Pursuit of Perfection in the Arts

Masks representing theater (blue and redActor Lord Laurence Olivier aimed at perfect performances, as did Peter O’Toole, Olivier’s successor as the world’s greatest actor–the perfect performances in the perfect tragedies as the perfect characters–as Hamlet, King Lear, Othello, or Iago. One night Olivier felt that he had achieved perfection in a performance. Others in the cast also told him he had.  He said, “What I’m thinking is I’ve done it, but will I be able to do it again?” Perfection is difficult and rare. It is hard to repeat. It is a concept that grows in importance to artists as their skills and accomplishments ascend to high levels.

In her essay “Dancers and the Dance” Susan Sontag states that dance differs from the other performing arts. The standards which dancers measure their performance against is not that of the highest excellence as it Is with actors, singers, and musicians. Sontag believes that the dancer’s standard is perfection. She says, “Every serious dancer is driven by notions of perfection–perfect expression, perfect technique.”

Sontag says that dance demands more of the dancer than any other art or any sport demands.  She writes, “While the daily life of every dancer is a full-time struggle against fatigue, strain, natural physical limitations and those due to injuries (Which are inevitable) dance itself is an enactment of an energy which must seem, in all respects, untrammeled, effortless, at every moment fully mastered.” When performing, dancers must hide their pain behind a performing smile. Injuries must be hidden. The dancer’s performance smile is “a categorical denial of what he or she is actually experiencing.” Behind the grace of the dancers is much discomfort and pain they endure while training themselves for such performances and while performing.

A male and a female ballet dancersIt is true that serious dancers currently and throughout history have aimed at perfection, but other artists–usually the best in the art, those that are aware that they have a significant talent–also aim for perfection in their work, I believe. Those who do aim for perfection in their novels, musical composition, and paintings and other art works let it be known through their obsessions with their work that they are extremely serious about their art, and are willing to face its challenges with drive and commitment.

The urge for perfection begins, I think, with a niggling, Then the artists become increasingly aware after a number of works have been produced and (usually  but not always) thousands of hours have been put in,  that perfection is within their reach and not merely a remote fantasy–that THEY–Faulkner, Picasso, Stravinsky, Cassatt, Proust, Cezanne, and Virginia Woolf–have  what it takes.

To be an artist seeking perfection you have to possess art-relevant traits that will equip you for a creative life. If your ambition is perfection, and you are not self-critical and self-demanding, you will have problems. The artist aiming to produce perfect works has to be self-critical, always looking for faults in the works and in themselves that will have to be corrected. When Sontag had praised a dancer for a superb performance she heard “a disconsolate litany of mistakes that were made–a beat missed, a foot not pointed in the right way.” Sontag adds: “In no other art can one find a comparable gap between what the world thinks of a star and what the star thinks about himself or herself, between the adulation that pours in from the outside and the relentless dissatisfaction that goads one from within….Part of being a dancer is this cruelly self-punishing objectivity about one’s shortcomings, as viewed from the perspective of an ideal observer, one more exacting than any real spectator could ever be.”

Intense concentration is necessary too if you hope to produce a perfect artistic performance; this is true of every art. All you need do is look at the intensity of the eyes of an artist painting, or a writer at the keyboard to realize that. Everything in the artist’s mind that is not needed for the artistic performance is ignored, and only what the performance requires is brought into attention.  Anyone who produces great works that are the result of the mind in action such as archers, mathematicians, and artists of unrivaled talent like dancer Mikhail Baryshnikov project a state of extreme (yet also relaxed) focus. Sontag says that state is not just something that is necessary for a great performance, but, “It is the performance, the very center of it.”

Painting of Frank SinatraWhen they are watching the performance of a play what the audience hopes to see more than anything else is a virtuoso performance they will not be able to forget however long they live and how many plays they see. The virtuoso performance is the single most exciting and popular feature not only of drama but of any art, and the most thrilling feature of a virtuoso performance is not the possibility that the artist may fail. Rather, it is the spectacle of succeeding in an extraordinary way–a performance that is perfect because it has no errors. All the time I am listening to music as I do all day long or reading a narrative I think is great such as James Joyce’s short story “Araby,” and Frank Sinatra’s rendition of “In the Wee Small Hours of the Morning” I am thinking, “Keep it up James and Frank. Don’t fail. Continue being great until the story or the song is finished and perfect from the beginning to the end”

Playwright Eugene O’Neill, America’s greatest and most innovative dramatist, was awarded the Nobel Prize in Literature in 1936.  Long Day’s Journey into Night was his masterpiece. One of his experiments was revealing the characters’ interior  monologue. Another was making the speech of poor, uneducated characters a part of the drama. Another Nobel Prize winner–Saul Bellow–who said that writing was more important than his wife and children–aimed to write perfectly. A third Nobel Prize winner–Ernest Hemingway–made no secret that his aim was to produce perfect works and be the greatest writer in the world. Many critics believe he accomplished that goal. Writer Joan Didion thought his every sentence was written with such craftsmanship that it was perfect.  Many critics, teachers, and writers consider the short stories and plays of Anton Chekhov, the founding father of modern theatre, and the leading prose writer of his era, perfect. It is hard to tell what a Chekhov story or play “means” because he does not judge or clarify meanings; meanings are left to the reader or audience.

Perfection in the arts is always attributable to the personality of the artists that filters through their talent. The artist aiming to produce perfect works must keep the audience clearly in mind. Critic Gilbert Murray said that writers who have the powers of revelation are the ones who have experienced–seen or felt–more than the average run of intelligent beings. Behind every work, whether poor or great, are the tastes and the disposition of the person who created it, as well as a sensitivity to the audience. In the theatre the actor’s aim is through the performance to jolt the members of the audience–to please in a powerful way, to be accepted as though a friend, to lodge securely and permanently in their memory, displacing less important things.

The days and nights of everyday living of the artist seeking perfection must be filled to the brim with their art. More than likely, the artist has grown up with it, seen it mature, and watched it take over a good part of his or her being. Short story master Raymond Carver reflecting on his career put it this way: “conversation was fine, camaraderie was fine, making love was fine, raising a family was okay, but interfered with writing.”

 

© 2019 David J. Rogers

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Filed under Actors and Directors, Artistic Perfection, Artists, Composers, concentration, Creativity Self-Improvement, Dancers, Developing Talent, Human Potential and Achievement, Drive, Laurence Olivier, Susan Sontag, Writers

Guidance for Reaching Success and Fulfillment in the Arts

If you are a regular reader of this blog, you know a primary interest of mine is in the inner skills needed to achieve success, especially for those in the arts. Even the most superb techniques of craft will take you only so far without additional skills. I’m talking about inner skills of the heart and spirit, including persistence, confidence, durability, patience, courage, vitality, intensity, flexibility, and so on. What follows are some insights into those inner skills.

Run Through the Tape

Why what I’m going to say now is true, no one has been able to figure out, but almost all people relax their efforts when they get close to achieving even their most important goals. They struggle and struggle and then seem to get lazy and disinterested. They are like a sprinter who runs fast to the tape and slows down or stops. But good coaches advise runners to “run through the tape.” Whatever you do, don’t relax just when you’re getting close to success, but persist in applying your utmost energy

Talk to Yourself: Increase Your Drive

When you’re facing difficulties or your motivation is faltering and you’re losing interest, talk to yourself about your need to work on and reach the goal. Whether you are an amateur or professional, a novice or expert, tell yourself that it’s important that you complete the tasks and get to the goals: “I’m feeling a little tired and want to quit for the day, but it’s important to me that I finish writing this article, so I will just continue working.”

Value Failure: Don’t Be Afraid of It

Why are you and I so afraid of failure? Many people live in terror of it and feel they must never fail, but always succeed, trailing clouds of glory. Yet failure can be a blessed life-changing event. If you experience only successes, you come to expect quick and easy results, and your sense of confidence is easily undermined if you suffer a setback. Setbacks and failures serve two useful purposes: Not only do they show us that we need to make changes and adjustments in order to gain the success we are seeking, but also they teach us that success usually requires confident, persistent, skilled, focused effort sustained over time. Once you set failures aside and become convinced that you have what it takes to succeed, you quickly rebound from failures. By having courage and sticking it out through tough times, you come out on the far side of failures with even greater confidence and commitment.

Seek Feedback, Not Crticism

The effect of feedback depends both on its source and on the way the creative person interprets it. If an expert judges the value of a beginner’s work based on the expert’s standards or tells the beginner what he or she should be doing, the feedback may be seen as controlling. That kind of feedback negatively affects creative performance. Useful feedback is empowering rather than controlling and doesn’t have a negative effect because it is viewed as useful information–not criticism. Feedback designed to evaluate reduces creativity and motivation, but informative feedback increases them. Both the person giving the feedback and the person receiving and interpreting it play a role in making it informative, and thus useful.

Get Feedback Addressed to Your Needs

Tell the person whose feedback you are seeking what you’re trying to accomplish and what kind of help you need from them. For example, an artist might ask what she can do to make a figure look more three-dimensional; a writer might ask for advice on making a dialog more natural. Feedback should always focus on the work–never on the artist.

