Category Archives: Becoming an Artist

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

Fighting to win Amazon

Click on book image to order from Amazon.com

or

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

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

Waging Business Warfare812sCY9edLL._SL1500_

Click on book image to order from Amazon.com

or

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

 

Follow my blog with Bloglovin

 

7 Comments

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

Fighting to win Amazon

Click on book image to order from Amazon.com

or

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

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

Waging Business Warfare812sCY9edLL._SL1500_

Click on book image to order from Amazon.com

or

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

 

Follow my blog with Bloglovin

 

 

 

24 Comments

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

Fighting to win Amazon

Click on book image to order from Amazon.com

or

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

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

Waging Business Warfare812sCY9edLL._SL1500_

Click on book image to order from Amazon.com

or

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

 

Follow my blog with Bloglovin

23 Comments

Filed under Achievement, Becoming an Artist, Creativity Self-Improvement, Developing Talent, Human Potential and Achievement, George Bernard Shaw, Quaker Concept of Turning, Sherwood Anderson

How To Write Mesmerizing Prose

For Writers Wanting To Improve Their Craft

 

Writers can learn many important, specific, things from other writers who are more experienced, skilled, talented, and knowledgeable. The three writers described here, a taste of whose beautiful work is included below, were masterfully gifted, serious craftsmen. The drive to write superbly dominated their lives. They breathed writing. The writing they labored over provides examples of exceptional achievements that writers wishing to cast a similar mesmerizing effect in their prose may benefit from. I hope you do.

Mesmerizing prose makes us feel emotions when we read by activating and feeding our senses of sight, sound, touch, smell, and taste because the reader experiences vicariously what he or she is reading.  In mesmerizing prose, quickly, without delay, the writer sets the tone and mood; sad in the case of the first James Agee piece that’s coming up, wistful and nostalgic in the second, reflective in brilliant John Ruskin’s analysis of the unique abilities of the creative artist.

Charles Dicken’s excerpt has a different mood–satirical and bitter. The writing in all the pieces here is specific and as clear as fine glass. What other quality is as vital to good writing as clarity? No one wants to wade through prose that’s muddled. It shows a writer with a disorganized mind. Or one who has stopped at least one draft too soon.

A skilled mixture of nouns and verbs and a balance of showing and telling strengthens the text. Adjectives and adverbs are used sparingly. The passages are brief. They could have been much longer if the author desired. There is no mistaking the author’s voice. Other than Ruskin’s philosophical piece, the pieces mix description with action. They are not static; they have zip and they move. They point out the effectiveness of an author’s ability to create word pictures, all good writers being creators of images that come out of their mind in dribs and drabs, or torrents, to lodge in the reader’s mind, ideally memorably.

Every kind of writing improves with practice, but none benefits more than descriptive writing–a skill that can be learned.  Rembrandt said, “The more pictures you paint, the better you get,” and the same goes for mesmerizing prose. The main ingredient of these three writers is fluency–the generation of numerous ideas (an ability of smart people with fertile, excitable, complex minds); the ability to “see a lot” in things,” more than lesser writers see. In the same way, a skilled painter, looking at a field of wheat or a human face perceives much more than most people with untrained eyes perceive.

Where does that ability come from? An active mind that is able to explore objects and ideas in impressive detail while always maintaining a consistent tone to express the details, pulling image after image recalled from the writer’s life from the conscious and subconscious mind where they are securely stored and always ready to be put to work in text.

 

Here’s a piece that creates a mood through simple diction and cadences reflecting the mind of the character being described. The excerpt is by James Agee (1909- 1955) from the nonfiction documentary Let Us Now Praise Famous Men. It is set among Southern tenant farmers during the American Depression. Agee–novelist, poet, movie critic, essayist, and screen writer–posthumously was called “the most prodigiously talented American writer of his generation.” About combining the skills of an artist to write a nonfiction documentary, he said, “Isn’t every human being both a scientist and an artist; and in writing of human experience, isn’t there a good deal to be said for recognizing that fact and for using both methods?”

 “I am fond of Emma, and very sorry for her, and I shall probably never see her again after a few hours from now. I want to tell you what I can about her…(W)hen Emma was sixteen she married a man her father’s age, a carpenter… She has been married to him two years; they have no children. Emma loves good times, and towns, and people her own age, and he is jealous and mean to her and suspicious of her. He has given her no pretty dresses nor the money to buy cloth to make them. Every minute he is in the house he keeps his eye right on her as if she was up to something, and when he goes out, which is  as seldom as he can, he locks her up: so that twice already she has left him and come home to stay, and then after a while he has come down begging, and crying, and swearing he will treat her good and give her anything she asks for… and she has gone back…Her husband can no longer get a living in Cherokee City. (H)e has heard of a farm on a plantation over in the red hills of Mississippi and has already gone, and taken it, and he has sent word to Emma that she is to come in a truck… and this truck is leaving tomorrow. She doesn’t want to go at all, and during the past two days she has been withdrawing into rooms with her sister and is crying a good deal, almost tearlessly and almost without voice, as if she knew no more how to cry than to take care of her life….but she is going all the same, without at all understanding why.”

You’ll find it worthwhile to read the section of In Let Us Now Praise Famous Men this excerpt is taken from to see how the writing you just read came out of the feelings of affection that developed between Agee and Emma.

 

Now here is a descriptive excerpt from Agee’s Pulitzer Prize winning novel A Death in the Family. The novel shows the effects of his father’s sudden death on a young boy. This famous passage, set to music by Samuel Barber, is a prelude to the novel.

“We are talking now of summer evenings in Knoxville, Tennessee… On the rough wet grass of the back yard my father and mother have spread quilts. We all lie there, my mother, my father, my uncle, my aunt and I too am lying there. First we were sitting up, then one of us lay down, and then we all lay down, on our stomachs, on our sides, on our backs and they have kept on talking. They are not talking much and the talk is quiet, of nothing in particular, of nothing at all. The stars are wide and alive, they seem each like a smile of great sweetness, and they seem very near. All my people are larger bodies than mine, quiet, with voices gentle and meaningless like the voices of sleeping birds. One is an artist, he is living at home. One is a musician, she is living at home. One is my mother who is good to me. One is my father who is good to me. By some chance, here they are, all on this earth, and who shall ever tell the sorrow of being on this earth, lying on quilts, on the grass, in a summer evening, among the sounds of the night.”

