strength and stamina. Often it’s the end of writers’ endurance that stops their working day. Novelist Thomas Wolfe would turn in manuscripts a million words long . He claimed that the physical demands on the writer made the writer’s life seem to him to be the hardest life man has ever known.

Adapt and make adjustments. An experienced writer has learned when to stop and begin again when something isn’t working.

Be studious in the sense of studying to develop your craft. All writers study and all are self-taught to a greater or lesser degree. Composers and fine artists are likely to have been taught by masters; writers are likely to have taught themselves.

Establish rapport with readers. Your writing is always for someone–yourself certainly. But also the audience, the reader. Skilled writers are aware of whom they are writing for and establish rapport with them within the first few sentences of the work.

Take luck, the breaks, and good or bad fortune into account. Good luck often follows persistence. A failure or wrong direction or bad luck may lead to something fruitful later on. A “wrong” word in a sentence may prove to be the perfect word.

Pencils, pens, markers and other writing toolsHave or develop a business sense. You have a career to manage and responsibilities and expenses. Study marketing and salesmanship–read. Take business classes.

Feel deeply; be emotionally rich. Writing, like music, must convey emotion–from sorrow to joy and everything between. Writers have strong feelings. For example, they often have fiery tempers.

 

If I asked you what you think are the qualities that it’s most important for writers to possess, how would you answer?

I, myself, would begin with “hard worker.”

 

© 2021 David J. Rogers

For my interview from the international teleconference with Ben Dean about Fighting to Win, click the following link:

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What Makes a Writer a Writer

Components of a Certain Kind Make a Writer a Writer

A Monte Python skit tells the story of an accountant who was dissatisfied with accounting because he felt it was so boring. He went to a service that analyzed an individual’s personality and capabilities and advised the person on the occupation that would best suit them. The tests revealed that he was a very boring person, which made him perfect for the accountant’s job. The skit gets a laugh, but also illustrates the fact that certain personal characteristics do equip people to perform well in a pursuit.

A number of components come into alignment to result in the direction of a person’s life and career. The components making a social worker are different from the components that work together to make a diplomat or a baker. Why do you happen to be a writer and not an acrobat or botanist? You didn’t become the writer you are willy-nilly. There are reasons. Why were Picasso and Monet painters and not novelists?

Pink lotus on green backgroundBuddhism sets up qualities a life must have if the person is to find fulfillment. One quality is “Right Livelihood:” to be most fulfilled the person must be in the occupation that most suits them and is most beneficial to them. My wife and I have four children. Each is very different than the others but is perfect for their occupation. The analytical one who loves mathematics is the director of revenue for a city. The organized one manages a number of people. The one who wants to help people is a therapist. The most sociable one is a real estate agent helping people find the home they will be most happy in.

You’re a writer because you have components of a certain type—an unusual type—of many personal qualities, interests, motivations, values, attitudes, abilities, experiences, and other elements equipping you specifically for the writer’s life, which I needn’t tell you is anything but an ordinary, typical, or easy life.

Jigsaw puzzle piecesAll necessary components have to be present if you are to excel at the writer’s craft. If just one component is missing, you no longer have an ideal writer. If you are to succeed in an art there must be a fit between the talent you possess and the talent necessary to participate with distinction in the art.

The existence of serious writers is atypical. Most people do not live a serious writer’s life. They do not keep artist’s work hours.  They are not absorbed in words, paragraphs, style, and sentences. They are not concerned with publishers’ deadlines. They do not worry about the rhythms of sentences, their music. Their training is different.  Their friends are different, as are their ambitions and dreams. They are not so self absorbed as writers are. Writers’ lives are like other writers’ lives.

Ernest Hemingway—quite probably the most innovative stylist of all–had all the components. William Faulkner had them all.  Shakespeare had them all, and Marcel Proust, Eugene O’Neill, Virginia Woolf, and Joseph Conrad and James Joyce and centuries before them Sophocles and Euripides. No component was missing.  Stephen King, Joan Didion, and John Grisham have them. People who win Nobel Prizes have them. Do you have them?

Louise Nevelson said: “My theory is that when we come on this earth, many of us are ready-made…Some of us–most of us–have genes that are ready for certain performances. Nature gives you these gifts.”