Persist, Persist, and Persist

Persist until you finish your novel, sculpture or symphony. The work that matters to creative people is finished work. Persistence is an extraordinary attribute that the majority of people do not possess. It separates writers, painters, actors, ballerinas, composers, and performers who have long, successful careers from those who disappear. Potential combined with a focused and tenacious pursuit of important goals is the hallmark of high achievement in the arts.

What it takes to persist is simply to persist, “staying with it longer than you might.” If you persist, most other success factors will automatically fall into place. Persistence is that important.

Have Confidence

Confidence is needed if you are to be successful as an artist. Make it a point to never lose confidence. If you find yourself losing it, use affirming statements, such as “I can do this; I believe in myself.’

The higher your confidence, the higher you’ll set your goals, and the stronger your commitment to achieving them will be. And it is high, challenging goals–not easy ones–that lead to worthwhile creative achievements. You’ll feel serene, for now you can make full, free use of all your talents. You won’t be tentative because you’ll have faith in your problem-solving abilities. You’ll rework problems or you’ll be decisive in abandoning what isn’t working.

Confidence touches every aspect of your being—whether you think about your prospects positively or in a self-defeating way, how strongly you motivate yourself, and whether you persist in the face of adversity and setbacks. It also reduces your susceptibility to discouragement, and enables you to make positive changes in your life.

Gertrude Stein was a writer with supreme confidence. She said to cubist sculptor Jacques Lipchitz, “Jacques, of course you don’t know too much about English literature, but beside Shakespeare and me, who do you think there is?” She said to her friend Pablo Picasso, “There are two geniuses in art today, you in painting and I in literature.

You’ll be very reluctant to give up if you are confident. You’ll make better use of your time because confidence and energy go together: one feeds the other. You will be electric with that rarest of human qualities—INTENSITY. When you face difficult tasks, if you are confident, the challenges will excite you rather than intimidate you. You’ll be more likely to seek help and assistance to improve your performance than the less confident artists or writers who are afraid that asking for help will expose their limitations.

Make Effort a High Value

The most successful people have high career aspirations, are confident, and generally attribute their success to high effort and failure to lack of effort.

They believe that creative success comes mainly from ability combined with hard work, probably over a long period of time. If they fail, the goal becomes even more attractive to them. They get hungrier to succeed. If things don’t turn out well, they don’t believe it’s because they aren’t capable, intelligent, or gifted. It is because they didn’t work hard enough. That brings them hope. Optimism is kept high because effort is a virtually limitless resource. You can always work harder.

Work Harder, Not Less Hard

How expertise is developed in a field is a hot subject these days, including expertise in the various arts. A number of scientific studies comparing novices with experts in most fields support the common sense notion that because of their great knowledge and skill, experts are able to accomplish with almost no effort what non-experts can accomplish only with difficulty or can’t accomplish at all. But don’t be deceived: experts work harder, not less hard than non-experts.

Think the World of Yourself, but Don’t Be Above Asking for Help

Creative people who are the most likely to ask for help are those with a high opinion of themselves, while those with a low opinion of themselves are the least likely, although they may be the most in need of it and would profit from it. Asking for help shows that you’re serious about reaching your goals. Useful feedback can help you evolve and reach high levels of satisfaction and achievement.

The helper may encourage and inspire you, and that may be what you need to push you toward the goal, or they may provide material support. T.S Eliot’s friends subsidized him till he established himself.  Vincent van Gogh’s brother Theo bankrolled him. So without reluctance say, “I would appreciate your help…” I have no problems asking for help, and all my life, I have almost always received the help I asked for and have tried never to deny it to someone who asked me for it.

Focus on Perfecting the Most Crucial Skills of Your Art

It is not possible to describe the complete, complex structure of knowledge and skills the experienced artist has acquired. It is a mistake to think that success in a creative field is attributable to one blessed aptitude such as awesome natural talent, or to three or four aptitudes. Success in the arts is attributable to a combination of many capabilities.  The most prominent creatives focus harder on developing to a high level the most needed skills of their field.  The best predictor of creative success isn’t just time spent working, but the kind of time–the amount of time devoted specifically to improving writing , painting, acting, etc. skills. And not just this skill or that skill, but the five or six specific skills which are the most essential if a person is to become excellent in that field.

For some artists the development time is short–almost immediate. Poets in particular, such as Dylan Thomas at nineteen, may reach high excellence with blinding speed.  For others success occurs only after years of perfecting their craft. Like athletes, artists develop at different rates.

Make Sure Your Skills Match Your Goals

Of special importance to writing, painting, composing and performing success is the state in which your skills perfectly match the goals you’re aiming to achieve. The skills are exactly what’s needed to reach the goals. That’s what you should aim for—a perfect match. It’s foolish to ask yourself to try accomplish objectives you don’t have the skills to achieve, and there’s no thrill accomplishing goals that don’t challenge you. So you must focus on identifying and developing the specific skills you need to accomplish the ends and the fulfillment you aspire to.

 

© 2019 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 Artists and Writers Are So Self-Absorbed

The Self-Absorbed Artist and Writer

Blue sky with clouds above mountains and trees

A Break in the Clouds by Kendall Kessler

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.” But Saint Augustine’s observation, true of most people, is not true of artists and writers. Artists and writers 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 because they are their own laboratories from which, like alchemist’s mixtures, their art is formed. They must know their strengths (and exploit them) and their weaknesses (and avoid them), and they must be able to estimate accurately the level of their talents relative to what they wish to create, and to foresee the effects of their moods on their work. (If the mood plummets too low or soars too high, will they be able to work today?)

Green mountains with pink and orange sunrise

Morning Color Dance by Kendall Kessler

They don’t usually understand how it happened that they are more gifted than others but find themselves from their earliest days in a state of creative grace that has been given to them gratis and they haven’t earned any more than a pretty or handsome face has been earned, but brings benefits throughout life. They are fascinated by what capabilities they discover in themselves that make their art possible.

Many people consider self-absorption like that of people in the arts a negative and unpleasant characteristic. And, in fact, the self-absorption of painters, writers, actors, and ballet dancers among other artists can make them overly emotional, temperamental, and difficult to get along with. But for people engaged seriously in an art being self-absorbed is a necessary element of their creative disposition.

Green trees in front of blue mountains snd pink and white clouds in sky

Distant View of the Peaks of Otter by Kendall Kessler

Artists of all kinds are self-absorbed and smitten by their craft for many practical reasons: first of all because the job of being creative is not like any other job. It all comes from the mind of the one person you are, and your duty is to probe that mind’s depths and breadths and pull out what is there every time you create. You must plumb from it patterns of words, or music, or colors that will be shaped into a finished work with your signature on it. The work will be passed on to an audience. They will think, “This is the creation of… (your name); no one else’s.” If the work succeeds it is your success. If it fails, the failure is yours. In any case you have tried your hardest and laid yourself bare before strangers .All responsible fans of the arts try very hard to respond in accord with what they take to be the intention of the author or painter and the work. You make an impression: they praise your work, or are indifferent, or dislike it.

 

Nature Cooperates With Gifted People

bare trees leaning over river with mountains in the background

Fall on the New River by Kendall Kessler

Nature does artists of all kinds a favor. It equips them for the creative pursuit that most suits them, making available to them what often will be their most highly developed and most valued skill, their core capability, and with an aptitude, a “feel,” for a particular art. Noted 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), painters find bliss in colors and shapes, often from the cradle, actors and dancers in  physical gestures.

A moment comes early in your life or later—an experience occurs—and if you are to be an artist or writer you become aware that this craft is the direction that fits you as no other direction will. You feel that it will lead to satisfactions 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. It was a sudden attachment to an artistic field that brought with it a motivation–and urge to create—and a sense of knowing what you wanted to do in life.

Wooden walkway over water with greens, pinks and blues

Pawleys Island Atmosphere by Kendall Kessler

Your artistic purpose became a permanent part of your mind, your body, your spirit, your entire being—an idea, a theme, a scene from a memory, or perhaps an image that became meaningful.  You may not be conscious of it, but it could be a major turning point that starts you out in a creative direction, and gives you a sense of moving steadily in that direction, of moving headlong straight toward a future that is concrete and specific.

Playwright Eugene O’Neill’s major turning point was the result of being stricken by a life-threatening illness and having to find something to do to pass the time during recovery. Novelist Raymond Chandler’s was the result of being fired from a job for drunkenness and having to turn to a new career in his forties. Vincent van Gogh’s turning point was seeing that a life for him in art was a real possibility after reading Cassagne’s Guide to the ABC of Drawing.

 

To Artists Their Art Is All-Engulfing.

Three boats on blue and purple water

Boats on the Chesapeake Bay by Kendall Kessler

If you are an artist or writer 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, land-owner, athlete, lover, and teacher, true, but you’re also an artist and that art may be your center of gravity. Your belief in and enthusiasm for your art is always somewhere in your life. Your art is being processed even in your sleep–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, (who is more timid and less bold than an artist or writer who lacks courage?), and products of your talents, training, and commitments, your energy, and your memories. Your painting, writing, acting, dancing voice is the end result of all the experiences of the life you’ve lived, and it comes through your work–every painting, each manuscript– loud and clear. The most distinguishing quality of the work–the feature the audience is affected by first–is the always-unique (never a duplicate of anybody else)–style of its creator, the artist’s unmistakable “touch.”

Wooden pier obove green, blue and white waves with cloudy sky

Breakers at Pawleys Island by Kendall Kessler

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.”