Nothing dramatic happens on that lawn, but Agee communicates the preciousness of everyday life, and the boy’s feeling of calmness and security. But it is yet mixed with a feeling of the fragile nature of this family and the life he cherishes.  The language, almost hypnotic, conveys how every child feels, and how most every adult feels remembering pleasant days of youth.

 

Here is an ideal example of analytical nonfiction. It is John Ruskin’s (1819-1900) writing on the nature of the imaginative mind from his book Modern Painters. Ruskin was the leading art/architecture critic of the English Victorian era and the best writer among all the critics. He explored the creative process. His writing style, based so heavily on a Biblical style, and his ideas, and original insights were widely admired by artists, critics, and the general public. They influenced Marcel Proust who spent six years studying them, translating them into French, and being influenced by them before setting out to write the monumental In Search of Lost Time. Ruskin claims, as I’ve believed as long as I’ve been writing, that once having experienced something, writers don’t forget it, but rather, having memorized their life, remembers its every detail. Writers and artists can remember every blade of grass on the street where they lived when they were ten. What one writes about, the other paints.

Here’s Ruskin writing about the painters he so admired:

“Imagine that all that any of these men had seen or heard in the whole course of their lives, laid up accurately in their memories as in a vast storehouse, extending, with the poets, even to the slightest intonations of syllables heard in the beginning of their lives, and with the painters, down to minute folds of drapery, and shapes of leaves or stones; and over all this unindexed and immeasurable mass of treasure, the imagination brooding and wandering, but dream-gifted, so as to summon at any moment exactly such groups of ideas as justly fit each other; this I conceive  to be the real nature of the imaginative mind, and this, I believe, it would often be explained to us as being, by the men themselves who possess it, but that they have no idea what the state of other peoples’ minds is in comparison; they suppose everyone remembers all that he has seen in the same way, and do not understand how it happens that they alone can produce good drawings or great thoughts.”

 

Here is an extended metaphor drawing a parallel between fog and human behavior from Charles Dickens’ (1812-1879) Bleak House. Immensely gifted and inventive, Charles Dickens is generally considered the greatest Victorian novelist. In this satirical excerpt from Bleak House, fog reminds the narrator of the murky ethics and hypocrisy of the High Court of Chancery, metaphorically the Bleak House of the title.

“Fog everywhere. Fog up the river where it flows among green aits and meadows; fog down the river, where it rolls defiled among the tiers of shipping and the waterside pollutions of a great (and dirty) city. Fog on the Essex marsh, fog on the Kentish heights. Fog creeping into the cabooses of collier-brigs, fog lying out on the yards, and hovering in the rigging of great ships, fog drooping on the gunwales of barges and small boats. Fog in the eyes and throats of ancient Greenwich pensioners, wheezing by the firesides of their wards; fog in the stem and bowl of the afternoon pipe of the wrathful skipper, down in his close cabin; fog cruelly pinching the toes and fingers of his little ‘prentice boy on deck. Chance people on the bridges peeping over the parapets into a nether sky of the fog, with fog all around them, as if they were up in a balloon and hanging in the misty clouds…Never can there come fog too thick, never can there come mud and mire too deep, to assort with the groping and floundering condition which the High Court of Chancery, most pestilent of hoary sinners, holds this day, in the sight of heaven and earth.”

 

James Agee, John Ruskin, and Charles Dickens. If they were a baseball team, or a soccer team, what a powerful team they would be. All writing should be interesting, but why not go further and write mesmerizing prose using them as examples to learn from?

 

© 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

Fighting to win Amazon

Click on book image to order from Amazon.com

or

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

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

Waging Business Warfare812sCY9edLL._SL1500_

Click on book image to order from Amazon.com

or

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

 

 

 

Follow my blog with Bloglovin

Leave a comment

Filed under Artistic Perfection, Becoming an Artist, Charles Dickens, Creativity Self-Improvement, Descriptive Writing, James Agee, John Ruskin, Voice, Writers

Writers and Shyness:  Anton Chekhov, Master of the Short Story

I think it’s well established that wherever they been born and bred, many writers–young, middle-age, or old–are shy. Certainly I personally have met and read about scores who are. Shy writers may be far more prevalent than we realize. Shy writers and shy artists, actors, dancers, soloists, and composers are well documented and may in fact be the rule rather than the exception in the world of artistically creative people.

path with overhanging trees in winterAs is true of all complex psychological characteristics, it is not easy to assess why a man, woman, or child is shy–what causes it– possibly particularly for the person who is shy and tries to understand why. Causes are part genetic and part environmental–that’s known; but that insight doesn’t tell us much about writers and shyness. Does serious writing (painting, acting, composing etc.)–possibly in an occupation–attract shy people because it requires so much introspection, savage self-criticism, and living much of the time in your head just as shy people do?  Can shyness be outgrown? I think so. I’ve seen that happen.

Shy writers may puzzle us and make us think, “Why in the world should she (he) be shy?” when they possess all the qualities that should result in a more socially self-assured and confident person, (and confidence is so crucial to a creative.) They have qualities some people would flaunt, such as prodigious and unique giftedness, highly developed Reflection of scene in waterskill, physical attractiveness, stunning achievements, exceptional intelligence, and disarming charm. Yet many shy writers, from the most famous to the least famous, despite having everything a person could want, are chronically ill at ease in any spotlight, and can’t remember a time when they weren’t. They try their best to avoid drawing attention to themselves, and are dismayed or depressed when they can’t.

Of all the world’s short story writers, Russian Anton Chekhov (1860-1904), is generally acknowledged to be the best. By the age of twenty-six he was a national celebrity; fingers were pointed at him wherever he went.   He never failed at anything, for example transitioning without any apparent effort from great fiction to great drama. He was cultured, well educated, and intellectually brilliant, the most popular Russian writer of his generation, and unlike most of us other humans, never suffered great sorrow. Yet he was shy.

Anton Chekhov

Anton Chekhov

His shyness might explain his hatred of personal appearances, promotions, exposure, and publicity. He refused to do readings: “I don’t recite…If I do it for three or five minutes my mouth dries up, my voice grows hoarse, and I can’t stop coughing;” “I recite abominably  The main thing is I’m terrified. There’s a complaint called ‘fear of open spaces;’ well, I suffer from fear of the public and publicity.”

