Category Archives: Creativity Self-Improvement

The Warrior Creator

My thirty-seven year old son Eli, a school principal and YA author, and a wonderful man, has been a strong supporter of my work since he was a little boy and went with me to store after store while I autographed books. It’s he who suggested I write a blog. That’s when I said, “A what?” So three years ago that’s what, with my wife Diana’s technical help, I started to do.  I hope my blog friends are reading this post and will benefit from it. A few years ago Eli called me and said, “Dad, in an internet reader’s poll Fighting To Win has been maned the best motivational book ever written.” I said, “Well, how do you like that?”  Any creator knows what a joy it is to have his/her work praised. (That’s one reason we work so hard isn’t it?)

Hand with penAnd any author knows that if he writes a book that catches on, he’ll never get rid of it. He will become identified with it the rest of his life.  So here I am, the author of Fighting to Win: Samurai Techniques for Your Work and Life. I’m happy to say that that prescriptive how-to-do-it self-improvement book is a classic that since it first came out thirty years ago has been widely used by people of all kinds here and in Europe and Asia as a guide to actualizing their wonderful talents that otherwise may have lain dormant and unused. It started as a book popular with people in the work world, particularly business people, but then quickly spread to people in the arts.

Over the years I’ve received thank-yous from accountants and sales people, and painters, writers, opera singers, composers, movie directors, actors, musicians, and so on–people who’ve come to realize that whatever their walk of life might be, the psychology of the warrior fits them to a T because they are thinly disguised warriors too.  It’s a tribute to Fighting to Win that it Is still available as an eBook, is still being read, and is still changing lives.

I turned to the study of the samurai way of life as a result of hard times taking a terrible toll on me. I experienced far too many disappointments and was cheated in business by people I had trusted. I was looking for something that would Samurai swordsman in silhouettesalvage me from the kind of misery I was experiencing and in the samurai Way found strength as well as insights, strategies, and techniques I could use to pull myself out of the awful lethargy I had settled into. By way of the book, magazine articles, TV and radio, the internet, and speeches, I’ve been fortunate to meet many wonderful people. They have told me that they too have found solace from setbacks and gained the psychological and spiritual wherewithal to excel in their careers through samurai wisdom and what I call “the inner skills of creative people.”

The samurai of Japan were the greatest warriors who ever walked the earth. Trained to perform phenomenal feats of courage and fearlessness, they were stern, quiet, utterly serious people who devoted their lives to developing their skills, spirits, and minds to the highest possible level.

Just as all creative people face internal obstacles that interfere with their lives, so did the samurai. The bulk of his or her training (there were women samurai) was devoted to overcoming those inner obstacles that are no different than the obstacles you and I and creators of all descriptions face—anxiety, procrastination, self-doubt, hesitation, fear of taking risks, nervousness, discouragement, crippling over-analysis, depression, apprehension, impatience, anger, and more.

Japanese Character for Warrior

Japanese Character for Warrior

Creators and warriors both begin as ordinary people with the potential to be exceptional and memorable, to apply themselves and acquire impressive skills not everyone possesses, and to develop talents and excel at their chosen life path–their “Way.” Each Way is different: the Way of the painter is similar to yet totally different from the Way of the actor, which is like but different from the Way of the writer or the ballet dancer, etc. At a certain point in their training and development, they cease being ordinary anymore, but have become extraordinary. They have wholly recreated themselves.

To function superbly in their chosen role–the painter to paint, the writer to write, the performer to perform, the samurai to fight–of necessity all must be brave,  be bold, take chances, and resist discouragement, fear, hesitations, and self-doubt. Ideal warrior creators have the courage of a lion, the boldness of a gambler, and yet the sensitivity of a butterfly. Critics and nay-sayers are not capable of intimidating them–nothing does. Think how liberating it is to be incapable of being bullied by agents, by publishers, by directors. They are not flustered. Now you are thinking how glorious that would be. When they are facing critical moments, their goal is to be as relaxed as a person sitting down for breakfast, and that’s possible.

I’m sure you know many creators who encounter the fear of performing their craft–that’s one of their fears. When I Empty canvas on easelvisited a successful painter friend of mine I saw the same unfinished painting on the easel. Nothing about it changed month after month. Not a single new brush stroke touched the canvas. Then she moved away and I didn’t see her for a number of years.  When we got together again I asked first thing since that was what I was the most curious about: “Whatever happened to that green pastel that was on your easel for so long?”

She said, “I never finished it.”

I said, “You were afraid.”

She said, “I was terrified of it.”

I know a singer who has had a successful professional career, but suddenly and inexplicably after five years developed a fear of performing and for two years retired because of it. She read the book, applied what she read, resumed her career, and was more successful than ever. Her ordeal of not being able to perform matured her.

Fear–there are a thousand of them–is the creator’s most formidable foe. You know that: fear of not being good enough or creative enough or smart enough or talented enough, of being rejected by an audience, of never reaching the success you dreamed of since childhood.

Some creators are afraid even to enter their work room in the morning. The creator’s fear tightens him/her up. Confidence disappears and self-punishing self-doubt takes its place. Their thoughts don’t flow as they did when they Archer about to shoot an arrowwere confident.  To create becomes difficult if not impossible. But once creators learn to defeat fear, their minds and spirits are immediately rejuvenated, and creativity flows out of them in torrents: the novel takes shape; the just-right color is added to the canvas. What can possibly stop them now?

Warrior creators must always be ready to overcome almost unbearable personal impediments that might stop other people and to overcome scores of obstacles of all sorts standing between them and their highest ambitions.  Every year thousands of painters and thousands of writers and other creators give up and quit–just quit–and thousands more are getting ready to quit right now, possibly you. Hopefully they’ll eventually learn that adversity can’t be avoided and in fact is essential to a creator’s development.  If only they had persevered a little longer. Persistence is a creator’s good and faithful friend.

When you are a warrior creator your spirit must be strong and poised, in the words of the samurai strong enough to bring down “a wall or iron.” If you are knocked down you must not lie in bed and moan and whine, but must jump up. Knocked down seven times by circumstance you must jump up eight. You must take care that your spirit is never broken, whatever happens.

Your “depths” should never be penetrated. Inside the warrior creator is a tiny core of strength that nothing can touch. You must control your breathing so that energy is released like steam from an engine because the work creators apply themselves to is unbelievably difficult. Tremendous vitality spread over a whole lifetime and put into every poem, every sculpture, and every actor’s role is needed if one wishes to create.

Like samurai, warrior creators strive to remove all psychological blocks, and learn specific techniques for doing that, and having done that to be able to function freely without conscious effort, the way do when you are your most creative. When you are at your best and well trained everything is automatic, the fluid movement of a master swordsman, the ease of the gestures of a violinist, the sure brushstroke of an experienced painter, the rhythmic typing of a writer in the zone.