Needed Writers’ Skills

Tree and grass near a pondWriters and other artists should be able to recall many thousands of detailed memories that form a basis of their writings–a gift to recall sensations and experiences from many years earlier and to reconstruct them in their original freshness and vividness.

A seventy-five year old writer may describe the expression on her mother’s face at her fourth birthday party. And if a photograph of that face that day were held up it would be identical to the skilled writer’s written description.

If you don’t have the writer’s components and wish to excel as a writer you’ll have to acquire them–if you can. For example, having a rich imagination, being comfortable working in solitude, and being inquisitive are qualities that writers should possess. (If writers cannot be productive working alone for long periods they will have problems.)

But not everyone who wishes to be a writer is able to easily acquire all the components. For example, to be considered a good writer, a writer must possess a range of identifiable technical capabilities such as the ability to create an effective dramatic scene.

silhouette of writer working at a typewriterGood writers can do that, but not all writers can, even some writers who work very hard trying to learn how to. Think of any writer’s skill–some people will master it easily, some only with great difficulty, and some will never master it. Whatever they do, some writers’ scenes are not effective.

They become known as novelists or short story writers who though perhaps superlative in other respects, write scenes that are flat. Some writers are masters of the sentence. Their sentences seem to pop out of the text and startle you with their beauty. Thomas Wolfe could not handle the plots of his novels but wrote wonderful episodes.

Or the writer’s descriptions of characters and landscapes are always poor because they have no facility for creating images, metaphors, and similes although a good writer should have an “eye” and know how to write vivid descriptions that enliven the text and appeal to readers’ senses. Some writers must struggle to create a single image while others–painters in words–are able to pull five good ones out of the air at will. They are asked, “How are you able to do so easily what is so difficult for me?” It is a gift.

Hands of woman writing in a parkA writer should have an insatiable passion to write and the skill of persistence. Joyce Carol Oates is a prolific author of fifty-eight novels for a reason. She has good writing practices, and finds no reason why one who professes to be a writer shouldn’t be writing all the time. She says, “When writing goes painfully, when it’s hideously difficult, and one feels real despair (ah, the despair, silly as it is, is real!)–then naturally one ought to continue with the work; it would be cowardly to retreat. But when writing goes smoothly–why then one certainly should keep on working, since it would be stupid to stop. Consequently one is always writing or should be writing.”

© 2021 David J. Rogers

For my interview from the international teleconference with Ben Dean about Fighting to Win, click the following link:

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Does Lockdown stifle or encourage creativity?

Janet Weight Reed always does wonderful work–beautiful paintings and thoughtful and intelligent narratives. I want to share this timely post of hers with my readers.

My Life as an Artist (2)

It’s been one year since the pandemic began and lockdown became a part of our lives….time enough to ask the question ‘Does lockdown stifle or encourage creativity’?

Birthday flowers given to me by a neighbour – perfect for my daily warm up exercise to get the creative juices flowing.

I believe the answer to this question ultimately lies in the attitude we bring to each day. This applies whether in lockdown or not.

Most importantly do we have a routine that works for us? Pre lockdown many might have had routines imposed upon them. Certain trains to catch, times to be at the office/school etc…but without those imposed routines, life is quite different.

A year ago, at the beginning of the first lockdown, I was very aware that many people were in what I call the ‘New Years resolution’ mode. Excitement reigned as people ordered all sorts of art…

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A Better Way to Overcome Fears And Worries

My book Fighting To Win: Samurai Techniques For Your Work And Life had just come out, and I was on a TV show publicizing it. The host said, “I read your book last night. You say in it that in the martial art called aikido you “harmonize” your movements with your opponent’s movements. Can you demonstrate to me what that means?”

hands of Aikido martial artistWe were sitting about three feet apart, facing each other.  I said, “I’ll be happy to.” The host said, “Should we go over there where we have more room?” I said, “This is fine. I won’t have to get up out of this chair. Throw a punch at me as though you are mad at me and want to knock me down. Don’t hold anything back. Really throw a punch.”

The host said, “Are you sure you want me to?” He was a very big, muscular man who was obviously a body-builder. I said, “Go ahead. I’ll be all right.”