He was an innovator whose ideas on the art of short fiction–extraordinary economy of language, objectivity and complete absence of moralizing, lyricism, blurring of the boundary between protagonist and author, understatement, extremely brief openings (two or three lines at most) or none at all, surprising detail in physical description, repetition of key words, inconclusive endings–have become standard practice, changing the way that genre is created.

As an adult he had all the requirements of happiness. But it is possible that an absence of affection in his childhood permanently stunted his personality. He wrote: “So little affection came my way as a child that I treat caresses as something unfamiliar, and almost beyond my ken, now that I’m grown up. That’s why I can’t show fondness for others, much as I’d like to.” Extreme holding back of emotions, introversion, social discomfort, and self-effacement distinguished the mature Chekhov.

He said, “Father began teaching, or to put it bluntly, beating me before I was five. He birched me, boxed my ears, clouted my head, and when I woke up each morning I’d wonder if I’d be beaten that day. My brother and I were forbidden to play and lark about.” He described himself as “a serf’s son, a one-time shop boy (his father was a struggling, eventually bankrupt grocer), public school student, brought up to worship rank, to kiss priest’s hands, to defer  to other people, who said thank you for every bite of food, who was often beaten, who had no galoshes to wear.”

Chekhov began what was to become, unexpectedly, a literary career as a struggling medical school student who submitted short comic pieces to humor publications.  Later, as a serious writer, he was to say that his early comic works Owl “exhibited no characteristic beyond silliness.” Soon he was writing a popular and widely discussed column of comic tales. But, he said, he was “bored stiff and longed to give it up,” much as he needed the fifteen rubles a month which it earned him. His creative imagination was so fertile that he bragged that he could select any subject at random, “an ash tray or even a wall” and make a story of it. He said all he thought about other than stories was “Money. Money. Money.” He vowed he would not die a journalist, an occupation of “scoundrels.”

He maintained a medical practice, and his identity as an author  cannot be understood in isolation from that of Chekhov the physician. He wrote, “Medicine is my lawful wife, and literature my mistress.” He never asked for payment from struggling people in the arts. His medical practice supplied him with material, bringing him into close contact with people from all levels of society, and did so at times of crisis when they were too much under pressure to wear their usual masks. For a writer who specialized in detaching characters from their illusions about themselves that was invaluable.  But he neglected his own health though he was aware that he was tubercular, and that that more than likely would be the cause of his death, as it was to be.

In 1886 veteran novelist Dmitry Grigorovich hailed Chekhov as a writer of genius with a remarkable literary career in store for him if he did not waste his talent writing trifles. Grigorovich wrote to Chekhov: “Judging by the different Massandra Wineryqualities of your undoubted talent, your true feeling of inner analysis, your masterly descriptive passages, the way in which you give a complete picture of a cloud at sunset in a few words, etc., you are destined, I am quite sure, to become the author of many excellent and truly artistic works.” It was Grigorovich’s letter that finally decided Chekhov to be more serious about his work, and to devote all his time to literature.

He turned away from writing comedies to more serious, literary writing, and then his stories became almost without exception perfect works of art. Publications asked him to name his own price. Chekhov responded with modesty, reserve, and anxiety. According to biographer Ronald Hingley, “There was no true satisfaction for him in all this fuss. He was meeting too many people; he felt over-praised,” in the way American novelist Walker Percy would feel seventy years later when he wrote, “Reading reviews of your own book is…a no-win game. If the review is flattering one tends to feel vain and uneasy.” At the age of twenty-nine, when he wrote the memorable “A Dreary Story,” Chekhov had firmly established himself as the finest active Russian fiction-writer of his generation.

When abruptly Chekhov’s stories began becoming widely popular and catapulted him from obscurity to celebrity something happened to him that he hadn’t expected. He became self-conscious and unsure of himself.  He said: St. Petersburg path“Formerly when I didn’t know that they read my tales and passed judgment on them, I wrote serenely, just the way I eat pancakes. Now I am afraid when I write.”  Janet Malcolm: “His letters of that period have a feverish, manic quality…He is alternately boastful and fearful. Chekhov’s letters now also begin to express his ambivalence toward writing that was to remain with him. They suggest that the literary artist…is doing something unnatural…Chekhov would often talk of idleness as the only form of happiness.” A similar tension between writing as legitimate work for a person to do appears in the biographies of many working class and middle class writers.  Chekhov resolved his dilemma by slowing down and going at his work with more seriousness.

Praise of his work only irritated him because he doubted the critical abilities of those who praised him: “I yearn to hide somewhere for five years or so and tackle serious, meticulous work. I need to study, to learn everything from the very beginning because I am a complete ignoramous as a writer. I need to write…sixteen pages in five months, not eighty pages in one month.” Very self-critical,, he wrote, “For two years I’ve disliked seeing my work in print. I couldn’t care less about reviews, literary chat, gossip, success, failure, high fees.”

He ascribed to himself laziness, apathy, and idleness: “My flame burns low and steady without flaring and crackling. That’s why I never dash off fifty or sixty pages in a night, or get so absorbed in work as not to go to bed when I am tired. And that’s why I never do anything outstandingly stupid or remarkably brilliant. I think that if I lived another fifty years and spent all the time reading, reading, reading, and learning to write well…which means economically, then I’d bombard you all from a vast canon which would shake the heavens. But as it is, I am a pygmy like everyone else,” “Everything I’ve so far written is nothing compared with what I’d like to write.”

His personality’s reserve was so profound that he found it extremely difficult to establish intimate friendships with anyone, man or woman. Everyone closest to him was always aware of a certain distance that couldn’t be broached. Famous, renowned, envied, he had not a single friend. An acquaintance said, “He never opened his soul to anyone.” Chekhov was capable of touching deep emotions in his writing but was not able to make intimate contact with anyone in his real life.

But with his difficulties his achievements in the craft of short fiction are yet unsurpassed.

 

© 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

Fighting to win Amazon

Click on book image to order from Amazon.com

or

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

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

Waging Business Warfare812sCY9edLL._SL1500_

Click on book image to order from Amazon.com

or

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

 

7 Comments

Filed under Anton Chekhov, Becoming an Artist, Confidence, Creativity, Emotions of Creators, Shyness, Writers

Acquiring Creator’s Survival Skills

Whether they are five or seventy-five, beginning creators don’t know the first thing about their craft, but don’t know they don’t know. They’re playing, experimenting, discovering, having fun, and are thrilled to be creating, and that’s Young boy painting at an easelenough. Then in time, if they are to become more skilled writers, artists, actors, dancers, and so forth, they will realize they don’t know enough about the craft they’ve now become attracted to more seriously.