The work seems to do itself, and everything is easy. The release of the arrow is the most difficult problem the archer Dew falling from a leaffaces. Like the inspiration of the artist, the release “should be done without thought, like a drop of dew falling from a leaf or a fruit falling when it’s ripe.” One’s every creative act should be like the release of an arrow.  I’ve seen people like that and so have you.

All that warrior creators need is within, in their minds. Your mind holds all the secrets.  The meaning of all things is within, not something that exists “out there.” Warrior creators “grow from within.” You should leave your mind alone and not complicate it with fruitless anxieties and jealousies so many creators experience. Only then can the mind function uninhibited, in the state of highest creativity.

The mind of the warrior creator must never get “caught” or “snagged” (toroware), or “stopped” (tomaru) on internal obstacles like a fish on a line but should always be flowing smoothly from thought to thought to thought like an unimpeded river. When warrior creators are at their best, their hearts are undisturbed and at total peace, their bodies and minds operating without conscious direction. To the master in any field, to execute their art is no more difficult than to breathe or utter their name.

When most productive warrior creators are confident and self-possessed, they are certain that sooner or later they will succeed. There can be no doubt about that. They are disciplined.  Their egos are under control. They look squarely at reality and never flinch from it. If up ahead is something unpleasant, well, up ahead is something unpleasant, so let’s get to it right away and get it over with.

Warrior creators are always trying to improve themselves. Tomorrow they should be smarter, stronger, more knowledgeable, and better skilled than they are today. They do things mindfully, deliberately, and are fully committed. Whatever they do they have every intention of completing. They are “immovable” and don’t budge from their important goals.

Warrior creators are designed to move. They know that when things are done leisurely, seven out of ten turn out poorly. Poster saying "Action is your natural inclination, a fulfilling life your true destiny"The Way of the warrior creator is action, action, and more action–getting things done, not procrastinating, not delaying, not stalling, but finishing what you start without delay and going on to the next thing.  The main goal of all creators is production–to produce works, an actor to play many roles, the writer to write many stories, the lithographer to work with many plates. No creator is more able to produce voluminous works than men and women of action.

The warrior creator knows that when you encounter calamities, it isn’t enough to say you’re not upset, but it is best to “dash forward bravely and joyfully” to meet the difficult situation.  What you fear the most you must get to first. Warrior creators accept whatever they are doing and flow with whatever may happen. They are taught to expect nothing but to be mentally and physically prepared for anything.

They focus: the concentration of the artist is astounding to the non-creator. Their lives are focused too, to enable them to do their work without interference. Among their affairs are many responsibilities, but no more than two or three “matters of greatest concern.” The most important time in the warrior creator’s life is the present moment: “There is only one purpose of the present moment, but a person’s whole life is just a succession of present moments.”

For the warrior creator every moment brings with it a CHOICE POINT at which one’s whole life can change: “From this point on, after this present moment ends, shall I be strong or shall I be weak, shall I commit myself to my craft or continue playing at being a painter, shall I buckle down and see what I can become at last?” These are crucial questions.

The warrior creator is to think what a frail thing life is and is reminded that every day of his/her life may be the last. Poster saying "The delicate cherry blossom doesn't last long in the wind that blows it from the tree."There is no fear of death. So warrior creators dedicate their lives to the fulfillment of their obligations to others and to themselves. They have an obligation to their art, their craft, and to live with the energy and flexibility that go into a creator’s every work: “Never let the thought of a along life seize upon you, for then you are apt to indulge in all kinds of wasteful dissipation.”

The warrior creator turns back again and again to the creative work to be done in this much too brief life, this single blessed moment that is occurring right now.

 

© 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/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

 

 

 

 

 

Advertisements

4 Comments

Filed under Artists, concentration, Confidence, Conquering Blocks, Courage, Creativity Self-Improvement, Developing Talent, Human Potential and Achievement, Eastern Philosophy, Fearlessness, Fighting to Win, Inner Skills, Samurai Techniques, Warriors, Writers

More Inspiration and Information for Creative People

Part 4 in a Series

See also Part 1 and Part 2 & 3

Drawing of hand holdng a pen

CREATORS WELCOME ALONENESS, LONELINESS

  • “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… Research shows that people are likely to come up with better ideas when they work alone.” (R. Ochse)
  • “Nothing will change the fact that I cannot produce the least thing without absolute loneliness. Once again I had the experience that I can work only in absolute solitude, and that not only conversation, but even the very presence in my house of loved and esteemed persons at once diverts my poetic nature.” (Goethe)
  • “What one bestows on private life—in conversations, however refined it may be…is the product of a quite superficial self, not of the innermost self which one can only recover by putting aside the world and the self that frequents the world.” (V.S Naipaul)
  • “Everything that matters in our intellectual and moral life begins with an individual confronting his own mind and conscience in a room by himself.” (Arthur Schlesinger)
  • “The most remarkable piece of research apparatus is the human brain. Some people want to buy every price of equipment known to science. They believe that with a beautiful building filled with modern equipment they have a first rate research institute. That is superstition. The greatest discoveries have been made by men working alone.” (Bernado Houssay)
  • “Originality is a form of solitude.” (Waldo Frank)
  • “Society is harmful to any achievement of the heart.” (Lord Byron)
  • “Conversation enriches the mind, but solitude is the school of genius.” (Edward Gibbon)
  • “Isolation and complete loneliness are my only consolation and my salvation.” (Richard Wagner)

 

INTERRUPTIONS, OBSTRUCTIONS, AND TROUBLE ARE A SCOURGE TO CREATORS

  • “interruption …is one of the major enemies of creative thinking.” (R. Ochse)–“interruption or the feeling that there may be an interruption at any time.” (Walter Bradford Cannon)
  • “Dreadful indeed are such interruptions. Sometimes they break the thread of inspiration for a considerable time, so that I have to seek it again, often in vain.” (Tchaikovsky)
  • Everything I have had to do has been interfered with or cast aside. I have never in my life had so many insuperable obstacles crowded into the way of my pursuits.” (Charles Dickens)
  • “I avoided writers very carefully because they can perpetuate trouble as no one else can.” (F. Scott Fitzgerald)

 