Poet 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 minds.

 

The Inner World of Artists and Writers

Creative people are adventurers mapping out their inner creative life. They have a need for creative expression that mustn’t be ignored. They have experiences and values that are unlike those of other people.  In a poem poet Emily Dickinson said that the soul selects her own society and shuts the door. Often what is left outside the artist’s closed door is the world of ordinary life of Wordsworth’s “getting and spending,”

Two figures wading in green water with orange and blue sky

Morning Stroll at Isle of Palms by Kendall Kessler

Even now at this moment you may not be caring very much about many things other people talk about. Those things may have little or no importance for you. They often don’t for people in the arts who value independence, individuality, rebelliousness, and detachment, and are infatuated with their work. They march to the rat-a-tat of a drummer unique to themselves which they hear so clearly but less creative people could not hear even faintly were their life to depend on it. Marcel Proust said succinctly, “Those who have created for themselves an enveloping inner life pay little heed to the importance of current events.”

In the same vein Oscar Wilde wrote: “It is through art and through art only, that we realize our perfection; through art and art only that we can shield ourselves from the sordid perils of actual existence.” American naturalist/ philosopher Henry David Thoreau said that most of what society called good he thought was evil, and that if he could repent anything it would be his “good” conduct.

What is inside the shut door Dickinson spoke of is the artist’s fertile inner life. From it a river of creative products pour–ceaselessly flowing and moving if the artists explore themselves more and more thoroughly. Transformation of what is inside the artist into what is outside is the overriding goal–to produce into the clear light of day a book, a painting, a song or a symphony, a memorable performance –that is completely as the artist wishes, and offering it out to be shared with an appreciative and admiring world.

 

The artist whose beautiful work is featured on this post is Kendall Kessler, award winning professional artist  and former Asst. Professor of Art at Radford University. She primarily creates large impasto oil paintings, but also works in pastels. Kendall has exhibited throughout the USA, and won local, national & international awards in both mediums. Her artwork is in private collections in thirty-two states, Washington D.C., Canada, Germany, Russia, Australia, Switzerland,and England. For more information on Kendall Kessler, see her website KendallKessler

 

© 2019 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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How Innovators Transform Art

Major new ideas, styles, or other innovations in the arts are not met with open arms, but with hostility.

Example of painting by Jackson Pollock

Jackson Pollock, Bluepoles

They are intended to transform an art which the innovator believes needs improvement, but these unprecedented innovations upset the status quo.

When Jackson Pollock splashed paint from cans onto a canvas and called that art, revolutionizing twentieth century fine arts with Action Painting, he was told cruelly, “You haven’t an ounce of talent and that’s not art. Why you’re the man who can’t even paint the human figure.  You were the worst in your class in art school. How can you call yourself an artist?”

Photo portrait of Ernest Hemingway

Ernest Hemingway

The clipped, adjective and adverb-free, dialogue-rich writing style Ernest Hemingway introduced in the mid-1920s was ridiculed as anti-literary by critics when it first appeared.  Igor Stravinsky’s compositions were written in the “Modern” mode featuring a new style of dissonance and discontinuity rather than neat formal structures and appealing tone qualities. His The Rite of Spring was so unconventional that it provoked a riot in the Paris concert hall when it was premiered.

Innovative artists merely want to be allowed what is (in the free world) a fundamental freedom of all the arts–the liberty to follow their imaginations into whatever nooks and crannies of the human mind and spirit they lead, and to express whatever they find there–which does not in itself seem dangerous or subversive or deserving of punishment. Yet like Pollock, Hemingway, and Stravinsky, artists that break away from the familiar-and widely-accepted are harassed and ridiculed. Poet and commentator on the creative process Brewster Ghiselin observed that “Every creative act overpasses the established order in some way.”

Painting by Manet of a woman with a parasol

Jeanne_(Spring) by Édouard Manet

Edouard Manet was vilified by critics and the public when he introduced Impressionism to the art world in 1863. This art, revolutionary at the time, was eventually to become the most popular and conventional style of all. Author Jonathan Swift whose work too was mocked said, “When a true genius appears in the world, you may know him by this sign: that the dunces are all in confederacy against him.”

 

 

 

Great Innovators May Shake the Art at Its Foundations.

In the Italian Renaissance Giotto di Bondone turned the art world inside out by showing that the subject of painting could be realistic and secular life. Figures in paintings could look like real people and not be angels and saints. Art was never the same after Giotto.

Cezanne Still Life with Apples

Still life with Apples by Cezanne

In the nineteenth century Paul Cezanne became the most important name since Giotto by changing the direction art had been following for seven hundred years into abstraction. Abstraction is the essence of Modern Art. Cezanne’s innovations made Pablo Picasso and Georges Braque feel free and led quickly to their innovations in creating Cubism, and also led then to numerous other abstract innovative schools and movements in modern art one after another. Art was never the same after Cezanne.

 

The Innovator’s Need for Confidence

Original, non-traditional artists must have confidence in themselves and their work to bolster themselves against the negativity they will meet.  Confidence touches every aspect of a person’s being–whether artists think about their prospects positively or in a  self-defeating way, how strongly they motivate themselves, whether they will persist in response to adversity and setbacks, their susceptibility to discouragement and other impediments, and whether they will be able to make necessary changes in their lives. They must be steadfast and not let criticism against  them and their work stop up the flow of their creativity which should always, under all Water flowing in a riverconditions, flow freely, river-like,  unstopped, unaffected by any attack.  Innovator’s confidence, like their imaginations, must be supreme.

If you are a creative in the arts, judgments are being made about the quality of your work and your skills at every turn: Do you have what it takes? Are you any good? Should I care about your work, or should I ignore it?  You must be prepared for criticism that makes you uncomfortable and perhaps makes you doubt yourself and your talent.

English writer Rudyard Kipling would go on to establish himself as a master stylist and to win the Nobel Prize in literature. But early in his career a publisher wrote him: “I’m sorry, but you just don’t know how to use the English language.” Vladimir Nabokov, also a dazzling stylist, received this message from a publisher in response to Lolita:  “I recommend that you bury this under a stone for a thousand years.”  But neither Kipling nor Nabokov was deterred.

If there’s one thing famous artists, writers, actors, and other creatives will tell you, it is that you work best and are most powerfully motivated to create and will overcome almost impossible obstacles when you’re not thinking of anyone’s approval but your own. Such a confident attitude gives you backbone and courage. Pugnacious Patti McNair warned editors, “Get your mitts offa my story.” English novelist Graham Greene put a note on the title page of a manuscript, “Please do not change any of Mr. Greene’s punctuation or spelling.” When Greene’s publisher expressed doubt about a book’s title, Greene sent a cable that read: EASIER TO CHANGE PUBLSIHER THAN TITLE. GREENE.”

 

The Art’s Absorption of the Innovation

Girl With a Watering Can by Renoir

The process of the art’s absorption of the innovation begins with experimentation by artists of a new technique. The public and critics don’t like the technique and condemn it. If it has promise there is a period of adjustment and the new technique is then absorbed into the field. The public changes its opinion and finds the technique appealing. The new technique becomes prestigious and is widely imitated.

The most useful and appealing new styles, techniques, and innovations catch on and the once-abused innovator is now celebrated: has genius, has something new to say, is worth looking at.  The popularity of the new style sets the fashion for plays, novels, songs, movies, etc. If a new style or school transforms an art and skill in a major way, it is likely to be incorporated in the field almost immediately.

Pollock’s Action Painting, the works of Stravinsky, “The Hemingway style,” and philosophies of Giotto and Cezanne overwhelmed the art scene because artists could see the value of these new approaches and the public began to appreciate them. The techniques of writing Hemingway invented became the most popular way to write in the world. The citation of the 1950 Nobel Prize Hemingway received singled out his powerful, style-forming mastery of the art of modern narration.” There is hardly a writer even almost one hundred years later who hasn’t studied it and knowingly or unknowingly been influenced by it.

Impressionism is the best loved painting still today. Within a few years the Impressionism Manet started came to enrich not only the painting of artists such as August  Renoir,  Claude Monet, Mary Cassatt, and others, but also took shape in other artistic fields–in literature in the impressionism of Stephen Crane and

Painting of a woman and child by Mary Cassatt

Painting by Mary Cassatt

Joseph Conrad, in music by impressionistic composers Claude Debussy and Maurice Ravel, in film, acting, and other arts.

Jackson Pollock is considered one of the twentieth century’s luminary painters, Stravinsky one of the greatest composers, and Giotto, Cezanne, Manet, Picasso, and Braque innovative pioneers who are owed a great deal by artists today, many of whom are producing beautiful works of art that would not have been possible had innovators not had the notion of attempting a kind of work that was new and unprecedented that they found alluring and could not resist.

 

© 2019 David J. Rogers

For my interview from the international teleconference with Ben Dean about Fighting to Win, click on 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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Drive and Motivation: The Creative’s Urge to Produce Works of Art

If it is your goal is to do creative work it is important to be able to understand your motivation, your drive–is it strong or weak–and to know what drives you personally through difficulties and setbacks to creative fulfillment and joy. Without drive to sustain you, your creative career will fizzle out before you reach your peak. That’s so because drive is not a luxury, but a creative’s necessity.