They want to get better and be more accomplished and have success. So they strive to learn as much as they can about their craft. That drive to get better and better still, to find their one true voice that activates even their deepest creative potentials, to learn, to reach consistent excellence over a long period of time dominates true creators as long as they live.

The more skillfully advanced creators know a tremendous amount about their craft and at times are capable of unique and extraordinary creative feats that make you gasp. Yet, they are incomplete. They realize there are many other things of a non-technical nature to know, having to do with surviving a creator’s sometimes intense, demanding, troubled, uneasy, or tragic existence. Preparation is the key to creative success, whatever the field. Without survival skills the creator is not fully prepared for a creator’s life.

Horizon and sunset seen through branchesThey acquire survival skills or they do not survive: their career ends prematurely, or they crack up, or their talent abandons them, or the production of work grows increasingly difficult, the ease and effortlessness of the master disappears, leaving in its wake frustration and regret. Horace said that painters and poets alike have always had license to dare anything, but when they lose confidence they become afraid.

Three Stages

Stage I: At the start of their careers, would-be serious creators work Number 1as though technique and mechanics aren’t especially important. They have a story to tell, a message to communicate, a vision, and that’s all that counts.  They start out full of naïve optimism. Unless they are creative geniuses who have powerful creative intuition that more than compensates for technical shortcomings the result is that the work they produce suffers from creative ailments.

The execution of the work may be dull, awkward, muddled, and show almost no regard for the audience—a failure of craftsmanship. Successes are few. Possibly there are no successes at all. Creators get depressed and doubt their talent: are they good enough or are they fooling themselves that they can produce work that will please them and please an audience? The root difficulty is being blind and deaf to the need for technical abilities. In time that becomes very clear to creators who may come to realize their technique stinks and needs many improvements.

Stage II: Intelligent creators now turn their attention to acquiring techniques so that their work becomes more Number 2coherent, less obscure, and less naïve. Technical abilities take over from inspiration.  Creators become preoccupied with acquiring technical knowledge about their craft and the mechanics of producing quality work. They study to ferret out the secrets of the best in the field, read articles, books, and blogs. They take classes, educate themselves (the principal source of a creator’s expertise), find a mentor, locate good teachers, get involved in a writer’s, artist’s, or actor’s milieu, and may go to workshops, conferences, and retreats. They work hard. Their technical skills do improve. They are better creator this year than they were last year.

Stage III: Then creators realize that technique and mechanics are insufficient–that there are many creator’s survival Number 3needs they didn’t anticipate, and are unprepared for, and a whole set of little-discussed survival skills directly related to success and fulfillment that technique can’t help them with.  Serious creators’ lives are full of pressures, strains, dilemmas, quandaries, and problems. Bonnie Feldman was of the same mind when she said in Writing Past Dark: “The bookstores shelves sagged with volumes on technique. A hundred authors explained how to show don’t tell, and why a story needs a conflict. Why hadn’t anyone written a book that would help me?”

What Technique Can’t Help You With

Creator-survivors must be natural, less controlled, less inhibited, less blocked with punishing self-criticism, more expressive and spontaneous. They must be balanced, flexibly-minded, less strained, less anxious–carefree, focused on their work, not themselves –manifestations of good mental health. How otherwise will they ever be able to “snare the spirits of mankind in nets of magic?” Technique will not teach creators those things, yet they are crucial to the writer’s, artist’s, actor’s, and performers’s well-being and productivity.

cog wheels of goldTechnique will not teach you the single greatest survival quality of any successful creative enterprise: a desire to excel that dominates the creator, a need so strong that not much else matters as much. That is an empowering survival skill major creators possess without exception.  Do you possess it?

Technique won’t help you overcome the miseries of self-doubt and discouragement—the creator’s main inner obstacles to success–that dreariness that has ruined tens of thousands of creator’s careers. Technique is terribly important, but it will not teach you the survival quality of simple, unadulterated courage in the face of hurtful setbacks, cruel criticism, and heart-breaking adversity.

Nor will it teach you the necessity of creator’s taking calculated risks, normally the only path to success. It will not teach you the survivor’s drive, high focus, and persistence which may be a more important success factors than brilliant intelligence. These are qualities creators must possess to survive.

Technique will not teach you the daily-needed psychological skills of optimism, powerful motivation, and stamina. Technique will not teach you a single one of psychological and spiritual survival skills that you need to supplement the creative techniques you’ve acquired.

Preparing For Survival

Creators should learn to dialogue among themselves freely, unabashedly, happily in their everyday creative lives about such needed Stage III creator’s inner survival qualities as strength, persistence, will power, commitment, empowerment, sense of purpose, discipline, good creative moods. And ideal creative moods, resilience, enthusiasm, guts, energy and sweat, passion, sacrificing for the sake of your craft, and boldness, doggedness, adaptability, endurance, patience, maintaining at all times a confidence of succeeding, and other dimensions of you, the creator. These inputs will make you a better-prepared.

If you lack those internal skills of the heart and mind you must acquire them just as you acquired creative technique. You can do that. You can acquire survival skills of mindfulness, meditation, and non-attachment.  You can learn to endure rejection and manage stress. You can learn to listen to your body and enjoy your work more. You can become more optimistic and resilient. You can learn tranquility and peace of mind from reading people like the master Vivekananda.  You can read biographies of great creators to see how they overcame adversity. You may wish to read my Fighting To Win which has specific strategies to help you on your path.

Be aware of where you are deficient and what your survival needs are, as “I am not a confident person now; I must work on that.” Then you can set out on a program of self-development designed to better equip you for your chosen creator’s role, your creator’s life path that you may wish to follow till the last breath of your life.

Begin the day by asking, “Am I strong today?” “Will I persist?” “Will I be confident?” “Will I stop doubting my talent?” “Will I adapt and be patient?” “Will I be enthusiastic today?” “Will I be courageous?”