The host stood, reared back, and threw a punch; still sitting, I reached out and grabbed his hand that was coming at me and pulled it forcefully. The host went flying to the floor. Lying on the floor, he said, “Wow.”

I helped him up and said, “You see, I harmonized with you by not resisting you but instead by going with you, following your intention, the direction of your movements, pulling your hand rather than blocking it. That is called extending in aikido–that pulling–going further in the direction of the opponent’s momentum and force. That is not the normal Western way to defeat an opponent. In the West we are trained to oppose force with force. You punch me and I punch you.  Then the stronger person wins. In aikido the weaker person can win.”

The host laughed: “I certainly know now how effective extending can be in defeating an opponent.”

I said, “You can apply the technique of extending to overcome everyday emotional difficulties like fears and worries that may have been causing you problems that even for a long time have interfered with your living.”

The host said, “That’s interesting. How does that work?” Then he added, “You’re not going to throw me again are you?” I chuckled and said, “That won’t be necessary.”

 

Some Applications

The fear of public speaking is a major problem for many people. Surveys have shown that some people would rather fall 32,000 feet from an airplane than give a speech in public. (In other words, they would rather die.)  The only greater fear among most people is the fear of sharks. I’ve known people to turn down promotions into lucrative executive positions or teaching jobs because giving speeches or lectures would be a necessity of the new job and that they cannot imagine themselves doing.

I know of a PhD candidate who spent eight years researching and writing her dissertation, but after finishing it was so afraid of the interview with department faculty that was required before that degree could be awarded that after all the work was done she quit the program. She had worked hard for a long time and never had the fulfillment of a degree because of the fear she could not cure.

Man holdng head, worriedI’ve seen emotional extending used successfully to overcome the fear of an upcoming speech many times. Go into a room by yourself, sit on a chair, and alone, worry and make yourself afraid. Tell yourself things that scare you. Exaggerate. Do this for five or six minutes, or longer, if necessary. After a while you will find the fear disappears. Extending excites emotions that are troubling you, then calms them down. The fear of asking for a promotion or a raise, of having an upcoming job interview or of asking for a date can be dealt with the same way. Whatever the fearful situation is, extending will help.

 

Excerpted from Fighting To Win: Samurai Techniques for Your Work and Life:

“All your emotions are forms of energy. Each and every one of your emotions is power. Your positive feelings of excitement, pleasure, joy, courage, optimism, confidence, and love can fill your actions with an almost unbelievable power. You know that yourself without even having to think twice about it. When you’re filled with really positive feelings, there’s hardly anything you feel you cannot accomplish.  Hardly anything can stop you.

Your negative emotions are also power. But they’re destructive. Your fear, worry, anxiety, depression, anger, nervousness and even stage-fright and all the other of what the samurai called inner ‘dragons’ are power that’s being used in the wrong way. They are energy that’s pointed in the wrong direction. It’s directed inward, against you. It holds you back. It keeps you down.

What I call emotional aikido is a way of transforming negative, inward-directed emotional power into positive power pointed outward. It transforms your harmful emotions into helpful ones, and it does so by going with your harmful emotions, not opposing them.

Neurologist Dr. Viktor Frankl points out that, paradoxically, trying too hard at something often makes it impossible. For example, the person who is afraid of blushing and tries hard not to when he enters a room full of people will actually blush. The person who is afraid of stuttering, and tries hard not to, will stutter. Frankl calls this “hyper” intention. It’s intending too much and too hard. A classic example of too much intending is the man who is so damned intent on impressing his partner with his sexual prowess that he tries too hard and fails miserably.

Frankl realized that hyper-intending could be a very useful way to rid people of emotional impediments: If a person stuttered when he tried very hard not to, wouldn’t he be unable to stutter if he tried very hard to make himself stutter? And that’s exactly what happened. A man with a lifelong severe case of stuttering stopped only when he tried very hard to force himself to stutter. A man who had suffered from writer’s cramp for some years was cured by trying not to write neatly and legibly, but in the worst possible scrawl.

The moment he deliberately tried to scribble, he couldn’t. Using the technique of hyper-intention, Dr. Frankl even cured a healthy man of his terrifying fear of having a heart attack. He had him try to induce one! The man worked at it like the devil. He huffed and puffed trying to make it happen. What happened was that the heart attack didn’t happen, but the man lost his irrational fear of one.