Drive is that ingredient igniting the human spirit and pushing creative people forward to explore the scope of their talents. It is an irresistible urge to produce-and continue producing–works of your imagination and skill. Strong drive is the reason many successful creatives work so intensely and never give up when so many of their fellow creatives have cried “Enough” and simply quit.

Many people reading this post have been writing, painting, acting, composing–creating–for twenty, thirty, or forty years. How different are they from Vincent van Gogh who said, “That which fills my head and my heart must be expressed in drawings or pictures…Drawing becomes more and more a passion with me, and it is a passion just like that of a sailor for the sea.”

Psychologist Teresa M. Amabile wondered what motivated creative people. Was creativity merely a means by which the creator could reach other goals, or was creativity for the creative an end in itself?  She staked her reputation on proving that creativity increases when you engage in the activity as an end in itself for the sheer pleasure it offers, and that if you do things to earn rewards other than the enjoyment, satisfaction, and challenge of performing the activity you become less creative. She tested subjects ranging from grade school children to undergraduate women, rewarding some of them for performing creative tasks. Their work was then graded by professional creatives–established painters grading the paintings, writers the writing, etc.

No matter what the reward was or when it was given, if the subjects thought they were working for external rewards they became less creative.  But when they were playing and having fun and no reward was involved, they were more creative. The conclusion was:  a playful approach to the task increases the likelihood of producing creative results and external rewards have the opposite effect on creativity.

Another experiment showed that even the hint that an external reward was riding on performance was enough to make the subject lose interest. The same happens to chimpanzees. Given paint and canvas chimpanzees become so absorbed in painting that they show little interest in sex or food. But if the chimps are tangibly rewarded for their painting, the quantity and quality of their painting declines. They do only well enough to get the reward. Chimps, like many humans, are more likely to be creative when no external rewards are contingent on their performance. Even thinking about extrinsic rewards reduces creativity among many people, possibly you. Playwright Oscar Wilde said, “Genius is born, not paid.”

Enjoying the work itself is reward enough for people who are strongly intrinsically motivated like those chimps. Virginia Woolf was writing about her intrinsic motivation when she referred to her “rapture”: “Perhaps this is the strongest pleasure known to me. It is the rapture I get when in writing I seem to be discovering what belongs to what, making a scene coming right, making a character come together.” Literary critic Alfred Kazin thought writers were intrinsically motivated. He said the writer writes in order to teach himself to understand himself, to satisfy himself. The publishing of his ideas, though it brings gratifications, is a “curious anticlimax.”

Intrinsically motivated creatives enjoying their work don’t have to wait for money or praise or any other kind of external reward to be satisfied. They don’t need anything else but their “rapture.” Intrinsically motivated writers are caught and captivated by the writing itself and compelled to be immersed in it and in making it into something they feel is worthwhile.  The intrinsically motivated creative will often say, “What I do isn’t work. It’s joy. You can say in a real sense I’ve never worked a day in my life.”

But some creatives are driven by a need for extrinsic, not intrinsic, rewards.

Blaise Pascal who wrote that “anything that is written to please the author is worthless” was obviously not intrinsically motivated. Samuel Johnson wrote that no one but a blockhead writes except for money. And Anthony Trollope wrote in his wonderful An Autobiography that all “material progress has come from man’s desire to do the best he can for himself and those about him.” He said that what motivated him was what motivates lawyers and bakers—“to make an income on which I and those belonging to me might live in comfort.” Stronger even than that after a troubled childhood was his drive to make something of himself, “to be more than a clerk in the Post Office…to be Anthony Trollope.”

Pablo Picasso loved being rich, and said he wanted to work without material worries “like a pauper,” “but with a lot of money.” George Orwell thought that a writer’s main motivation was also extrinsic: to seem clever and be talked about, and be remembered after death.

There are other kinds of extrinsic motivating factors than money alone—recognition, praise, encouragement, popularity, acclaim, fame, feedback, and other forms of positive reinforcement that can be far, far more powerful motivators than money. While writers often don’t consider themselves competitive, they are.  When you’re told you’re the best there is, your motivation rises. When a writer’s work isn’t intrinsically interesting, as during those times it’s boring and tedious, an extrinsic reward such as a sumptuous dinner or a compliment might supply the right motivation to continue working.

The best way to recognize extrinsic motivation is to ask if you’d continue doing the work if no reward was to follow. If you’d answer “No way” your motivation at that time is extrinsic. But if you would answer, “Of course I would” it is intrinsic.

The majority of creatives pursue both intrinsic and extrinsic rewards.

Working skillfully makes writers feel fulfilled intrinsically. But they usually also want to see the work published somewhere—an extrinsic goal. American poet Anne Sexton wrote to her agent: “I’m in love with money, so don’t be mistaken, but first I want to write good poems. After that I am anxious as hell to make money and fame and bring the stars all down.” I suppose it’s possible to imagine anything, but it stretches the imagination considerably to imagine a pure intrinsically motivated writer who cares nothing about receiving some kind of external reward, or to imagine s pure extrinsic motivated writer who works only for rewards.

Extrinsic and intrinsic motivation aren’t two different types of motivation. They are on a continuum from most intrinsic to most extrinsic.

Whatever else we can say, we know one thing for sure: most human beings don’t do anything without anticipating a payoff. The payoff needn’t of course be monetary. It may be to be paid off for your efforts in other ways: through recognition or acclaim; through feedback and praise.

James Jones, author of From Here to Eternity, said “I do think that the quality which makes men want to write and be read is essentially a desire for self-exposure.” Some people create to produce great art that aficionados will admire. Playwright/short story master Anton Chekhov wrote, “I take pleasure in anticipating that these same passages will be understood and appreciated by two or three literary connoisseurs and that is enough for me.” Philosopher Alfred North Whitehead said, “A man really writes for an audience of about ten persons. Of course if others like it, that is a clear gain. But if those ten are satisfied, he is content.”

I think most creatives are driven to express beauty, the beauty they perceive in the world–the trees, the grass, a human smile, kindness, and the beauty in their souls that cries out to be shared–even if the subject of the work is not beautiful. Some are driven because they’re obsessed and can’t help themselves.

For some creatives performing their art is therapy. D.H. Lawrence, who should know, wrote: “One sheds one’s sicknesses in books.” Some are driven to have revenge. Mary Higgins Clark said that rejection slips only produced a “wait and see” attitude. She’d show people who doubted her. Perennial best-seller John Grisham said, The good thing about writing is that you can get back at people.”

Other painters, writers, actors, composers, etc., are driven by the desire to have the self-respect they don’t get on their jobs or in social or family life. That desire sparks their creativity, drive, and hard work to succeed and gain respect they haven’t found in any other area of their lives.  Some are driven by the pleasure of doing creative work.

Others are driven by their need for praise, and many others for tangible rewards like wealth that motivates almost everyone to a lesser or greater degree. There are many other reasons why creatives are driven.  Many artists’ main drive is to improve their abilities so they might improve their workmanship to an exceptionally high level just to see how excellent they can become.

Ask yourself, “Where on the Intrinsic Motivation—Extrinsic Motivation continuum would I put myself?  Most of the time I’m:

Rate yourself on a scale from intrinsic to extrinsic motivation. Where do you fall on the scale?

 

 

What motivates you most?

“The particular thing that motivates me more than anything else is:”

1.

 

“Also important to me are:”

2.

3.

4.

5.

 

It’s worth assessing how intense your creative drive is by choosing one of the following statements to describe yourself:

  • “My drive to survive, improve, and find fulfillment in the arts is very strong.”
  • “My drive is so-so.”
  • “I need more drive because right now I don’t have much.”

 

Assessing your motivation on the Intrinsic/Extrinsic motivation continuum and the current intensity of your creative drive can help you make changes in your creative practices that will make your work more fulfilling.

 

© 2019 David J. Rogers

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

Interview with David J. Rogers

 

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Reward Yourself: A Secret of Self-Motivation

You may not be doing something you should be doing and because of that may not be feeling the creative zest that should fill you while you write, paint, compose, practice, or perform. Let’s begin by asking why some creatives work tirelessly while many of their fellow creatives’ time spent doing the work they should be doing is minimal.

Tulip bouquetA secret is the rewards the former give themselves.  The operating principle is simple and clear–easy to understand: it is human nature to want to do things which you will be rewarded for doing.

Creatives who reward themselves for their efforts work harder and longer, accomplishing more than those who perform the same tasks, but don’t reward themselves. And self-rewarders are much more likely than non-rewarders to solve the problems they face while performing their craft. Rewards strengthen their problem-solving persistence, and persistence is the only way difficult problems of an art will be solved.

Don’t wait until the whole task is finished before rewarding yourself. Reward yourself for finishing components of the task. For example, a poet might reward herself after completing a stanza or a line. An actor, known for his spellbinding performances, might give himself the task of learning his lines Dog receiving rewardto perfection (as he always does) before he rewards himself with a glass of wine. The reward needn’t be major. Just so it’s something that you find pleasurable.

It is probable that if you increase the rewards you give yourself, you will find yourself putting in more time at your craft (another principle is that the more time you spend developing your abilities, the more successful you will be.) By rewarding yourself you will probably become more adept at solving the creative problems facing you than you have been, and will accomplish more than you are accustomed to. Self-rewards also increase concentration.