© 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

Fighting to win Amazon

Click on book image to order from Amazon.com

or

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

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

Waging Business Warfare812sCY9edLL._SL1500_

Click on book image to order from Amazon.com

or

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

 

 

13 Comments

Filed under Artistic Perfection, Artistic Stages, Becoming an Artist, Courage, Creativity Self-Improvement, Developing Talent, Human Potential and Achievement, Fighting to Win, Inner Skills, Preparation, Success, Survival Skills

How Creators Benefit from Teachers

Colorful abstract paintingIn college I had a brilliant professor of creative writing–he was dazzling. After class one day I said to him, “You know everything about literature and writing. Your analysis of works is something to behold, and you’re able to tell students how specifically to improve their work. But as far as I can tell you’ve never produced any creative writing yourself. Have you?

“No.”

“Why not?”

“Because I have no talent.”

He didn’t have the talent his students did have, but his students didn’t have the knowledge he had, and that’s what we were there to acquire so we would have both talent and knowledge.

A painter will not automatically improve her performance by painting more. A writer’s performance won’t improve simply by further writing. To ratchet up their performance they will have to make changes designed specifically to develop it to a higher level. One major change is to acquire more knowledge.

In the arts and every other pursuit knowledge isn’t everything, but it’s almost everything.  Most often the reason a creator isn’t yet accomplished isn’t because he’s unintelligent or not gifted but because he isn’t knowledgeable enough. You need a big data base to be an accomplished creator.

Knowledge translates into new techniques and skills. New techniques and skills translate into new creative accomplishments–roles for the actor, publications for the writer, commissions for the painter and composer, greater satisfaction with your craftsmanship, and so on.

Flute lessonParticularly important in the acquisition of knowledge about your art is the instruction you receive. It may come from yourself if you are a self-taught autodidact who acquires knowledge by reading and studying the author’s ideas as many creators do, and instruction from direct in-person exposure to expert, skilled teachers. Most creators are to some extent studious and have the ability to apply themselves and to learn quickly. They are teachable.

Everyone who has reached the highest level of excellence in their chosen field will be found to have spent much of their lives immersed in that field pushing themselves to improve their performance, and have amassed tremendous knowledge of it. Experts have a higher number of patterns–“chunks” of knowledge–in their memories to draw on and apply to solving the problems at hand. Most experts consider about 50,000 different chunks to be the foundation of their expertise. When you are learning, you are adding chunks. It is no secret to you when you are talking with masters of a domain. Knowledge seems to come out of their every pore.

If you are interested in reaching your upper limits of performance and the most effective training in reaching them, you should study experts in your field–read about them, listen to the stories about them. They have probably spent their entire creative life maximizing their performance. Lengthy, on-going, never-ending training is nearly always the reason for superior performance. All the known routes to high performance require extended training. There are no shortcuts.

Research on what enabled many people to reach high expertise reveals that very often elite performers attach themselves to teachers who give them quality feedback, and with their help engage in specifically-designed training tasks. Training tasks force the creators to solve specific problems and stretch their performance, break bad habits, acquire new skills, and often experience career-changing insights.

Often creators we’ve heard most about received a more ancient style of education rather than modern large classes and many teachers. They received at least some one-on-one personalized education, spending time with a teacher with a good reputation known for their work with students on an individual basis, engaging in give and take dialogue and questioning.

Pottery lessonWhen a student in an art studies with a role model, a master, sparks fly. The two of them immerse themselves in the world of their art. Together, they analyze the piece of work, the skills that went into producing it, and the additional skills that will be needed if the student is to go further. The student learns the importance of concentration and sheer effort, and the need to overcome self-doubt. The student is gaining independence and confidence, and learning to solve problems on her own. Then in time, she may become a master in her art.

Troubled and immensely talented American short story specialist/poet RAYMOND CARVER was called “The American Chekhov.” A turning point in his life was being taught at the Iowa Writers Workshop by author John Gardner and being affected profoundly. Carver said that whatever Gardner had to say “went right into my blood stream and changed the way I looked at things…He took my stories more seriously… I was completely unprepared for the kind of criticism I received from him.”

American MARY CASSATT’S emergence midway in her painting career was the result of a sequence of happy events: living in Paris, mingling with the French  Impressionists, especially mentor/teacher Edgar Degas, becoming an Impressionist herself, and finding her subject–her voice: mothers with their children. Degas was a generally unpleasant, abrasive, hard to deal with man who most other painters couldn’t stomach. But he was a good teacher, the right teacher for Cassatt.

Ernest Hemingway had a most astounding capacity for absorbing information as soon as he was exposed to it and applying it immediately. He was greedy for knowledge and went to everyone for help—and they gave it freely–Gertrude Stein, Ezra Pound, F. Scott Fitzgerald, Sherwood Anderson, and others.  He studied, read, and wrote, sometimes eighteen hours a day.

Expert performers and their teachers identify specific goals for improvement, particularly crucial aspects of performance. The person who is trying to improve his mastery must concentrate full attention on getting rid of shortcomings, focusing on where in his performance there’s the most room for improvement.  Not any old teacher will do; a bad teacher is worse than no teacher. The teacher must be effective and must know how to support and excite the student to go on learning. What could be more unendurable that a dull teacher?

The most important quality that leads a creator to success is his motivation. A good teacher stokes the creator’s motivation through positive reinforcement and encouragement.

If a writer is weak on imagery she must write out a hundred, two hundred, three hundred effective images in practice. If she’s already a master of imagery she needn’t practice making images as much and can concentrate on what she’s not strong on.

Seal: Knowledge is PowerAdmitting shortcomings is hard for some people, but not hard at all for others. It wasn’t hard for Vincent van Gogh. His brother Theo asked if he should stop criticizing Vincent’s work in his letters. Vincent replied: “Continue writing me about my work. Do not fear to hurt me…I will take such criticism as proofs of sympathy worth a thousand times more than flattery.”

Generally speaking, writers, painters, ballet dancers, actors, and composers are quite probably the toughest-on-themselves, most self-critical creatures on this globe. Only the poorer and most naive of them are seduced by undeserved praise. If there are flaws in their work, they almost always recognize them before anyone else. Tell a prima ballerina her performance was breathtaking and she will shake her head and say, “I missed a beat and my right foot wasn’t arched properly.” And if the criticism of their work is unfair and not justified, they recognize that too.