CREATORS ARE COMPLICATED

  • “It is at bottom fairly true that a painter as a man is too much absorbed by what his eyes see, and is not sufficiently master of the rest of his life.” (Vincent van Gogh)
  • Creative people are those who are more willing to redefine the ways in which they look at problems, to take risks, to seek to overcome daunting obstacles, and to tolerate ambiguity even when its existence becomes psychologically painful.” (Scott Barry Kaufman and James Kaufman)
  • “The creative artist seems to be almost the only kind of man that you could never meet on neutral ground. You can only meet him as an artist. He sees nothing objectively because his own ego is always in the foreground.” (Raymond Chandler)
  • “What distinguishes a great artist from a weak one is first their sensibility and tenderness; second their imagination, and third their industry.” (John Ruskin)
  • “The challenge of screen writing is to say much in little and then take half of the little out and still preserve an effect of leisure and natural movement.” (Raymond Chandler) and Chandler: “If my books had been any worse, I should not have been invited to Hollywood, and if they had been any better, I should not have gone.” (He was nominate twice for the best screen play Academy Awards.)
  • “To create, you must have a slightly hard heart.” (Albert Camus)
  • “All art constantly aspires to the condition of music.” (Walter Pater)
  • “The actor appears only to practice and to perfect himself.” (Actress Maria Casares)
  • “You have to remember that nobody ever wants a new writer. You have to create your own demand.” (Doris Lessing)
  • “The moment a man sets his thoughts down on paper, however secretly, he is in a sense writing for publication.” (Raymond Chandler)

 

CREATORS BETTER ACQUIRE CONSIDERABLE KNOWLEDGE

  • “People who gain a wide range of knowledge have a relatively good chance of being creative. They will have acquired a large universe of items from which possible new combinations could be drawn.” (R. Ochse)
  • “To creators knowledge isn’t everything. But it is almost everything.” (David J. Rogers)
  • “Creativity: a type of learning process where the teacher and the pupil are located in the same individual.” (Arthur Koestler)
  • “The literary artist is of necessity a scholar.” (Walter Pater)
  • Over the long run, superior performance depends on superior learning.” (Peter Senge)
  • “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)
  • “Learning is necessary to the development of creativity of the highest order, although attendance at an academic institution is not essential.” (R. Ochse)

 

CREATORS MUST FIND THEIR AUTHENTIC STYLE, TECHNIQUE, AND VOICE

  • “In the long run, however little you talk or even think about it, the most durable thing in writing is style, and style is the most valuable investment a writer can make with his time. It plays off slowly, your agent will sneer at it, your publisher will misunderstand it, and it will take people you never heard of to convince them by slow degrees that the writer who puts his individual mark on the way he writes will always pay off.” (Raymond Chandler)
  • “If you’re a creator the first thing you notice about the work of an accomplished writer, painter, actor, dancer, composer, etc., is a distinctive style, It cannot be hidden.” (David J. Rogers)
  • “No matter what elevated state of inspiration you might find for yourself, you can’t write the book until you find the voice for it. As it happens there is just one voice and one voice only for a given book and you must ventriloquize until you find it.” (E.L. Doctorow)
  • “Technique is the ability to do what you want to do…You must have a certain intention, and the ability to do that is the index of your technique.” (Pianist Leon Fleisher)
  • “Don’t get alarmed if you dislike what you write. It takes years to find your real voice, your tone and the truth in your heart.” (Albert Camus)
  • “It was at this point that I really began to write. I began from scratch, throwing everything overboard, even those I most loved. Immediately I heard my own voice. I was enchanted: the fact that it was a separate, distinct, unique voice sustained me. It didn’t matter to me if what I wrote should be considered bad. Good and bad had dropped out of my vocabulary…My life itself became a work of art. I had found a voice. I was whole again.” (Henry Miller)
  • “The writer’s work consists in writing with as much effort as possible; and at the end of this labor it sometimes happens that he finds what he sought for so long inside himself.” (Albert Camus)

 

THE WORK OF CREATORS IS SUBJECT TO CRITICISM, SOME FAIR, SOME UNFAIR.

  • “Good critical writing is measured by the perception and evaluation of the subject; bad critical writing by the necessity of maintaining the professional standing of the critic.” (Raymond Chandler)
  • “Most critical writing is drivel and half of it is dishonest.” (Raymond Chandler)

 

CREATORS FOCUS AND WORK HARD

  • “The inventor, whether artist or thinker, creates the structure of his psychic life by means of his work…It is only as the work is done that the meaning of the creative effort can appear and that the development of the artist brought about by it is attained.” (Brewster Ghiselin)
  • “Creation is not a joy in the vulgar sense of the term. It is a servitude, a terrible voluntary slavery.” (Albert Camus)
  • “With the piano, there’s no way of getting around hours at the piano if you practice to play correctly. It is what it does for your control of sound…The more time you spend at the piano, the more control you have.” (Pianist Andre-Michel Schub)
  • “Genius is nothing but a great aptitude for patience.” (French biologist Boffer)
  • ”For the artist work is the main thing and always comes first.” (Saul Bellow)
  • “I have had to work hard; anyone who works just as hard will get just as far.” (Johann Sebastian Bach)
  • “Everybody has the same energy potential. The average person wastes his in a dozen little ways. I bring more to bear in one thing only: my painting, and everything else is sacrificed to it…myself included.” (Pablo Picasso)

© 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/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

 

 

 

 

 

 

 

 

 

 

 

Leave a comment

Filed under Acquiring Knowledge, Artistic Quality, Artists, creativity, Creativity Self-Improvement, Developing Talent, Human Potential and Achievement, Inner Skills, Motivation, Quotations, Writers

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:

www.mentorcoach.com/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

Inspiration and Information for People in the Arts: Parts 2 and 3

PART TWO

Monet painting of man and woman in a boat

THE DIFFERENCE BETWEEN SMALL ART AND GREAT ART

  • “The great art includes much that the small art excludes: humor, pain, and evil.” (Oscar W. Firkins)
  • “Great art is either easy or impossible.” (George Bernard Shaw)
  • Indifference to the response of an audience “is a necessary trait of all artists who have something new to say.” (Art critic Roger Fry)
  • “When a true genius appears in the world, you may know him by this sign: that the dunces are all in confederacy against him.” (Jonathan Swift)
  • “Every great and original writer…must himself create the taste by which he is to be relished.” (Samuel Taylor Coleridge)

 

UNDERSTAND THAT IT IS NOT POSSIBE TO DESCRIBE THE COMPLETE, COMPLEX STRUCTURE OF KNOWLEDGE AND SKILLS AN EXPERT ARTIST HAS ACQUIRED;

  • “Mastering accumulated knowledge, gathering new facts, observing, exploring, experimenting, developing technique and skill, sensibility, and discrimination…The sheer labor of preparing technically for creative work, consciously acquiring the requisite knowledge of a medium and skills in its use, is extensive and enough to repel many from achievement.” (Brewster Ghiselin)
  • “Every artist was first an amateur.” (R.W. Emerson)
  • “When a painting is finished, it is like a new-born child. The artist himself must have time for understanding it.” (Henri Matisse)

 

THE VALUE IN ALL ARTS OF SUCCINCTNESS, INCLUDING ONLY WHAT IS ESSENTIAL

  • “In art economy is always beauty.” (Henry James)
  • “The first and most important thing of all, at least for writers today, is to strip language clean, to lay it bare down to the bone.” (Ernest Hemingway)
  • “A sentence should read as if its author, had he held a plough, could have drawn a furrow deep and straight to the end.” (Henry David Thoreau)