Man in front of laptop, holding his head in frustrationRewards are particularly effective when what you’re working on is tedious, as the crafts of art may sometimes be. The person who is under the misconception that the artist’s life is romantic and so exciting that it is free of boredom hasn’t known how dreary making creative things can sometimes be.

You may make the reward of breaking for dinner or going to a movie contingent on putting the finishing touches on the article. Or, as a reward, get away from your work place and do something pleasant and refreshing: go to the zoo, visit a museum, talk to your friends, walk to the store and buy a Reese’s Pieces.

Ernest Hemingway said, “Don’t get discouraged because there’s a lot of mechanical work to writing. There is, and you can’t get out of it.  I rewrote A Farewell to Arms at least fifty times.” Rewards that are a result of your accomplishments increase your self-confidence and are an antidote to discouragement. Self-confidence is crucial to all artists. Achieving your goal may be all the reward you need, but if there aren’t any rewards along the way to the goal, you may feel little or no gift box wrapped in gold papermotivation to continue working and may be susceptible to the scourge of discouragement.

The greatest danger facing a creative is the possibility of quitting. When you quit, your career ends. The majority of creatives quit–hundreds of thousands every year– from the little boy or girl who, although gifted, doesn’t want to practice anymore, disappointing parents whose hopes were high,  to the writer who for years has never had a work published and thinks, “What’s the use?” Quitting is more likely to occur if the creative receives no rewards from continuing to work and thinks it is hopeless to go on.  A reward brightens your spirits and makes you want to go on.

If rewards you need do not come from the outside, they must come from yourself to sustain you until eventually they come from the outside too. The greatest predictor of future success is past success. If you’ve succeeded once, you can do it again. Have faith. In other words, all that may be necessary to supply the motivation to go on working for years may be a single success. But if you give up, even that single success, as important as it could be, will be unreachable.

Stack of books with coffee and pastry on topDecide how you’ll reward yourself. Custom design your rewards to suit yourself.  Some people devise complex systems of rewards involving charts where they record steps on the way to the goal. Parents sometimes use this rewards of this kind to encourage children to practice. For me, “making paragraphs” that I think are pretty good is a reward in itself. Good, clear, paragraphs bring a strong feeling of satisfaction—a glow of overall contentment that I’ve worked energetically and efficiently and it’s paid off. I look at paragraphs on the screen and they excite me.

Then as a further self-reward, after a substantial workday I get to read the wonderful books I collect that are waiting in stacks downstairs for me. To get that feeling that will last into the next working day, leaving a residue in my mind of language beautifully used–to read those books–l  will work very hard for hours, even when the work is not enjoyable and seems to be going nowhere.  But if I don’t persist, I give myself no reward.

Make self-rewards you’ve designed for yourself a key part of your work schedule and see positive changes in your creative behavior. Don’t forget to reward Rose gardenyourself every day.  Begin now by listing the rewards that will motivate you most strongly: 1, 2, 3, 4, 5, and so on.

When you do a good job you might walk through a rose garden. Or if you prefer noise, walk down a busy street.

 

© 2019 David J. Rogers

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

http://www.mentorcoach.com/positive-psychology-coaching/interviews/interview-david-j-rogers/

 

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The Lives of Talented Creatives

Painting of cherry pink blossom tree

Cherry Blossom Tree in Shinjuku Garden by Richard Claremont

Creatives do exceptionally well what others find difficult, and that is the definition of a talent. Talent is the distinguishing quality of creatives, usually talent in one field.  Although a creative can be very talented in more than one area, as many bloggers are, as Vincent van Gogh, a wonderfully expressive writer of letters as well as painter was, the creative’s talent in one area dominates. My seven year old grandson is a much better painter than I am because he is gifted in art, and I certainly am not. (It doesn’t take long for the buds of talent to burst into bloom in a child). My talents are linguistic, and of all the arts I, who grew up in home where music filled the house, I’ve always wished I could write beautiful music–but I can’t.

I have a composer friend whose music is performed by major orchestras. He’s received many prestigious awards. But he can’t paint as well as my grandson. I can’t touch my friend in any aspect of music. He is much too talented musically for me. But he can’t write poetry or prose as well as I can. Nature specializes creatives and points them in a direction.  Whether they will choose to follow that direction in the course of their life or will not is their choice. How serious they will become about developing their talent–whether refining it to a high level or ignoring it–is up to them.

landscape of gold fields with white clouds

Golden Harvest by Richard Claremnt

When you’re making use of your main talent you’re as effective as you will ever be in any area of your life because your talent is what psychologists call your “dominant faculty.” Putting it to use habitually, day after day, to be free without being interfered with in any way, is a wish, a hope, a goal, of all serious creatives.

For the creative the quality of curiosity is extraordinary because it is so intense. Also there is a fascination with how everything works, fits together, and is useful that starts of its own accord in childhood and stays with creatives to the last day of their life.  Being curious and having an aptitude for picking up knowledge here and there is important. People who have stored up a wide range of knowledge have a very good chance of being creative.  Once they are serious creatives and are deeply involved in their field, they have a hunger for extensive knowledge of it: “The most eminent creators are consistently those who have immersed themselves utterly in their chosen field, have devoted their lives to it, (and) amassed tremendous knowledge of it” (Geoff Colvin).

Then there is a desire, impossible to satisfy in a single lifetime, to create original things–poems, symphonies, paintings, performances–that are added to the culture, and in doing so to leave behind at career’s end a legacy, the traces of a vital human being who walked this earth, breathed, achieved, and had a personality, a name, and a reputation which will outlive the talented person by a year, or ten, or a hundred.

Green and blue with brown rocks, blue water and sky

Rockpool and Headland by Richard Claremont

At a certain eventful time in creatives’ careers when they are no longer a novice and have matured as a craftsman, the need to paint or write, compose, act, or dance takes over, becomes powerful, and can’t be ignored. This is a turning point in the career of the creative, a new level of involvement with their craft.  The creative may well feel as novelist Henry James did, that “It is art that makes life, makes intensity, makes importance…and I know of no substitute whatever for the force and beauty of its process.” The creative becomes willing to give up other rewards for the sole experience of practicing an art because it is both fulfilling and challenging in a way little else is.

To practice the art may be more than adequate compensation for disappointments in other areas of life. Disappointed in love or work, if novelists they may choose to stop thinking of their hurt and turn their active minds to the task of writing a story with many characters and an intricate plot. Rather than grieving a loss, a ballerina turns to the only art she’s known since childhood and begins to warm up.

glass vase with orange blossoms on light blue background

Gum Blossoms by Richard Claremont

There is now something in the movements of the body and mind of creatives as they work, of muscle and thought, of experimenting with ideas, and entering the pleasant elevated mood of losing oneself in the work–some force implicit in the creative act–an urge that is more intuitive than rational, subliminal and subconscious. Those aspects of the processes of creation add up to an experience which may be so blissful that it can be as addictive as abuses of alcohol, drugs, gambling, and sex. But creativity is a positive addiction, not a harmful one.

As a mature creative, your thoughts are continually on how to get better. In an interview Pablo Casals, aged ninety, was asked why he, the best cellist in the world who had been practicing the cello for eighty five years, still practiced every day, and he said, “Because I think am making progress.”

You’re already excellent at your craft–you are far above average–but are not satisfied and talk about getting better. You study, you read, you learn, you discuss. You seek feedback and help because no one in the arts or sciences–no one in life–succeeds in a noteworthy way without someone advising and helping them–a teacher, a mentor, a friend, etc. You work exceptionally hard because if you are an artist you can’t help yourself and there is no other way to work, not always knowing why you do, but feeling strongly you must.

dark grey road receding into cloudy sky with pinks and lavenders

The Road Home by Richard Claremont

You know, and experience of the creatives who have preceded you bears out, that the more hours you work, the better you get. And your skills improve–you can see that–and your work does get recognizably better–either slowly, or moderately fast, or by leaps that may astound you. Your satisfactions, ambitions, optimism, and hopes rise as your work improves.

Creative people are models of focused human effort.  Few people seem to recognize that. In my many speeches to businessmen and women I had an unusual point of view. I referred to my life-long love–artists–as the best examples of highly motivated people. I’d say, “Strive to have the soul of an artist. Learn what it’s like to create something and the value of persistence from artists. Study artists. Read biographies of artists. Let their habits filter into your behavior.”

The commitment to write (or sculpt, perform on stage, etc.) can be extreme and may surpass other of your commitments. Nobel laureate writer Saul Bellow said writing had always been more important to him than his wife and children. There are other creatives such as painter Paul Gauguin and short story master Sherwood Anderson who felt the same and abandoned their wives and children for art.

The overriding aim of creatives is very practical. It is production: to produce polished works that must be completely finished because “It is only as the work is done that the meaning of the creative act” can be understood (Brewster Ghiselin). “The only certainty about writing and trying to be a writer is that it has to be done, not dreamed of or planned and never written, or talked about … but simply written” (Janet Frame). Psychologist Howard Gardner writes about high-excelling creative people. He says, “Individuals whose stock in trade is to do things which are novel, are people who’ve got to have a pretty good command of how they work.”

night scene with curved road in Montmartre

Midnight at Montmartre by Richard Claremont

The creative sets out to answer the production question, “How can I produce the quality and quantity of work I want?” A perfect work place and good production routines and rituals are to be treasured. Simply by being at your work place ready to work repetitively the same time day after day, the power of good habits goes into effect.