The whole reason for being of the creator is to produce fully realized, polished works that as closely as possible approximate the ideal of “The best I can do at this time. In a year I should have more knowledge and should be able to do better if I keep working and learning, and in five years, better still. But right now this is the best I am capable of.”

Until you can say that, the work isn’t finished and needs more attention. That attitude should be yours as long as you paint, as long as you write, as long as you dance, as long as you act, as long as you compose.

 

© 2017 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

Fighting to win Amazon

Click on book image to order from Amazon.com

or

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

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

Waging Business Warfare812sCY9edLL._SL1500_

Click on book image to order from Amazon.com

or

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

 

 

 

 

 

 

 

 

 

4 Comments

Filed under Acquiring Knowledge, Artistic Perfection, Artists, Becoming an Artist, Creativity Self-Improvement, Developing Talent, Human Potential and Achievement, High Achievement, Motivation, Writers

Total Concentration: The Heart and Soul of Creative Work: Part Two

A heart surgeon was performing a delicate operation when large chunks of the ceiling came crashing down all around him. People in the operating room screamed, the noise was deafening. But the surgeon was so concentrated on

the surgery that he didn’t notice.  When your creator’s mind is as deeply on the act of creation as it should be when you are painting, writing, dancing, acting, like that surgeon you will be aware of nothing else. You will look up and see that your friend has been talking to you and you didn’t notice or that rain is coming in the window that has blown open while you worked. You won’t hear blaring music from the apartment next door.

Creative people often notice that if their ability to concentrate while they are working is poor, their work is also poor, but that if their concentration is good, their work is also good–cause and effect–that concentration is essential to their doing their best work.

An actor’s concentration must be total and never not total from curtain up to curtain down. The more total her concentration, the more engrossed in her performance the audience will be.  Also, the more concentrated a writer is while writing, the clearer the writing should be. And isn’t clarity the secret of supreme writing that not every writer has learned, but the best writers have? It’s obvious that to produce clear work you must be thinking clearly.

Part One of this two-part post began…

 … Concentration is the heart and soul of creative work. How to develop and sustain it is a concern of actors, painters, dancers, pianists, composers, writers, and all other creators. Unless you bring to bear all the mental and physical alertness and clear-mindedness that you have the potential for you will not be enjoying the best conditions for your creative work.

 … Creators who can concentrate their mind like brilliant beacons of light at will can focus anywhere and can work under any conditions, and whenever they wish.

 … Concentration is an ability most people have not developed. Their minds run wild.

 Creators must concentrate on what they are doing in the moment, in the “now.” Then they must be able, when that “now” is finished, to move onto the next “now.” They work very hard. They should strive to develop the ability to be as little affected by distractions as possible, to brush them off and to quickly resume their performance after an interruption. Some creators avoid distractions almost completely by eliminating TV, clocks, telephone calls, Face Book, Emails, and unnecessary conversations.

Select a place where you concentrate best—for most creators that’s the same place every day. Get started (the best way to get started is to get started), keep distractions and diversions to a minimum and don’t stop for any reason until the day’s goal is reached, except for brief rest periods. Look at the prescriptions for increasing concentration in Part One of this two-part post.

Persist working and growing in the face of obstacles and inevitable setbacks. Overcoming psychological obstacles such as discouragement, self-doubt, lack of confidence, and the ubiquitous creator’s fear of who knows what is another skill creators must master. You can still do great work if you don’t let the obstacle stop you from concentrating. You must also learn to pace yourself and maintain your energy and stamina over days, weeks, months, and years.

Konstantin Stanislavski was the most significant and most often quoted figure in the history of actor training. He was a pioneer attempting to define the actor’s mental, physical, intellectual, and emotional processes in a way that was comprehensive and had never been attempted before. He said, “The first step of creative art is concentration of attention…Through my system we try to achieve a state of concentrated attention.”

He said that concentration cannot be defined in a few words. But that “the thought must be fixed entirely and absolutely on one object or idea and only it, without breaking the circle of creative attention for anything else…You need all the power of your attention to dwell on each separate aspect of your task.”

How are you to know that your mind has become concentrated? What is the test? It is when the awareness of time has vanished. The more time passes unnoticed the more concentrated you are.

When I was so ill and in such pain I looked for relief. I observed that since the human mind can be on only one thing at a time, if I absorbed myself deeply in some thought or activity my mind could not be aware of my misery. Prize fighters, hockey players, football players, bullfighters, soldiers in combat, and others engaged in activities requiring intense concentration may be seriously injured but yet experience no pain whatsoever. I took seriously the Buddhist aphorism “Without mind there cannot be pain.”  When my mind was deeply engaged in working on my Growing Up Stories when I was ill the sensations of pain, so horrible usually, thankfully, didn’t trouble me.

It’s easy to be absorbed in the creative problem if it’s interesting–that’s not hard at all. But what if it’s not interesting? What if it’s boring? You know as well as I that creative work and the slow snail’s pace process of developing your skills to a level you’re satisfied with are often drudgery. Drudgery or not you still have problems to solve before you can go on with your creative performance. What can you do? When something is not interesting the first thing you do is what you shouldn’t do: you give it less attention. But give more of your attention to something and it will become more interesting.

The famous biologist Louis Agassiz was known for turning out students with highly developed powers of observation. Many of them went on to become eminent in the field. A new student appeared and asked Agassiz to teach him. Agassiz took a fish from the jar of preservative and said, “Observe this fish carefully and when I return be ready to report to me what you noticed.”

Left alone, the student sat down to look at the fish. It was a fish just like any other. The student finished looking and sat waiting, but no teacher. Hours passed and the student grew restless. He asked himself why he had hooked up with an old man who was obviously behind the times.

With nothing else to do, the student counted the scales, then the spines of the fins, then drew a picture of the fish. In doing so, he noticed the fish had no eyelids. He continued drawing and noticing other facts that had escaped him. And he learned that a fish is interesting if you really see it. (From Fighting to Win: Samurai Techniques for Your Work and Life)

You may turn to something else and return to your work later when you’re more focused. At times concentration can be so intense that it actually interferes with work and is exhausting, and so then it’s better to decrease attention.

Some people find that working when they’re tired and their mind is less sensitive to distractions is best for them. Then their work speeds up.

Your job to figure out how to focus on your work for a desired period of time. You have to learn to abandon what isn’t working and put aside problems that aren’t worth bothering with because they will lead to dead-ends.