 

ARTISTS ARE BY NATURE INDEPENDENT, RESTLESS, AND CONFIDENT OF THEIR TALENT

  • “The artist must do the launching of his own career. He has to prove what he can do for himself.” (Vladimir Horowitz)
  • “I have never known a poet who did not think himself super-excellent.” (Cicero)
  • “How few writers can prostitute their powers. They are always implying, ‘I am capable of higher things”.” (Edward Morgan Forster)
  • The process of creativity is “characterized…by restlessness, and creative people often move on to other projects just when the world is beginning to catch on to what they have done.” (Jane Piirto)
  • “The experience of most artists is that the quality of their production is in keeping with the intensity of their wish.” (Abbe Dimnet)
  • “Writing is a compulsive and delectable thing.” (Henry Miller)

 

MOST ARTISTS HAVE A SENSE OF HUMOR

  • When a young man approached him and said, “May I kiss the hand that wrote Ulysses?” James Joyce said, “No, it’s done a lot of other things too.” (James Sutherland)

 

HOW ART WORKS: THE ROLE OF THE ARTIST

  • “Art is the imposing of a pattern on experience, and our aesthetic enjoyment in recognition of the pattern.” (Alfred North Whitehead)
  • “Without charm there can be no fine literature, as there can be no perfect flower without fragrance.” (Arthur Symons)
  • “In every work of genius we recognize our own rejected thoughts.” (R.W. Emerson)
  • “The artist, like the God of the creation, remains within or behind or beyond or above his handiwork, invisible, refined out of existence, indifferent, paring his fingernails.” (James Joyce)
  • “The work of art is complete only as it works in the experience of others than the one who created it.” (John Dewey)
  • “The chief stimulus of good style is to possess a full, rich complex matter to deal with.” (Walter Pater)
  • “A man’s (writer’s) works often describe his longings or temptations and almost never his own true story.” (Albert Camus)

 

PART THREE


Van Gogh Cedar trees

ART WHOLLY TAKES OVER THE DEVOTED ARTIST

  • The painter’s brush consumes his dreams.” (W.B. Yeats)
  • “What artists call posterity is the posterity of the work of art.” (Marcel Proust)
  • “Many excellent writers, very many painters, and most musicians are so tedious on any subject but their own.” (Arthur Symons)
  • “I do not believe there lives the Southern writer who can say without lying that writing is any fun to him.” (William Faulkner)
  • “When love and skill work together, expect a masterpiece.” (John Ruskin)

 

OFTEN ARTISTS DON’T THINK HIGHLY OF THEIR CRITICS

  • “You know who the critics are? The men who have failed in literature and art.” (Benjamin Disraeli) But when T.S. Eliot, an editor himself for a time, was asked if he agreed that most editors are failed writers he said, “Perhaps, but so are most writers.” (I.A. Richards)
  • “Some critics haven’t had a new idea since they were undergraduates.”(Saul Bellow)
  • “I am convinced that the spontaneous judgment of the public is always more authentic than the opinion of those who set themselves up to be judges of works of art.” (Igor Stravinsky)
  • “A true critic ought to dwell rather upon excellencies than imperfections, to discover the concealed beauties of a writer, and communicate it to the world.” (Joseph Addison)

 

THE ARTIST WORKS HARD, BUT COULD WORK HARDER

  • “Genius has been defined as a supreme capacity for taking trouble.” (Samuel Butler)
  • “If you wish to be a writer, write.” (Epictetus)
  • “Nine out of ten writers, I am sure, could write more. I think they should and, if they did, they would find their work improving even beyond their own, their agent’s, and their editor’s highest hopes.” (John Creasey)

 

ARTISTS ARE SENSITIVE ABOUT EVEN THE SMALLEST THINGS

  • “A poet can survive everything but a misprint.” (Oscar Wilde)
  • At tea once, novelist Ronald Firbank said to poet Siegfried Sassoon, “I adore italics, don’t you?”

 

ARTISTS ARE INDEBTED TO THE WORK OF OTHER ARTISTS

  • “Every novel which is truly written contributes to the total of knowledge which is there at the disposal of the next writer who comes, but the next writer must pay, always, a certain nominal percentage in experience to be able to understand and assimilate what is available to his birthright and what he must, in turn, take his departure from.” (Ernest Hemingway)
  • “Creativity is contagious, pass it on.” (Albert Einstein)

 

AMONG THE INSPIRATION AND INFORMATION FOR PEOPLE IN THE ARTS IS THE UNVERSAL TRUTH THAT CRAFT SHOULD BE SUBTLE AND NEVER DRAW ATTENTION TO ITSELF IN A WORK

  • “Art lies in concealing art.” (Ovid)

 

ARTISTS MUST SACRIFICE

  • “To follow an art you’ve got to give something up.” (Katherine Anne Porter)
  • “Tolerate nothing around you which is not useful to you or which you do not find beautiful.” (John Ruskin)

 

ARTISTIC LICENSE

  • “Poets have a license to lie.” (Pliny the Younger)

 

ART BENEFITS FROM PATIENCE:  DON’T BE IN SUCH A HURRY

  • “Art done least rapidly, art most cherishes.” (Robert Browning)

 

WRITING IS NO GOOD WITHOUT KNOWLEDGE

  • “The reason that so few good books are written is that so few people who can write know anything.” (Walter Bagehot)
  • “The difference between literature and journalism is that journalism is unreadable and literature is unread.” (Oscar Wilde)
  • “All our words from loose using have lost theirs edge.” (Ernest Hemingway)
  • “The literary artist is of necessity a scholar.” (Walter Pater)

 

STAY AN ARTIST AS LONG AS YOU LIVE

  • “Every child is an artist. The problem is staying an artist when you grow up.” (Pablo Picasso)

© 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/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

 

 

 

2 Comments

Filed under Artistic Quality, Artists, creativity, Creativity Self-Improvement, Encouragement, Motivation, Quotations, Rituals and Habits, 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:

www.mentorcoach.com/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

Total Concentration: The Heart and Soul of Creative Work

Part One of Two Parts

In the lives of great creators past and present, we find many characteristics that equip them uniquely for their role, especially tremendous powers of concentration. Those same powers of concentration are readily available to you.

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. For example, even fledgling actors are able to routinely commit to memory many pages of complex dialogue in a short period because of the phenomenal ability to concentrate they’ve had to acquire if they wish to act.

Make a pact with yourself: when you do creative work let nothing interfere with the only life that exists at the moment, namely the life of an actor or dancer or sculptor, and so forth. Just kick everything else out of your mind. All your life now for this time is the role your whole being has equipped you for because you have a love of your craft. There is no separation between you and it. It is part of you as much as your arm.