If creatives are unable to work or the work doesn’t go well, they suffer. A creative must always have goals and begin every day’s work with those goals in mind: “Today I will buckle down and…” Many tremendously talented creatives aren’t nearly as successful as they have the talent to be. They are frustrated because they haven’t figured out for themselves the best work/production program that will achieve a desired level of high-quality output.

If you are a creative, if you could you would create night and day because for you there is never enough time and your talent finds resting very hard. Long before you finish one work, you’re contemplating the next. When artists work, they are seeking freedom of expression through perfect technique. Many of them are willing to sacrifice material rewards just to be able to exercise their talents and do their work without being interfered with or restrained–to make creative things free of conflicts. Many creatives choose lower paying jobs that will allow them time to do their creative work over higher paying jobs that don’t allow them to.

You may be working on 3, 5, or more projects simultaneously, moving from one to another as the mood strikes, putting one aside and picking up another.  A creative’s lively, but unsettled production-oriented mind is a cornucopia spilling over with  concepts, words, techniques, methods, facts, recollections, hopes, fears, needs, problems, solutions, texts, authors, disappointments, successes, plans, possibilities, family, projects, and if a professional, finances. It rests only at bedtime. And often, not even then.

White flowers iin vase on table with teapot and cup

Still Life at 4pm by Richard Claremont

The logical end of the Creatives’ Way is to have the identity of a capital C  Creative, a Real Creative–to become known by your family, friends, teachers, editors, agents, other creatives and lovers of the arts, and to define yourself as “someone who is very serious about producing creative work, and is very good at it.”

The trappings of your chosen discipline appeal to you. Great writers “loved the range of materials they used. The works’ possibilities excited them; the field’s complexities fired their imaginations. The caring suggested the tasks; the tasks suggested the schedules. They learned their fields and they loved them….They produced complex bodies of work that endured” (Annie Dillard, The Writing Life).

When you’re away from your art you miss it. If you’re away too long you become edgy. Away from it longer, you become irritable and hard to live with. If you don’t do your art for 48 hours, your skills begin to decline. The only relief is to get back to your work as quickly as possible. You try to work at least one hour every twenty-four.  If you work for four hours you are more satisfied with yourself than if you work for two hours.

Creatives are subject to the heights and depths of moods. The act of working makes you happy, makes you confident, and empowers you. However badly you might feel when you begin a day’s work, you feel better when you are working and when you finish you almost always feel good–but you need to work at least a little. Gertrude Stein said that even though she had never been able to write more than a half hour a day, all day and every day she had been waiting for that half hour.

Pink Hydrangeas in vase on white tablecloth with white cup and blue bowl

Still Life With Pink Hydrangeas by Richard Claremont

When you’re producing your art, you’re searching for something: authenticity. You’re trying to cut through the fakery, the tricks, the games, the insincerity, the deceit and phoniness, and the lack of conviction so that you might tell the whole truth as you see it–accurately–withholding nothing.  You are modest and try to do nothing merely to make a splash because you believe that it’s only through producing work that is sincere and deeply felt that the truths you’ve discovered and now believe in and feel strongly about will be expressed.

For many serious artists, the art’s process itself is more rewarding than the product that ends the process.  In this world there are many competent writers who have almost no interest in having their work published. That doesn’t excite them, but the process does.  There are pianists who prefer practice to performing in public.

Patience is a necessity for creatives. Eventually after a long period of impatience you learn patience. “It’s so hard for people to be patient. It took me a very long time to get better, and a very, very long time to begin to publish. I wasn’t very patient. It’s painful….Young people are pushed so hard right out of school to get the first novel done. It takes time to write well. You have to sit with it. You have to be patient with it. You have to trust your intuition and your own material and stay with it as long as it takes” (Andrea Barrett). It’s been said that genius is nothing but an aptitude for patience.

Pink sand dunes with cloudy sky

Sand Dunes by Richard Claremont

Creatives must have a stomach for loneliness and must be able to adjust to it when it strikes. They have no choice. Pleasure increases the more you work on your art, partially because you work alone, independent, isolated, on your own, self-sufficient, and that is how most creatives enjoy working. Since creative achievers typically engaged in solitary activities as children, they are no stranger to working alone. “Aloneness…is not merely the effect of the circumstances in the life of creators: it is often also part of their personality–for the creator is frequently apart and withdrawn even in the presence of others, and makes a deliberate attempt to seek solitude” (R. Ochse). Creatives solve many problems every day. Creatives are problem-solvers. Research on problem-solving shows that people are likely to come up with better solutions when they work alone.  Poet Lord Byron said, “Society is harmful to any achievement of the heart.”

Two white gardenias and leaves in rectangular glass vase

The Last Gardenias

At times you live in uncertainties, doubts, tension, anxiety, and fear. But over the years you develop the strength to resist them. You acquire confidence and faith in your abilities and judgment. You fear fewer things. You grow less anxious and have a much fuller and more accurate understanding of yourself. The hardships, worries, disappointments, and stresses you encounter play a necessary part in making you stronger. Your strong faith in yourself helps you persist through obstacles, psychological blocks, and setbacks. Poet Stephen Spender said, “It is evident that faith in their work, mystical in intensity, sustains poets.”

Through your art you’re drawing out of yourself the end result of the entirety of your being–100 percent of yourself from your toes to the top of your head. That includes all the knowledge you’ve acquired, all the experiences you’ve lived through, good and bad, happy or painful, what your emotions are and the breadth and depths of feeling they are capable of because art depends so heavily on feelings,  how courageous you are, what skills you bring, and what you aspire to become. Then, self-aware, you have a clearer understanding of who you truly are, and how high the talent you possess that is growing stronger and more apparent might take you, and what new pleasures your talent may open for you.

Path in Central Park with lampost and trees

 

The beautiful paintings featured on this post are by Australian artist Richard Claremont. He says, “A successful artist knows that we do art because we have to. We would do it even if no one ever got to see it. What really matters is our commitment to our own vision, painting from our heart, creating work that matters.”

 

 

© 2019 David J. Rogers

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

http://www.mentorcoach.com/positive-psychology-coaching/interviews/interview-david-j-rogers/

 

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

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Filed under Artists, Becoming an Artist, Creativity, Creativity Self-Improvement, Creators' Work Life, Developing Talent, Human Potential and Achievement, High Achievement, Life of Creators, talent, The Creative Process, The Nature of Artists, Work Production, Writers

Artists and Their Love of Work

To the Artist Work Is Not an Obstacle, but a Gift

Artists have about fifty qualities that fit perfectly together to make them best suited to be artists rather than engaging in other occupations. One of those qualities is their love of and attachment to work. The majority of people do not like to work, consider work a burden, and would rather not work, but seek leisure and rest.  But most writers, painters, actors, and ballet dancers who will become known vary from that norm.

Creative people do not avoid work, but absorb themselves in it, even though the work of a recognizably accomplished artist is difficult, extremely hard to master, and taxing.  What drives them to the easel or keyboard every possible day is the joy of working and a desire for creative fulfillment, a special state of being that lies at the far end of hard work that evades most people.

Painting of human figures in shades of brown

The Turning of Backs by Janet Weight Reed (Circa 1984)

In The Creative Process Brewster Ghiselin states that artists and thinkers create the structure of their mental lives by means of their works. C. G. Jung said, “The work in process becomes the poet’s fate.” The work–the painting, novel, or musical composition–must be finished [half-finished doesn’t count] if the artist is to be satisfied because “it is only as the creative work is done that the meaning of the creative effort can appear and the development of the artist brought about by it is attained.”

William Faulkner, author of thirteen novels and scores of short stories, said that “the only thing a man can do for eight hours a day is work. He can’t eat for eight hours; he can’t drink for eight hours; he can’t make love for eight hours. The only thing a man can do for eight hours is work. ” To the artist work isn’t an obstacle, but a gift, a challenge not to be avoided, but to be embraced happily.

Faulkner’s secret was to stop looking at the clock. He wrote, “Clocks slay time… time is dead as long as it is being clicked off by little wheels; only when the clock stops does time come to life.” Staring at the clock never gets the artist’s work done.

Vincent van Gogh talks about the agonies artists feel when they are unable to perform artists’ work, his feelings then of being imprisoned in “an …utterly horrible, horrible cage.” Work is so essential to artists’ sense of wholeness that not being able to work at an artist’s role in van Gogh’s judgment reduces artists to a state of “nothingness” and uselessness.

Oil on canvas with symbolic images

Symbolic Self Portrait by Janet Weight Reed (Circa 1990)

When men and women commit to a serious artist’s life they introduce into their existence the most demanding effort and emotional upheavals generally they will have ever known. They might have been stevedore longshoremen on the docks of New York, but will never know days of exhaustion like this: “Work every day till your [sic] so pooped about all the exercise you can face is reading the papers” (Ernest Hemingway). Poet Emily Dickinson said that if she felt physically as if the top of her head was taken off, she knew that was poetry

Artists begin each day with the goal of working hard. I have been laid up with bad colds for weeks, unable to work, and it has been frustrating and truly painful for me when all I want is to get back to writing my book.

Artists are almost always bent on working hard: “Work is the law. Like iron that lying idle degenerates into a mass of useless rust, like water that in an unruffled pool sickens stagnates into a stagnant and corrupt state, so without action the spirit of men turns to a dead thing, loses its force, ceases prompting us to leave some trace of ourselves on this earth” (Leonardo da Vinci).