Condition your mind. Practice concentrating on one thing at a time until you can concentrate at will. Focus on concentrating on things, on people, on ideas, on the text you’re reading. Look at your thumb. Turn it, study it and see it. Stare at your face in the mirror for ten minutes. See the blemishes; see the beauty you’d never noticed.

Fix your mind completely on one thing at a time and give it all your full attention–that one thought that it’s most important  to express in that one sentence,  that one right word that will capture exactly what the poem means, that one brushstroke, that one most-important emotion you, the actor, will communicate to the audience in Act Two. Practice keeping yourself in that state of alertness as long as you’re working.

The great Vivekananda said, “There is no limit to the powers of the human mind. The more concentrated it is, the more power is brought to bear on one point; that is the secret… In making money, or in worshiping God, or in doing anything, the stronger the power of concentration, the better will that thing be done.”

 

© 2017 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

Fighting to win Amazon

Click on book image to order from Amazon.com

or

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

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

Waging Business Warfare812sCY9edLL._SL1500_

Click on book image to order from Amazon.com

or

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

 

 

 

 

 

 

 

9 Comments

Filed under Artists, Becoming an Artist, Blocks to Action, concentration, Creativity Self-Improvement, Developing Talent, Human Potential and Achievement, Eastern Philosophy, Fighting to Win, Inner Skills, Self-Confidence, Writers

Crucial Inner Skills for Writers and Artists 

I don’t know if you’ve noticed but my blog posts are not like the blog posts of other people.  Obviously, though, some of you notice the difference. You send me blog comments and tweets indicating that you do. I want to thank you because it’s gratifying to know that one’s ideas are of value to the people you’re trying to reach.

For example, when it started getting out that I was talking about ideas that were different, I was happy to receive an email from novelist Josephine Rose letting me know she thought I was on the right track: “David, it’s great that you focus on the practical aspects of being a writer. If I had read you 10 years ago I think I would have said, ‘Nah, it’s all about talent. Either you can write or you can’t.’ Now I know this is an error…Thank you for these wonderful reminders.”

I write about creators’ need for confidence because confidence may be the most important factor of all to the creator. Confidence touches every aspect of the creator’s being—whether you think about your prospects positively or in a self-defeating way, how strongly you motivate yourself, whether you will persist in the face of adversity and setbacks, your susceptibility to discouragement, and the changes you will be able to make in your life.

Believe in yourself. The higher your faith in yourself, the higher you’ll set your creative goals and the stronger your commitment to achieving them will be. You’ll feel serene, for now you can make full, free use of all your talents.

Failure can actually increase your confidence. If you experience only easy successes, you come to expect quick and easy results, and your sense of confidence is easily undermined if you fail. Setbacks and failures serve a useful purpose by teaching that success usually requires confident effort sustained over time.

Once you become convinced that you have what it takes to succeed you quickly rebound from failures. By sticking it out through tough times, you come out on the far side of failures with even greater confidence. If you’re not failing some of the time one thing is true:  you’re not aiming high enough.

I write about human qualities that distinguish one creative person from another such as strength (suggesting that it’s worth a creator starting every work day by asking, “Am I strong today? Will I be strong?”) And I write about courage, persistence, tenacity, will power, commitment, empowerment, sense of purpose, discipline, good writing moods and bad writing moods, and ideal writing moods.

And the creator’s experience of ecstasy, and the need for stamina, which I call “the creative person’s inner power.” And self-resilience, enthusiasm, self-motivation, energy and your capacity for work, sacrificing for the sake of your craft, boldness, doggedness, adaptability, endurance, resilience, maintaining at all times the highest hope of succeeding, and other spiritual dimensions of your personality.

II

My interest in the inner dimensions of creative people springs from the work I did on my international best-selling print book (now an ebook), Fighting To Win: Samurai Techniques for Your Work and Life, which is now considered a classic. In that book I said that a frightening 70% of the blocks–obstacles–impediments to fulfillment that a person encounters are inside them. Something is wrong and needs mending in their minds and spirits.

All people need to be inspired to overcome obstacles and shown strategies for accomplishing that. That’s what I set myself to accomplishing in Fighting to Win.

The main inner blocks people anywhere on earth and especially people trying hard to do creative work are encountering right now as they set out to work today are these:

Fear

Being Afraid to Take Risks

Thinking Too Much of What Could Go Wrong

Doubting Yourself

Hesitating

You will see that you’re no stranger to blocks.

So a person’s inner territory has been my main concern for more than thirty years–in fact probably much longer than that.

III

Rarely will you find me writing anything about how to write or paint or act or dance because that’s not my main interest. I will not tell a painter how to paint because I don’t know enough about that. But even if I did I probably wouldn’t talk about good technique or good use of color, or composition, or perspective except to say I recognize them when I see them. I’m a great lover of art. And I’m grateful to many accomplished artists who have allowed me to include their work in my posts. I will talk about what makes great artists tick and why they’re so special. And I will say that creators who do great work are great in themselves.

I know enough about writing to apply careful technique to my own writing and to have taught serious writers and found great pleasure in that and discovered  I have a lot to say. I’ve written about extraordinary writers—the most extraordinary ever to write.

But you won’t hear from me these days anything about developing characters, scenes, conflicts, and episodes, or how to write dialogue, or generate a mood, or structure a plot, or anything dealing with technique and mechanics.

There are two reasons for that. First, technical skills aren’t my main interest. My main interest is the psychology of creative people and how to teach them and support and inspire them to reach tangible success and personal fulfillment.

Also, there are already thousands of books, magazines, web sites, classes, and blogs for learning technique and mechanics. People have been writing books giving advice on how to write better for 2,000 years. The fact that information is so easily accessible is one reason why so many creators are autodidacts and have taught themselves their craft.

IV

In contrast, almost nothing has been written about what I write about and what the book I’m finishing up after 3½ years of researching and writing is about.  I’m convinced that inside, in your mind, in your gut, in your spirit, in your highest and dearest aspirations will be found the magical difference between adequate creators and great ones.

Creators who have technical skills, but lack these spiritual inner qualities and the ability to overcome internal obstacles will not go as far as they could. Or may not go far at all. Or they may give up and quit long before they would have reached their peak performance. Isn’t it sad to think of the thousands of gifted writers, painters, and performers who will quit this year, telling a spouse or a friend, “I’ve had enough”?