Concentration is an ability most people have not developed. Their minds run wild. That people generally are so poor at concentrating is shown in the fact that patrons in an art museum look at a work on average for 1 1/2 seconds. But out of the necessity of producing a stream of tangible works of high quality, many creators have disciplined their mind to be clear and not to wander. Those creators remind me of this famous story about concentration from the samurai Way. Samurai are ideal examples of how with application a person can increase his or her mental powers substantially and turn them to practical results, how ordinary people can become extraordinary.

Centuries ago in Japan there lived a man who had devoted himself completely to kyudo, the Way of the bow. Early one evening he was walking in the mountains when suddenly he saw a flicker of movement in the shadows. It was a tiger, its back arched, ready to pounce. Without hesitation the archer nocked the arrow. Concentrating all his power in the shot, since it might be his last, he let the arrow fly. A direct hit, right in the head. Without stopping to examine the dead animal, the archer continued on his way.

The next day, though, he became curious and returned to the spot. But hard as he looked he could not find the dead animal. He was about to abandon his search when he saw his arrow, lodged in a huge boulder. It hadn’t been a tiger after all, but his concentration had been so intense and his shot so powerful that the arrow had been driven into solid rock.

From this incident came the famous maxim about concentration and power in any Way of life–business, athletics, the arts, everyday life, and more: “Ichinen iwa wo mo tosu:” “The focused mind can pierce through stone.” (From Fighting To Win: Samurai Techniques For Your Work and Life.)

One-pointed, stone-piercing concentration is the ability of you, the creator, to direct your attention exclusively on the challenges of the work at hand as they appear, and being able to prevent any stray, muddling, interfering thoughts that aren’t related to solving the creative problems confronting you.

Also from the samurai Way , applicable to the Way of the creator, is the story of a contest:

The greatest archers in the land were invited to the contest. A fish was put up on a pole a great distance away. Asked by the judge if they could see the fish, one by one the archers said they could. One last contestant stepped to the line.

“Can you see the fish?” asked the judge.

The archer replied, “I’m looking at its eye.”

This was the champion.

Learn to concentrate on the fish’s eye and you’ll often find success in creative work. You will produce more works, and the work’s quality will improve.

I proved to myself the benefits of concentration in another context when I was a bodybuilder. I said, “I’m going to devote myself to this and see what happens.” It is as much a craft with high standards of performance and traditions as acting, painting, and writing. For the body builder and the writer at work a single stray thought not belonging to the performance breaks concentration. A lift is wasted, an injury is possible. The writer loses that one thought that would have conveyed exactly what the text needed. I worked hard and concentrated totally on each separate lift and every repetition with remarkable results. I had put into practice the words of champion bodybuilder Arnold Schwarzenegger: “One lift with concentration is worth ten lifts without concentration.”

The first quality of the creator’s concentration is an alert, undivided, focused, attentive mind that has nothing left over for anything unnecessary, irrelevant, and inessential while you are creating. As much as possible you want your concentration to be uninterrupted while you work and to not be diverted from the task involved in creating, or divided for any reason. How does a creator work on developing an alert mind?

Preparation: You begin preparing your mind for the task of writing well before you sit down at the computer, on sculpting before you enter your studio. Skilled actors don’t wait until they get to the theatre, but prepare themselves for their first entrance on the stage while they are still at home. On the days they are to perform they don’t clutter their minds with all sorts of unimportant things that have nothing to do with playing their role. When they arrive at the theatre they may not stop to engage in idle chatter that takes their mind from their performance. When they are putting on their makeup in front of the mirror they are solving problems and finding inspirataion.

In the morning start the day by thinking of the novel you’re writing, or the painting, or the role you’ll play when the curtain goes up tonight, of what you want to have accomplished creatively when your work days ends. And think of it in the afternoon and before you go to bed.  Think of it when you drink coffee and brush your teeth. Think about it whenever you can. Scribble notes about it on napkins when you’re having lunch. You must be a novelist, actor, painter, etc., the whole day, not just an hour or two.

Harmful emotions like anxiety, fear, envy, discouragement, and self-doubt are threats to your concentration. So you must learn to concentrate on the task and forget the emotion.  As much as possible, put how you’re feeling out of the equation. Tell yourself your emotions are irrelevant at the moment; you’ll take care of them after work.

Take your mind off what you’re feeling. You can feel afraid to write, as many writers do, and still write, and you can still do what you doubt you can do if you don’t let the fear and doubt stop you from concentrating. And too, once you’re engrossed in creative work, however poorly you were feeling before, your mood almost always improves and becomes more positive, optimistic, hopeful, confident, even blissful.

While you’re working develop your attention so that no extraneous thoughts interfere with the work. Don’t worry, for instance, whether you’re at your best today or you aren’t, or think about what might happen if you succeed and produce a great work–the glory, the applause– or if you fail–or if you have the sniffles or would rather be making love. Don’t fret about bills or personal problems or what you’ll make for dinner. Again and again bring your mind back to the work because right now it is the most important thing.

It’s hard to change your concentration from low to high if the environment you’re working in isn’t comfortable. It may not be comfortable for me, but it has to be for you.  For example, I am very comfortable with chaos–not in my personal life, not at all, I crave tranquility there. But in my work room chaos is welcome. To me in chaos there is order. But my wife tsk-tsks, and says, “It amazes me that you can possibly work under these conditions.” To placate her I say, “You’re right. I have to organize this mess.”  But between you and me I have no intention of ever organizing the mess.

You have to find an environment in which you can flourish, or create one. Many writers work in restaurants. I see them in the Starbuck’s down the street. Nobel Prize winner Ernest Hemingway wrote in cafes and was extremely productive. But home is best for me. F. Scott Fitzgerald didn’t have a comfortable work setting because of his wife Zelda’s constant interference.  She would take Scott away from his work to have fun and play pranks. One night she collected all the women’s purses at a party and boiled them. Whatever the place you work you should be able to go to it, focus, and be productive.

A perfect work place and good production routines and rituals are to be treasured. Simply by being there ready to work repetitively the same time day after day after day the power of good habits goes into effect. Some creators’ work habits will strike you as strange.  The poet H.D. (Hilda Doolittle) splashed ink on her clothes to give her a feeling of freedom when she wrote, and poet A.E. Housman rarely wrote unless he was sick.

For high quality, uninterrupted work to happen, not all, but most creators need isolation and solitude. To get rid of distractions some creative people eliminate newspapers, TV, clocks, telephone calls, emails, face book, and unnecessary conversation. One study showed that following an interruption for an email or phone call people were so distracted that 40% of the time they didn’t get back to work, but moved on to something else. If you quit 40% of the time, how long will it take you to finish your novel?