Photograph of the installation of three 18ft hanging mobiles

Photographed during the installation of three 18ft hanging mobiles commissioned for an architects building in Pa. USA Janet Weight Reed

Even striving to sew together an artist’s life is daunting: “The sheer labor of preparing technically for creative work, consciously acquiring the requisite knowledge of medium and skill in its use is extensive and arduous enough to repel many from achievement” (Brewster Ghiselin).  “From the hard work of men are born…the fidelity to right practice which makes great craftsmen…[and] the devotion to a calling” (Joseph Conrad).

Every serious writer can identify with Flaubert’s “I have written no more than 25 pages in all in six weeks…I have gone over them so much, recopied them, changed them, handled them, that for the time being I can’t make head or tail of them.”

To persist like that takes drive and commitment that’s extraordinary. While you might be able to do that because you’re a writer and you know what’s needed, almost no one you know, from your brother-in-law to your auto mechanic, can imagine doing it voluntarily because they’re not artists–those individuals who think nothing of it.

 

The “Big Two” of Focus and Energy Lead to Artistic Success

Artists are exceptionally complex thinking and feeling beings who by the grace of nature possess the two main qualities leading to success whatever the field: intense focus and accompanying extraordinary quantities of physical and spiritual energy–Focus and Energy.

Many of the greatest artists and writers have an overpowering urge to produce specific works and have labored astronomically long hours for many years, frequently with no vacations to speak of because there was nothing they would rather do than their work—an unheard of 60 hours, 70 hours, 80 hours every week.

Watercolor of three water birds taking flight

Rapid watercolour capturing movement. Janet Weight Reed (recent work)

Twentieth century inventor and visionary Buckminster Fuller worked in a frenzy, concluding his work days only when overwhelmed by exhaustion. Honore de Balzac wrote fifteen hours a day for twenty years, and to fuel his energy was in the habit of drinking at least fifty cups of strong coffee every day—so much so that coffee poisoning was one of the causes of his death.  Focus and energy are why artists can produce tremendous amounts of work, often four, six, ten times what less focused and energetic people produce.

Poet John Milton said that some people “scorn delights for more laborious lives” and asked, “What hath night to do with sleep?” The tremendous number of hours high achieving writers, sculptors, and ballet dancers are able to work may account for their ability to produce work after work at breakneck speed.

Another reason for such speed is because after a certain number of years of constant practice, producing works becomes automatic for artists. All the skills they need are intact and functioning at extremely high levels, and inspiration comes to them spontaneously and involuntarily immediately and without strain, like wine flowing out of a cask, when they sit down to type at their computer or stand facing an easel with brush in hand,

The pace you work at is as individual as DNA.  John Irving says, “I write all my drafts by hand. It’s the right speed for me—slow.” Erle Stanley Gardner was different. He once worked on seven novels simultaneously, dictating 10,000 words in a day, and was the world’s fastest writer. And he was also a lawyer.

Artist painting a portrait while another artist paints her

Portrait demonstration in Paris. Janet Weight Reed

Why is it that producing a creative work is often so much more painful than the envious non-creator can imagine? French novelist Gustave Flaubert wrote a friend, “You have no notion what it is to sit out an entire day with your head between your hands beating your unfortunate brains for a word.”

At times the novelist, essayist, poet, or dramatist writes night and day, then executes revision upon revision. Kurt Vonnegut said that writing allows even a stupid person to seem halfway intelligent if only they write the same thought over and over again, improving it just a little each time. Although writing is sometimes grueling, tedious, boring, and very difficult, few other things matter as much to writers.

The act of producing art–so liberating to the artist–may also involve emotional suffering.  Julian Green wrote, “if only people knew what lies at the heart of my novels. What a tumult of desires these carefully written pages conceal! I sometimes have a loathing for the furious cravings that give me no peace except when I am writing.”

If you are to succeed in a noteworthy way as an artist you must have the ability to focus intensely for extended periods of time.  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. They may not be good at math, may not care for games, may never go dancing.   As a child all Pablo Picasso wanted was to draw or paint and was such extremely poor student in every other subject that people thought him stupid.

 

The Most Distinguishing Quality of Creatives

Persistent and enthusiastic absorption in their work is the most distinguishing quality of creatives in spite of Flaubert’s and Green’s kind of suffering, or your own very real suffering.  Creative talent is indistinguishable from passion and intensity. You can hardly call yourself creative if you lack them.

Landscape of trees, road and sky in blue, green and yellow

Landscape – Brecon Beacons Wales by Janet Weight Reed

One reason writers and painters who are experts are more accomplished than writers and painters who are very good but not experts is that experts are more passionate about their work and spend more hours at it. The only way you could keep some artists from writing or painting would be to dislocate their fingers. Even before their fingers were fully mended, the artists would be back at work.

What makes writers and painters, actors and composers so persistent? It is their thrilling, hard-to-contain joy in the act of creation itself: “It is worth mentioning, for future reference,  that the creative power which bubbles so pleasantly in beginning [of a new work] quiets down after a time, and one goes on more steadily. Doubts creep in. Then one becomes resigned. Determination not to give in, and the sense of an impending shape keep one at it more than anything” (Virginia Woolf).

 

Flow

When they are creating, artists are capable of losing all sense of time and place, conscious only of the work before them. They will let nothing divert them from accomplishing their creative goals, working night and day if need be.  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.

Egrets taking flight purple and blue watercolor on white

Egrets in Flight by Janet Weight Reed ( recent)

The artist’s sometimes astonishing work production is aided by flow, a state described by Mihaly Csikszentmihalyi. In flow you’re fully absorbed in the act of writing, painting, acting, composing–more fully absorbed than you have been in anything else. Your concentration and positive emotions are strong and alert, and you know exactly what needs to be done. You put aside personal problems. You lose your sense of being in time and of having a body or a mind. Art comes out of you effortlessly.

You’re relaxed, “psyched,” focused, and yet detached at the same time—in a state of harmony with your surroundings. You’re as confident and feel as competent as you’ll ever be. When artists are in flow they are functioning at their most potent ability.

The main qualities of flow are the following ten:

  1. Your goals are clear and not muddled. (When you work at your craft, your goals must be so clear that you can state them in a single sentence.)
  2. There’s unambiguous, immediate feedback on performance so that adjustments can be made. It’s hard to become immersed in your art if you’re not certain about how well you’re doing, what’s feasible and what isn’t, and whether you’re wasting your time or are accomplishing something that’s worth accomplishing.
  3. Your skills are well-matched with the goal you’re trying to achieve: whatever the skill the art calls for, you possess. You’re very confident that you have every skill you’ll need to reach the goals of the project at hand. To attempt something you lack the skills for will only frustrate you.
  4. Your concentration is highly focused.
  5. You’re not worried about failing.
  6. There’s no sense of “self” separated from the work at hand. You do the work, but don’t think, “I am doing this work.” There is no “I” involved. You are non-attached.
  7. Your sense of time is distorted. An hour seems like a minute or a minute seems like an hour.
  8. The activity is so enjoyable in itself that you need no external reward. But pay and other external motivations can also lead to you being in the zone such as when after years of trying unsuccessfully, you have a great financial success and public recognition.
  9. You don’t feel tiredness.
  10. You lose your appetite or don’t notice it and you skip meals.

 

Being In the Groove

Very much like being in flow is being in the groove. In The Creative Habit dancer/choreographer Twyla Tharp talks about “finding your groove.” Grooves can last minutes, hours, or weeks or months, and are usually preceded by a breakthrough idea. What does it feel like when you’re in a groove?

“When you’re in a groove, you’re not spinning your wheels, you’re moving forward in a straight and narrow path without pauses or hitches. You’re unwavering, undeviating, unparalleled in your purpose. A GROOVE IS THE BEST PLACE IN THE WORLD. It’s where I strive to be, because when you’re in it you have the freedom to explore, where everything you question leads you to new avenues and new routes as everything you touch miraculously touches something else and transforms it for the better…And then it’s over…There’s no point in analyzing it. If you could figure out how you get into a groove you could figure out how to maintain it. That’s not going to happen. The best you can hope for is the wisdom and good fortune to occasionally fall into a groove.”

 

Hummingbird in green white and Aqua on yellow and pink background

Hummingbird by Janet Weight Reed

The beautiful paintings included in this post are by one of my favorite artists, Janet Weight Reed. The images shown here are a tiny example of some of the work she has completed during a career which has spanned 45 years.The hummingbird, symbolizing the “unseen magic” of the world is her signature image.

Janet says, “Waking each day filled with anticipation, excitement and sometimes trepidation is I believe one of the many reasons that keeps an artist/creative going.  To be in the flow and rhythm of creative work is a wonderful state of being.  No matter what else is going on in one’s life a deep sense of fulfilment takes over.”

 

I won’t ask if you have ever been in flow or in the groove or have known the bliss of creation because if you are an artist working every day with seriousness, living the life of a creator, I know you have, possibly many times.

Instead, I’ll ask, “Were you in the groove today? How did your work go?”