In going into battle against a disturbing inner emotion you have a choice to make. If you’re a direct force-against-force stylist you’ll probably attempt to overcome the emotion directly through willpower. You’ll tell yourself, “I won’t let this thing get the better of me. I will not blush this time . . . will not stammer . . . will not feel nervous, afraid, worried, depressed,” etc., etc., etc.

According to Frankl, that approach only increases the problem: “Pressure precipitates counter-pressure.” But if you use the indirect, extending style of hyper-intention you stand a far better chance. To use it, you (1) take the frontal approach by identifying the emotion that’s disturbing you, and then you (2) go with it and exaggerate it. If you’re feeling afraid of something tell yourself things that will make you even more afraid. Fear your guts out. Fear to beat the band. Do the same thing for any feeling that’s troubling you. All your emotions have a saturation point which when reached will stop the emotion. Emotional extending is over-saturating them.

You can’t ignore the troublesome worries, fears and anxieties that get in your way and interfere with your functioning and feeling well, just as you cannot ignore any opponent without risking defeat. They’re real. They’re blocking you. And to win you have no choice but to deal with them. You can’t will them out of existence by pitting your willpower against their power. But you can extend them out of existence. Don’t attempt to suppress them or beat them down. Do the opposite—exaggerate them, hyper-intend them, over-saturate them, extend them.”

 

pink lotus flower on green If you choose to use the aikido approach to overcome external and emotional adversaries, be aware that the way to “serve” one’s adversary in the aikido style is to understand what they want, and to give them more of it to get what you want. Remember: the extending technique or process can be an antidote to the emotions of fear, worry, anxiety, the blues, and depression.

Using emotional extending aikido the “intention” of your fear is to make you feel afraid. Give it what it wants. But go further. Make yourself feel more afraid .The fear will grow greater for a while as you think thoughts that induce fear, and then if you persist the fear will disappear. Make yourself be more anxious and the anxiety will grow greater and then as you continue extending, the anxiety fortunately will disappear.

If the PhD candidate who dropped out of the program rather than face her fear of speaking with the department faculty had been familiar with emotional extending it may well be that she would have had a wonderful career she had worked so hard to prepare for.

 

© 2021 David J. Rogers

For my interview from the international teleconference with Ben Dean about Fighting to Win, click the following link:

Interview with David J. Rogers

 

Order Fighting to Win: Samurai Techniques for Your Work and Life eBook by David J. Rogers

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A Style Is About All There Is to Art

Style is everywhere in art and everywhere in everyday life. There would be no art without style. Picasso’s Guernica has a style, and Pride and Prejudice does too, and the building you are in has a style. Whenever you speak or send a text or dress or brush your hair, you have a style. You’re reading a style right now. It is mine, and just as, whether you know it or not, you have spent probably Interior livingroom with stylethousands of hours developing yours (so that I’d recognize anywhere that it is yours), I have consciously spent many hours developing mine.

A core reason you are attracted to one painter over others or one writer over others, or why you like Sinatra, or Chopin or Debussy or The Simpsons is their style.  Speaking of style, short story specialist Irishman Frank O’ Connor said, “One sees that the way a thing is made controls and is inseparable from the whole meaning of it.” In the same vein but more emphatically American Nobel Prize writer Toni Morrison said, “Getting a style is about all there is to writing.”

The total effect of what a writer says will depend to a considerable extent on how the writer says it. Style is the manner of saying what is said.  Some styles are appealing, but many are unappealing. The writer should always want to write with an appealing style. It needn’t be beautiful, but it should be appealing.

Painting of field by Claude Monet

Claude Monet

The writer’s style expresses his or her temperament and his or hers alone, and reveals verbal abilities, methods of writing, enthusiasms, and even self-doubts. By analyzing a writing style you can analyze the writer. Painters leave their print everywhere in their paintings. Style is the whole artist that is made recognizable in the work. You can see from a work that a Cezanne temperament is not a Monet temperament.

There are good styles and bad styles. .  People do not generally like weird, eccentric styles. When artists discover the style that best expresses them (which may take years to happen) they experience a breakthrough and feel a new sense of power and confidence over their work.