All your mental powers should be aimed in only one direction–toward the work at hand. But your creator’s imagination is always boiling over with ideas and has a playful impulse to lead you astray. To keep out even the smallest distracting sounds, the wonderful and eccentric Marcel Proust who was so focused on writing that he never learned how to open a window or boil a kettle of water wrote in a cork-lined sound-proof bedroom. “If you’re silent for a long time, people just arrive in your mind” (novelist Alice Walker). But some creators concentrate best when it’s noisy:–a jack hammer under their window, a baby shrieking. Which do you prefer, silence or noise?

 

I’m planning to publish Part Two of “Total Concentration: The Heart and Soul of Creative Work” in a few weeks. I hope you’ll look at it. It answers an important question every creator asks: “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? (Creative work is often tedious.) You still have to solve the problem.  What can you do?”

 

© 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/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

10 Comments

Filed under Artistic Perfection, Artists, concentration, Creativity Self-Improvement, Developing Talent, Human Potential and Achievement, Fighting to Win, Goals and Purposes, Inner Skills, Preparation, Rituals and Habits, Samurai Techniques, Warriors, Writers

Samurai Concepts for Creatives Part 2

In the last post, subtitled, “A New Language for Creative People,” I applied Samurai terms to the lives of creatives to show that those terms have relevance to writers, artists, composers, architects, and actors today, a thousand years samurai-statueafter “the tramp of warriors sounded like a thousand convulsions of the earth,” and “the shouts of warriors, the whistling of arrows, the thunder of the feet of foot soldiers and the hooves of chargers did not cease.”

Do: The Concept of a “Way”

The Japanese “do” (pronounced “dough”), means “way,” short for “way of life” or “life path.” That a discipline is a Way is indicated by the do suffix at the end of a word. Thus kendo (ken, sword; do, way) means “sword Way,” or Way of the sword. Bu (warrior) do (Way), refers to the attitudes, behavior and life-style of the Samurai warrior.

In kyudo, the Way of the bow, no quiver is worn and the archer fires just one arrow. From this the archer is to learn daido, a “principle that operates in all things.” The archer is to come to value his life more fully, for each arrow is like the japanese-flowers-ikebanatotality of his life. You have but one life; thus you shoot but one arrow. The Samurai was taught, “The Way is your daily life.”

A serious writer’s or artist’s life is a “Way,” for example, the Way of the Writer,” “the Way of Writing,” and “the Way of the painter or sculptor”– just as in Japan there is the Way of floral arrangement, the “Way of flowers,” and “The Way of tea.” It’s axiomatic that what applies to one teapot-37046_640Way has application to all the other Ways. For example, a basis of the Way of the Warrior is showing courage in the face of adversity. And a writer or actor and painter too faces adversity and will benefit from having a warrior’s courage.

When creating is a Way you say to yourself, “I am full of unrealized potentials and special gifts that need to be developed, and am what I make of myself. I take full responsibility on myself and am choosing a creative’s life of my own free will.  I have felt that creative calling for a long time.  So many years and days allotted to me have passed and I believe I haven’t gotten far enough. I’m clear now and I have stores of energy in me that will make possible extraordinary achievements. My life now will be an existence that I’m designing to my own specifications. I have the conviction that the life I now envision is the life I was always meant to have.”

On the creative’s Way you’re committed to:

  • Finding a best outlet for your talents
  • Perfecting your aptitudes and skills
  • Discovering and expressing yourself
  • Creating beauty
  • Expressing truth
  • Communicating with a public
  • Learning a discipline, becoming part of a tradition
  • Prevailing over difficulty
  • Developing and improving
  • Being paid and/ or compensated in other ways such as through recognition and acclaim
  • Finding pleasure in creating and the creatives’ life

Skills can be taught, but a Way can’t. There’s no searching for a Way. It comes to you on its own when you’re ready. And when it does come, you know.  As a boy-paintingchild, you begin writing or drawing no differently than anyone else, but at some point—it could be at the age of five or a hundred and five–you begin creating more purposefully than other people. Then almost without being aware of how it happened, out of the processes of creating,  gaining knowledge of your craft, and the craft’s world, and growing in skill, you are “taken” by it fully and completely and find yourself on the Way of the painter, writer, or actor, etc.

The logical end of the creative’s Way is to become a Real Writer, or Real Painter, or Real dancer, and so forth—to become known by your family, friends, teachers, and audience, and to define yourself as “someone who is serious about creating.”

Let your work become a Way.

Mokuteki Hon’I: “Focus on Your Purpose’’

When as a person doing creative things you discover what you must accomplish with your talents and that becomes a major goal there comes something new and extraordinary into your existence. You’re electric with that rarest of qualities—intensity. Doing the work as well as you’re able becomes a Purpose.

The Samurai was taught, Mokuteki hon’I, “Focus on your purpose.” With a purpose your every act takes on power. Obstacles, once so intimidating, fall away because your purpose is more powerful than the obstacles. You feel a zest, a tingle. Your imagination is on fire. It is strength to be of one mind, complete and undivided, fully committed to a life with purposes.

When you make a purpose out of what a moment before was merely a responsibility, or a chore, or a duty by thinking, “This, what I am doing now, is a-focused-mindmy purpose,” extraordinary achievements become possible. Impediments become light as feathers.

Begin every project and every day, every time you return to work after a break, with your purpose in mind. Say the words, “Focus on your purpose.” I can’t tell you how many times in my life I’ve said “Focus on your purpose” aloud to myself and been inspired by those words. Thousands.

Kufu: “Struggling, Wrestling, and Grappling with Something

Until a Good Solution Is Found”

I was interviewing people for a job that required the ability to write reports. While he wanted the job, Jack confided that he had a problem—writer’s block. Anyone who will apply for a writer’s job and be so honest as to tell the person doing the hiring that he has problems writing is my kind of guy. He told me more. “When I sit down to work, all that I want to say seems clear to me. But when I actually start I have a tough time. The ideas and words don’t come. I try, but after about an hour I give up. What do you think I should do?”

“Don’t quit after an hour,” I said.

The point I was making was a simple Samurai one. I was telling Jack to kufu his way out. Some problems are one-hour problems, others are two or five hour or longer problems.

Kufu. It’s a wonderful concept that applies equally to the small everyday tasks and problems in a creative’s life and to the big ones too. It means giving yourself completely to discovering the solution or to finding the way out of your difficulties and to your creative goal.

It means to struggle, to grapple, to wrestle until you find the solution. It is holding nothing back in reserve. It is closing ground on the problem and never retreating or hanging back. When you take the kufu, grapple-your-way-out approach, you know that somewhere ahead of you lies a breakthrough point, a moment when you will get the better of the creative problem or the task. It is there awaiting you. All you have to do is remain concentrated and focused on the goal.