 

© 2019 David J. Rogers

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

http://www.mentorcoach.com/positive-psychology-coaching/interviews/interview-david-j-rogers/

 

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

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Filed under Artists, Becoming an Artist, Creativity Self-Improvement, Creators' Work Life, Developing Talent, Human Potential and Achievement, Flow, In the Groove, Life of Creators, Persistence, The Nature of Artists, Twyla Tharp

Creators’ Lives: The Need to Turn and Change

I have been sitting here wondering for the last couple of hours:

How is it possible for creative people–those playthings of their rich imagination–to recognize how extraordinary and talented they really may be when so many seem blind to the heights they may reach if they are patient?

I’ve been wondering too:

How to inspire and rouse creative people to overcome the detours and false starts of the past that so often bog them down and now leap forward and move steadily, with new confidence, toward a more fulfilling creative life?

 

I was a guest on an hour-long lunch time TV talk show talking about my book Fighting to Win. It had just been named Microphonethe best motivational book ever written. It identifies the main reasons people are blocked from reaching fulfillment. It prescribes specific remedies for leading a more liberated existence. As the show ended I said, addressing the viewers, “What I’m sayings is, ‘There’s so much to you, DO something with it.’“

Then I shook hands with and thanked the host and the engineer and left. The next day I was in my work room talking with my son who wanted to play hooky from school that day and wanted to talk it over when the show’s producer called. Her voice was excited. She told me that the response to the show “was incredible.” The phone had kept ringing late into the night: who was I, where could they get the book, would I be coming back?  She asked me to come back for a “return engagement.” I said I would be happy to.

I am convinced that that little sentence that ended the show was the reason for the fuss. “DO something with it” was saying, “You are something, you have talents that you just must make use of because you will not have another life: this is it.”

All it took was for me to empower viewers out there–homemakers, unemployed people, people taking time off from work, and self-employed people–by reminding them that they are special and not to deny any more their own potential that they might have forgotten or never noticed.

Many people–possibly most, I believe–don’t think highly enough of themselves. Do you think highly enough of yourself? They underestimate themselves and their potential. They think other people can achieve noteworthy things, but not them. Because they are “ordinary.”  They settle for lesser lives.

I’ve met many quietly magnificently gifted people who frustrate me and whom I’ve felt like shaking by the shoulders Butterflyand saying, “Wake up will you: your life is happening and you don’t seem to be aware of it. Your life needs you. Half the days allotted to you have passed and how far have you gotten?”

But I was aware of the audiences’ greatness and had all the respect in the world for them and wanted to tell them: “Don’t waste a day of a precious life; get with it.”

I had talked with such conviction and compassion for them in my voice that they knew I had recognized something exceptional in people and they wanted to know more to help them get started in a new direction. Here’s the background of my thinking. You’ll see why I am so optimistic:

 

There is a Hasidic term that means “turning.” It’s the complete change of a person’s whole being. Quakers too use “turning” to mean the same major existential event. To realize that you can turn is to realize that you are at liberty to rotate a life that is facing one direction–your life at present possibly–and face it in another, to change the direction of your whole being at any time.  What an insight that is.

It’s a misuse of a creative life to be able to turn, to feel the necessity to do it, to feel the powerful urge, and not to turn. Turning arrowMary Oliver wrote about missing the opportunity to pursue a creative life when that was exactly what you should have done: “The most regretful people on earth are those who felt the call of creative work, who felt their own creative powers restive and uprising, and gave it neither power nor time.”

Is it time for you to turn?

 

An inner impulse pushes you and me and all other living things to become what  we and they are equipped to become, regardless of how harsh or unaccommodating the environment we find ourselves in. People in the creative arts have often gone through periods of dire deprivation which they overcame. We can learn from them and from trees–oaks and birches, elms, and cedars.

Denied water, a tree is not helpless. It will send out its roots long distances in search of it. Hidden in shadows, it will Twisted tree with skytwist and wind its branches until they reach blessed sunlight. The tree is driven by its nature not merely to survive, but to flourish. It is driven to be all the tree it can possibly be, as beautiful as it can be, as functional as it can be. A tree all twisted–whose life hasn’t been easy–isn’t it lovelier than a tree without twists?

You and I were brought into this world for the purpose of making the most of our creative lives and are driven by an innate urge to do just that, whatever obstacles, phantoms, ogres, and fears we must overcome to find happiness. You could have lived a thousand different lives, but are inclined toward the life of a creative. It is like no other life it was possible for you to have.

It is as though whatever power created us had a particular concept in mind of the creative person we each should become (I was to be a writer, starting at the age of eight; you were to be what?) And after conceiving of us, lovingly, with a gentle nudge, sent us sprawling into this unfamiliar world fully equipped with the complement of unique creative strengths it seems everyone envies and wishes they too had–unique talents, aptitudes, qualities, gifts, sensibilities, skills, intelligence, determination, energy, and inclinations–necessary to thrive and become the successful writer, artist, actor, composer, or dancer we really could be when we set our minds to that goal.

There was an expectation then that once on our own, we would decide what art we would follow and commit ourselves and work hard to achieve mastery of it.

 

In the course of a creative life that’s changing there is a particular period of upheaval when the momentum shifts and the creative who is moving in the wrong direction stops and starts in a more promising direction.  That may entail a deliberate process wherein you set out intentionally, with forethought, to create a more fulfilling creative life, holding an idea of what your life could be steadily in mind, consistently showing the sense of purpose, motivation, and deliberate effort needed to turn that idea into concrete reality. Or a tremendous change in direction of a life may occur in the blinking of an eye.

American Sherwood Anderson turned. He was a successful businessman in Ohio, the President and owner of a profitable company who enjoyed writing his firm’s advertising copy. One day he noticed a stranger sitting in the waiting room outside his office. He asked who the man was and was told he was the printer who set the type for the newspaper advertising that Anderson wrote, and Anderson called him in. All he wanted to say, he told Anderson, was that while setting the type he always noticed how unusually excellent the writing was, that Anderson had a talent.

That was all there was, a printer taking time out to praise the quality of a client’s advertising copy. But it was an event Wood typesetthat completely changed Anderson’s life. Anderson went home, cleared space in his attic for a desk and books, and began to write seriously. Eventually he gave up his business and turned to writing full time. With his book of short stories Winesburg, Ohio he became one of America’s major authors. He is considered one of the masters of the short story.

 

I’ve traveled a great deal and talked to privately, I’m sure, thousands of people about their lives. I’ve found so many times that all it takes to ignite a person’s desire to change their creative career for the better may be just a word or two of encouragement and confidence from another person they respect and trust, even a stranger–a guest on a TV show, for example, or a printer.

As a young man George Bernard Shaw wanted to be a novelist. Every year for five years he wrote a novel–one a year–and sent it to publishers. The manuscripts always came back rejected. But one day Shaw received, in addition to the standard rejection form, a note from an editor that unfortunately his novels did not fit their list. But then in the note appeared the words: “Your dialogue is wonderful. Did you ever think of writing plays?”

He never had, but then he started to, discovering that indeed he did have a talent for dialogue, eventually, of course, winning the Nobel Prize in Literature for his drama. Would Shaw have become a playwright had he not received that note of encouragement, or would he have continued to write bad novels, one a year and meet only failure, sensing he had talent but getting nowhere, or would he have given up writing?

 

Weary of being one kind of person, creatives about to bloom and produce finest creative works transform themselves Poster about fulfilling potential with rose in backgroundinto something else: “I don’t have to be the way I’ve been just because I’ve always been that way.” The worst excuse for not changing is to say, “That’s just the way I am. I guess I’ll never be any different.” You’re different if you say,   “I don’t have to put up with this obstacle that’s holding me back for one more day “I can buckle down and get to work to develop my talents,” “What I always wanted to be–I can really can be that.”

 

Every day and every moment in each day you have the power to fashion a new creative life to your own specifications, training yourself, educating yourself, turning, encouraging yourself, forming friendships with other creatives, seizing opportunities, taking risks, working hard, applying yourself seriously to your craft till you are committed to it in a way you never have been before and your head spins gloriously. That will lead to a reshaped destiny all your own. It will be unique to you.

 

What can I say but, “There’s so much to you. DO something with it.”

 

© 2018 David J. Rogers

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

http://www.mentorcoach.com/positive-psychology-coaching/interviews/interview-david-j-rogers/

 

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

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http://www.barnesandnoble.com/w/fighting-to-win-samurai-techniques-for-your-work-and-life-david-rogers/1119303640?ean=2940149174379

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Gratitude – a time of Thanksgiving

Happy Thanksgiving to all my readers. Whether or not you celebrate this holiday set aside for gratitude, I wanted to share this post from my blogging friend Janet Weight Reed which affected me deeply.

My Life as an Artist (2)

‘Happiness cannot be travelled to, owned, earned, worn or consumed.    Happiness is the spiritual experience of living every minute with love, grace, and gratitude.’   Denis Watley. 

watercolour45487165_10156777268340396_893438499913465856_oI think it took me until I was forty to begin to understand the meaning of gratitude.   Until that point, I had wondered through life, sort of hanging on, and trying my best to put one step in front of the other, often under challenging circumstances, and then boom, an epiphany – something occurred which opened my eyes to what gratitude is all about.

I began to see and feel everything in ways that I had not experienced before.    Fear and anxiety had been the underlying emotion ruling my life since early childhood….and so when it was removed all of a sudden I was free.   I began to see and really experience the world around me rather than…

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