A sign for writers that they are on the right track is the emergence in the work at hand of their characteristic style.  When they see their style taking shape in the work, they feel secure. I’ve always felt that when I get the first paragraph under control (in my style), the piece is basically written.

Simplicity

Artists who are interested in styles today are almost automatically interested in SIMPLICITY, claiming that works of art should not be unnecessarily complicated. Speaking of simplicity, writer Willa Cather said that the higher processes of art are all processes of simplification.

portrait of Anton Checkhov

Anton Checkhov

Anton Chekhov is considered the master of the short story–the greatest, the best to learn from. He wrote to his brother, also a writer, “A strange thing has happened to me: I have developed a mania for brevity–everything strikes me as too long.” He practiced “maximal conciseness.” His phrases are simple, such as, “The sun set,” “It got dark,” and “It started to rain.”  Novelist Somerset Maugham thought that writing simply was more difficult than it might seem. He said: To write simply is as difficult as to be good.”

Chekhov believed that not only should a short story’s style be simple, but the plot should be simple too. He said, “The more elaborate the plot of a given story is, the less effective it tends to be as a work of art.” In many of his stories precious little happens.   He said, “You should take something ordinary, something from everyday life without a plot or ending.” He said a story should have a man and a woman, and a little action. Some of his most admired stories are mood-pieces in which plot is barely present.

Frank Lloyd Wright building

Frank Lloyd Wright

Architect Frank Lloyd Wright, designer of New York’s Guggenheim Museum, was interested in simplicity not only in architecture, but in all arts. He believed that there could be but one best way for the artist to express anything, and that the way could include only what was absolutely necessary to express the essential meaning of the thing. That requires stringent simplification. By eliminating the inessentials, the artist arrives at the nature of the object—its pure form. But the artist must know when to stop simplifying. Wright said, “Less would ruin the work as surely as would ‘more.’”  So, simplify but don’t go too far.

Accessibility and Artworks

Portrait of Leo Tolstoy

Leo Tolstoy

Artists who are interested in style and interested in simplicity are also interested in ACCESSIBILITY of their works. In any of the arts, the artist has to decide–as do you–if it is important to appeal to an audience, to be understood by an audience. Should the work be accessible? How accessible? Leo Tolstoy, whose novels are sometime considered the greatest ever written, said, “Great works of art are only great because they are accessible and comprehensible to everyone.” Sculptor Jacques Lipchitz thought what many people think: that so-called great works are too pompous, too stiff, and are not accessible. Ford Maddox Ford was all for accessibility and said, “You must have your eyes forever on your Reader. That alone constitutes Technique”

William Faulkner felt differently. He said, “I don’t care about John Doe’s opinion on mine or anyone else’s work. Mine is the standard which has to be met.” (And he won a Nobel Prize.) But his work is accessible only with difficulty–long, convoluted sentences and rhetorical style. But Francois Mauriac disagreed with Faulkner and said, “An author who assures you that he writes for himself alone and that he does not care whether he is heard or not is a boaster and is deceiving himself or you.”  (And he won a Nobel Prize too.) Delacroix wanted accessibility. He said. “A picture is but the bridge between the soul of the artist and that of the spectator.”  How accessible will your work be?

The Author’s Intensity and the Production of Literature

The artist’s INTENSITY is reflected in style.  Some artists’ style is laid back, but others’ style is red hot. Raymond Chandler turned hard-boiled detective writing into critically-accepted literature and had a lot to say about the writer’s craft.  He wrote: “When a book, any sort of book, reaches a certain intensity of artistic performance it becomes literature. That intensity may be a matter of style, situation, character, emotional tone, or idea, or half a dozen other things. It may also be perfection over the movement of a story similar to the control a great pitcher has over a ball.” Painter George Innes said, “The greatness of art is not in the display of knowledge…but in the distinctness with which it conveys the impression of a personal vital force that acts spontaneously, without fear or hesitation.”

Advice Regarding Emotions, Plot, and Understatement

Van Gogh self portrait

Van Gogh

A style conveys EMOTIONS. Chekhov wrote, “The more emotionally charged a situation, the more emotional restraint one must show in writing, and then the result will be emotionally powerful. There is no need to lay it on thick.” Other Chekhov quotes: “Avoid describing the mental state of your protagonist.” “Avoid describing emotional states…one should make these apparent from action.“ “To get strong emotions from the reader, try to be somewhat colder.” Thinking the same thing as Russian Chekhov, Frenchman Gustave Flaubert said, “The less one (the writer) feels a thing, the more likely one is to express it as it really is.”