“Who knows,” I told Jack, “but your breakthrough point could come at sixty-one minutes or seventy-five or may take days. If you give up after an hour, hand-299675_6401you’ll never reach it. Kufu your way out of this writer’s block.”

Months later Jack came to tell me that he had gone back to his writing to try the kufu approach of staying with it, trying it again and again, no matter how long it took. Suddenly, he said, writing had become not totally effortless, but noticeably less difficult.

No one is spared resistances to the creative breakthrough experience. Jack continued to encounter concentration problems from time to time, but he had learned what many people never learn: the kufu spirit of staying with it until the problem is solved.

Makoto: “Sincerity”

Makoto is the Samurai precept of precepts and a concept of action that the Japanese of today value above all others. It is usually translated into English as “sincerity.” But it does not mean sincerity in the sense of “I’m sincerely pleased with our conversation.”

Makoto means putting absolutely everything you have, everything you are into an act—all of your heart, and all your spirit, mind, and all of your physical strength.  To hold anything back in reserve or to hesitate in any way whatsoever is for the creator to act . . . insincerely.

Creative people are tremendously productive individuals who at their best practice makoto every day, putting all their talents, skills, and training into their work, holding nothing in reserve.

The Samurai terminology I’ve described in the last two posts express ideas that have been useful to creative people everywhere in the world as they all aimed so steadily at perfecting their skills and so devotedly pursued their Way.

japanese-garden

 

© 2016 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/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 Integrity, Artistic Perfection, Artists, Becoming an Artist, Courage, Creativity Self-Improvement, Developing Talent, Human Potential and Achievement, Eastern Philosophy, Fighting to Win, High Achievement, Inner Skills, Samurai Techniques, The Writer's Path, Warriors, Writers

Samurai Concepts For Creators

A New Language For Creative People

A newspaper reviewer of my book Fighting To Win: Samurai Techniques For Your Work and Life thought that a unique feature of the book is that it exposes the reader to an exciting new vocabulary–Asian terms for self-improvement for which there are no Western equivalents. The book begins with an example of what the book is about: the application of the psychological and spiritual insights of the samurai, the most remarkable warriors ever to walk the earth, to the everyday lives of ordinary working people—the most magnificent people of all.

samurai-161642_640It says: “The tramp of warriors sounded like a thousand convulsions of the earth. The shouts of warriors, the whistling of arrows, the thunder of the feet of foot soldiers and the hooves of chargers did not cease,” and tells the story of a sales woman who uses insights from the samurai Way to overcome her fear of an intimidating prospect and makes a sale.

I think it will be worthwhile to apply a select few of these terms to the lives of creative people–the Way of the artist, the Way of the writer, the Way of the composer, the architect, the performer–since so many creative people read my blog and the concepts will be so beneficial to them. As you read, think of the many applications there are to your creator’s life as so many people have.

Musha Shugyo: Samurai Training. Samurai were trained to fight in the service of a lord—with supreme self-confidence, courage, bravery, and superb samurai-67662_640skill with weapons.  Four things were especially important to samurai:

Duty—we must make good what we owe.

Self-Control—body, mind, spirit, emotions under control.

Commitment to Immediate Action—“The Way of the samurai is immediacy”—no delays.

Constant Self-Improvement—no resting on your laurels; always striving to do better; to develop your skills to the highest level you’re capable of. What creator is not trying to improve?

Ryuu: Dragons. For samurai warriors of feudal Japan all obstacles in a person’s mind, heart, and spirit were “dragons.”  A creator’s dragons are no longer of the fire-breathing variety that scared him or her as a child. They’re dragon-149393_150now a different species entirely, and to become all the creator you wish to become you will have to break completely free of them. When a samurai overcame a dragon he was “striking through the dragon’s mask.”

I arrived early at a conference room where I was to speak. Two men and a woman who’d come to hear me were early too and were at a table with their copies of Fighting To Win open. They seemed to be working hard and I asked “What are you working on?” The woman said, “We’re discussing our dragons.”  The main dragons the samurai faced and creative people face too are:

Fear: Creative women and men experience fear most every day. The samurai set out to master fear, to learn to be no more ruffled whatever he was facing—however terrible–than “someone sitting down for breakfast.”

Being Afraid to Take Risks: The desire for certainty, the sure thing, often makes us cowards. There’s no room for sure things in a creator’s world. Samurai were taught that the greatest rewards lie one inch from the foe’s blade—edge in close, take a chance. Why aren’t we more confident and bolder?

Thinking Too Much: To be creatively free creators have to learn to think much less about what might go wrong.

Doubting Yourself: The creator’s most powerful dragon is dwelling again and again and again on his shortcomings, on what he lacks.

Hesitating: Wanting to do something but stopping.

Cowardice: The Chinese language permeates the Japanese language. The Chinese character for “cowardice” is composed of two symbols, “meaning” and “mind.” Creators are often finding too much meaning in things—he or she thinks too much—often worrying and fretting and dissipating their creative energy, that fuel creators need so much of. If you believe you’re thinking too much and that it’s driving you away from instead of to your work, this could be a dragon you’ll want to get rid of.

Try to make it a point to remember the term tomaranu kokoro. No small thing in samurai fighting, it has been called “the secret essence” of the samurai martial-arts-291051_640Way. More important, it’s relevant to the Way of the Creator.  It means “a mind that knows no stopping.” If you have ever seen a master swordsman in action, you’ve witnessed tomaranu kokoro. Without once stopping he attacks, feints, cuts, slashes, turns, leaps, spins, and thrusts in a whirlwind of action.

The reason he is able to move so smoothly, effortlessly and quickly, his sword a blur, is that he is doing the same thing in his head. His body moves without stopping because his mind is tomaranu kokoro. His mind doesn’t stop to worry, to ask “what if”—“What if I lose?” “What if I die?”—or the creative person’s “What if I’m not good enough?” It doesn’t stop for anything. It keeps moving and facilitates the movement of his body.  You can see that tomaranu kokoro is an ideal state of mind for the creator–an uninhibited, free, fluent, effortless yet focused mind and body.

Toraware—its opposite–means “caught,” and tomaru means “stopping” or “abiding.” You might want to remember them too, because they help explain why so many exceptionally talented creators are not as successful as they have the potential to be. It’s when your thoughts get caught (toraware) or stopped (tomaru) that you have trouble executing a creative action. It’s when your mind doesn’t flow from one idea to another but gets hooked or snagged on self-doubt or worry or anger, etc.  that you are prevented from fully functioning  creatively. Recall the last time you had problems with a painting, sculptor, story, composition, or performance and you were upset or troubled. It was because your thoughts got caught or stopped; they didn’t flow.  You were all tied up—your mind, your body.