Who you are—what you are made of, what you know, what constitutes you, what you stand for and dream of—cannot be separated from your strange, puzzling creative self.

© 2017 David J. Rogers

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

www.mentorcoach.com/rogershttp://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

Fighting to win Amazon

Click on book image to order from Amazon.com

or

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

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

Waging Business Warfare812sCY9edLL._SL1500_

Click on book image to order from Amazon.com

or

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

26 Comments

Filed under 8-Fold Path, Artists, Becoming an Artist, Blocks to Action, Confidence, Courage, Creativity, Developing Talent, Human Potential and Achievement, Fighting to Win, Goals and Purposes, High Achievement, Inner Skills, Motivation, Self-Confidence

Achieving Mastery in Creative Work

david-youngWhen I was a little boy about eight or nine, I was playing in front of the TV in our Chicago apartment when an old black and white English movie came on.  I knew nothing about acting, though I had once played a tree in a skit. But there was one actor on the screen who I could see was remarkable. He was just different, unlike any of the other actors, though I couldn’t say how. But I could see that something special right there on the screen.

What he was doing, how he was acting, the impression he was making made me feel a sensation which I now know was awe. I realized I was watching an extraordinary accomplishment I had never seen in movies before, in my life before. I pointed at the man and said, “Who is that, Mom?” She was a movie buff, so she knew. She said, “That’s Laurence Olivier. He’s the greatest actor in the world.” Even so young I had recognized supreme mastery, the highest attainment of any art.

As I grew older I began to notice examples of supreme mastery all around me: athletes, singers (In my family were many fine singers), pianists, violinists, and auto mechanics. And then, when I went into business and became a management consultant, executives, workers in offices, factories, and plants. And then when I became a professional speaker, spell-binding orators with supreme mastery who could inform you and teach you and move you in a way other speakers didn’t dare dream of.

About the people who perform best, whether actors, dancers,  accountants, ballerina-534356_640_copy2physicians, executives, sales people, mothers and fathers, chefs, carpenters, athletes, novelists, poets, and playwrights, etc., there’s  an ease, an effortlessness. They stand out. You notice them. You don’t forget them. They just do what they do so well and naturally, so charismatically, beautifully, confidently, and with what seems so little effort, that if you stand back and watch them, you have to marvel. You have no choice but to think, “What I am now watching is almost unreal. It is almost super-human.” They do it better and have more ability than just about anyone else you’ve ever seen—better than other actors, painters, or writers, etc.

It’s called yugen in Japanese. Yugen is the “highest principle” in Japanese art—in any country’s art, I think—and the most difficult term in Japanese flower-653710_640aesthetics to define. It’s the creation of grace and beauty–the mark of great ability of men and women who have reached highest attainment in their art, their craft, their occupation. There is “Grace of music,” “Grace of performance,” and “Grace of the dance.” There is the grace of any of the arts.

 Yugen is “the something behind the gesture” of a great craftsman.  It’s described poetically as the emotion you feel watching a bird slowly crossing the moon at night, or the ease with which a flower grows, or one of my favorite sensations which you might have experienced, that of wandering on and on in a deep forest with no fear and no worry and no thought of turning back.

No element of the yugen performance is wasted or done without purpose, and it’s something to behold. You can think right now of people you’ve seen, of people you might know, possibly you yourself, and be able to say something like, “If ever a person possessed yugen mastery it was Ms. Cartwright, my fourth grade teacher,” or Jessica Lange in Nobel Prize winner Eugene O’Neill’s Long Day’s Journey Into Night, or yourself, thinking, “When I directed that play,” “When I wrote that novel”   “When I danced Swan Lake,” “I had it.”

Everyone is—you are, I am, my wife is, my children and grandchildren are—potentially a yugen person. Aren’t we all more extraordinary than we realize?

If you ask yugen people, they won’t be able to explain exactly what it is they do that makes them different from others in their field because after long periods of practice and development they now do it intuitively, and what is done intuitively cannot completely be communicated to another person rationally. Oh, they have an idea, but can’t quite put their finger on what makes them able to leap up consistently in performance.

theatre-96714_640Olivier once finished a stage performance which he knew was perfect. Everyone in the company knew it was perfect and when he came off stage they asked, “Larry, how did you do that?”  He replied, “I wish I knew so I could do it again.”

If you have that special touch in the work you do, you would be hard put to tell someone who comes to you to be trained exactly what you put into your performance. You say, “I do the best I can.”  You’re not being modest. Just honest.

What’s known for sure is that mastery doesn’t happen overnight but is the result of long practice and absorption in the craft. Every person who reaches high achievement in a field will have spent much of his time trying to get better, and better still, and will have reached highest ability via a long process of learning and application while pushing himself upward to competence, then to expertise, then excellence, then greatness.

When you’re coming into your own artistically you are discovering in all its detail your most creative self of all the selves you might have been. Sometimes a person who one day will become a writer, artist, actor, or dancer doesn’t know himself what he might do. But he feels instinctively that he’s good for something and has some reason for existing. He has a hunch that there is something important in him that’s worth pursuing further. He finds that something in art. He makes himself into a writer, for example–an expert in expressing himself via written language.

Coming into your own, you are developing your skills and yourself to their peak. You are increasing the depth and breadth of your knowledge of your chosen field.  You are developing deep-felt, deeply-woven identity that everyone recognizes as the real you. You are on a creator’s Life Path.  Just imagine the fulfillments the Path will lead you to.

Mastery is revealed in everything the person does, down to the smallest detail. Dancer and choreographer Twyla Tharp said she could decide if a dancer was right for her company even by the way he came through the door of the studio and put down his bag. The opening scenes of a really skillfully-written play or the first leap of the dancer tell you right away if this artist has yugen.  If so, settle back, you’re in store for something marvelous.

 

© 2017 David J. Rogers

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

www.mentorcoach.com/rogershttp://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

Fighting to win Amazon

Click on book image to order from Amazon.com

or

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

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

Waging Business Warfare812sCY9edLL._SL1500_

Click on book image to order from Amazon.com

or

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

 

 

 

 

 

 

 

24 Comments

Filed under Actors and Directors, Artistic Perfection, Becoming an Artist, Creativity, Dancers, Developing Talent, Human Potential and Achievement, Eastern Philosophy, High Achievement, Success, Writers