The two other greatest writers of short stories–Guy de Maupassant and Ernest Hemingway–also advocated emotional understatement. Hemingway wrote “Dispassionate prose,” prose always less emotional than the events seem to demand. Understatement elicits strong emotional responses from the reader.

Emotional states in writing are amplified by brevity.  American writer Flannery O’ Connor said that the fiction writer has to realize that compassion or emotions cannot be created with emotion. The style itself must be emotion-free.

Artists Can’t Help It: They Repeat Themselves

F. Scott Fitzgerald was a highly successful writer by the age of twenty-four. He said, “Mostly, we authors repeat ourselves—that’s the truth. We have two or three great moving experiences in our lives—experiences so great and moving that it doesn’t seem at the time that anyone else has been caught up and pounded and dazzled and astonished and beaten and broken and rescued and illuminated and rewarded and humbled in just that way ever before”

Claude Monet painted the same subject over and over. As an Impressionist he was interested in conveying the effect of light on objects, and would often  set his clock to be at  the place where the subject was at intervals so he could catch the light at noon, say, and ten minutes later and ten minutes after that. He might paint seven or ten paintings of the very same thing in different light.

All Artists Need Taste

Picasso painting

Picasso

Obvious in a work of art is the artist’s aesthetic judgment, which  he/she develops over time and experience.  “At the higher levels of creativity it is probable that few besides the creators themselves are able to assess a new creation, and it is necessary that they should learn to adopt an objective critical attitude toward their own work…(the creators’ self-criticism) must be based on  sound insight and aesthetic appreciation–what one would call ‘taste” (R. Ochse).

Some Writers Are in the Wrong Art

“Often while reading a book one feels that the author would have preferred to paint rather than write; one can sense the pleasure he derives from describing a landscape or person, as if he were painting what he is saying because deep in his heart he would have preferred to use brushes and colors” (Pablo Picasso). A good example is Joseph Conrad in his masterpiece Heart of Darkness.

Miscellaneous Insights About Writing

 “Good writing is the hardest form of thinking. It involves the agony of turning profoundly difficult thoughts into lucid form, then forcing them into the tight-fitting uniform of language, making them visible and clear. If the writing is good, then the result seems effortless and inevitable. But when you want to say something life-changing or ineffable in a single sentence, you face both the limitations of the sentence itself and the extent of your own talent” (Pat Conroy).

Flannery O’Connor said, “A good short story should not have less meaning than a novel, nor should the action be less complete. Nothing essential to the main experience can be left out of a short story.”

“Since Stephen Crane’s time [late nineteenth century] all serious writers have concentrated on the effort of rendering individual scenes more vividly” (Caroline Gordon).

“A novelist’s characters must be with him as he lies down to sleep, and as he wakes from his dreams. He must learn to hate them and to love them” (Anthony Trollope.)

“It has been through Flaubert that the novel has at last caught up with poetry” (Allen Tate).

“Maybe every novelist wants to write poetry first” (William Faulkner).

“Only when the moral beliefs of the reader tally exactly with those on which a story is based will the reader have the whole of the emotion which it is potentially able to produce in him” (Montgomery Belgion).

A personal style that makes you comfortable and confident helps you accomplish whatever you wish to accomplish in your art. An artist’s style evolves over a lifetime of work. What it was when you were twenty-five is not the same as it is now when you are fifty. This post and the ideas and experiences here of many important artists may help you strengthen and perfect your own style.

 

© 2020 David J. Rogers

For my interview from the international teleconference with Ben Dean about Fighting to Win, click the following link:

Interview with David J. Rogers

 

Order Fighting to Win: Samurai Techniques for Your Work and Life eBook by David J. Rogers

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Order Waging Business Warfare: Lessons From the Military Masters in Achieving Competitive Superiority

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http://www.barnesandnoble.com/w/waging-business-warfare-lessons-from-the-military-masters-in-achieving-competetive-superiority-revised-edition-david-rogers/1119079991?ean=2940149284030

 

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