Whenever you find your thoughts getting caught or stopped, tell yourself to remember toraware, “caught,” and tomaru, “stopping.” More important, tell yourself to get back to tomaranu kokoro, the mind that knows no stopping, and return with confidence to your work. Let your mind be free to function according to its own natural free-flowing nature.

Fudoshin: The Skill of Making the Body Obey the Mind and Immovable Mind

Have you ever run in a marathon, felt pain, thought of stopping but refused to?  If so, you’ve tasted fudoshin, immovable mind. No matter what you were athletics-229808_6401going through your mind wouldn’t budge from the goal of finishing. The samurai spoke of iwoa no mi, “rock body” and wanted his commitments to be as immovable as a mountain. Why not yours?

The skill of making the body obey the mind is this: going into action—getting your work done, being creative, thriving, reaching success in spite of your dragons.  Not letting any dragon stop you. You needn’t go off to the top of a mountain to overcome a dragon.  You can say, “OK fear, come along if you want. “ Self-doubt, hesitation, thinking too much—you can’t stop me.” “Come on, tag along. But you cannot stop me. I’ve got a story to write, an etching to complete, a performance to give, a career to manage.”

Every day in studios, work rooms, and theatres some creators are thinking: “In order to do it (whatever it is) I’ve got to first overcome my problem—my fear (or shyness, lack of self-confidence, bad habits, indecisiveness, etc.). Once I get rid of that baby, I’ll be all right. Then I’ll be able to create my great work.” The real problem isn’t what they think it is. It is not the fear or lack of confidence. It’s their belief that the fear has the power to prevent them from doing what they should be doing.

If the creator forgets about himself and his dragons completely and focuses only on adapting to what his creative life path requires of him, no dragon will ever stop him. The dragon has no right to stop you. But your mind must be immovable. Keep your mind focused on the task. Put negative emotions out of the equation.

*******

In my next post, Part II of this topic, I’ll discuss more samurai concepts creative people can apply to improve their work and lives.

© 2016 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/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

11 Comments

Filed under Artists, Blocks to Action, Boldness, Confidence, Courage, Creativity Self-Improvement, Eastern Philosophy, Fearlessness, Fighting to Win, Inner Skills, The Writer's Path

Confidence of Creator Champions

I

How confident a creator are you? The reason I’m asking is that many creative people are blessed with talent that’s astonishing and dazzling and have magnificent promise. Yet, they puzzle everyone—especially themselves–by not reaching the heights as expected because although they have all the talent they would ever need, they don’t have the confidence to make full use of it.

It isn’t a question of ability. Creators who lack the inner skill of confidence may have as much ability or more ability, or much more ability than their confident martial-arts-291051_640counterpart who is less gifted but much more successful. Creators who aren’t confident avoid activities which, were they confident, they might excel in.  So they’ll never know how successful they might have been had they been confident.

But when a highly confident creator begins a project, she not only thinks she will do it well, she believes she will do it superbly, believes that her novel, painting, or stage performance will be remarkable. The higher your confidence, the higher you’ll set your goals and the stronger your commitment to achieving them will be. And it is high, challenging goals, not easy goals that lead to major achievements. When you’re confident, you work harder. But low-confidence creators facing difficulty lower their effort or stop completely.

I was asked to do a teleconference. Though it seemed I was talking about many topics in that hour, there was one that I went back to time and again. And that was the need for you, for me, for he and she to have confidence because the more thinking I do, the more I believe confidence is the single most important success factor. Whatever the field, wherever you live, it’s number one. Talent without confidence will not take a writer, artist, actor, composer, or performer—or English sales person, Swedish teacher, or French social worker far.

There is no premium on talented people—he’s talented, she’s talented. Practically everyone I know is talented. But talented people who are also confident and are making full use of their talents and reaching the successes they desire are a much rarer breed. Some degree of that stuff we call talent is just one of the requirements of the creator who stands out. But it’s naïve to think that talent without confidence is sufficient to take a creator to great heights.

It’s my theme in everything I do—something I discovered a long time ago–that there’s more to everyone than they realize, more to you than even you are medal-1622523_640aware of. You are more extraordinary than you know. Being as great as you are, don’t sell yourself short.  Be confident. Aim much higher. Then you must take up the idea of becoming all the writer, painter, actor, dancer, composer you can become.  Make that idea part of your life. Think of it. Dream of it. Let your brain and every part of you be full of that idea. That’s the way to great success.

II

As a boy I was shy and had been trained by my parents to be modest and self-effacing, maybe the same as you. There was a girl in my Chicago neighborhood I had my eyes on. But after all, I was shy. I never asked her out, never talked to her. Years later she told me she wished I had.

I think I spent half my childhood and adolescence running. I loved running so much—the feel of it through my body, the joy. My first season running the 800 meters on the high school track team I did well, finishing second in the conference championship. As the second season was beginning the best senior middle distance runner sat down beside me on the bench in the locker room. We’d never spoken and I was wondering what he wanted. He said, “You’re a talented runner. I see you working harder than anyone. You’re a nice guy. But you’re not confident enough. It hasn’t sunk in yet how really good you could be. You’ll have to get over that. You have to be bold and have a concept of yourself as the best, the champion, if you hope to BE the champion.”

His doing that so selflessly, knowing I would be his main competition, meant a great deal to me and put me on the right path.  I did win the championship and set a record. Like runners, all creators and all people in whatever life’s pursuit have a need if they are to reach their peak achievements for:

Supreme self-confidence

An empowering concept of themselves

The realization that with application and never-stopping persistence high excellence is possible.

If a creator lacks self-confidence he/she must acquire it. The most powerful oscarand direct basis for confidence is past success.  If you have some kind of proof that you have the ability to achieve what you want to achieve—the skills, motivation, and know-how–because you’ve succeeded in the past, you will try to achieve it again. If you feel that way, you’ll be confident and will not likely be stopped by self-doubt, a creator’s main psychological obstacle. Strong self-confidence helps you overcome the scourge of discouragement, that dreariness that has ended thousands and thousands of creators’ careers.

Even the most self-doubting or discouraged creator has had past successes. No one fails at everything all the time. There is always something very positive that will fuel your confidence to fasten onto during periods of doubt—prizes you’ve won, awards you’ve received, the best piece of work you’ve produced, a new skill you’ve learned, a compliment. Make them the foundation of becoming the champion you deserve to be.

We are what our thoughts have made us.  Confidence says, “Never mind failures. They’ll wake you up.” Be a creator-warrior. Dwell only on success. Kick every other thought out of your mind.

 

© 2016 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/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

12 Comments

Filed under Confidence, Creativity Self-Improvement, Developing Talent, Human Potential and Achievement, Goals and Purposes, High Achievement, Inner Skills, Self-Confidence, Warriors

Turning Points In The Lives Of Creative People

From the time I was a little boy watching mystery movies I’ve waited for the first clue. From that point on the solution is just a matter of time. All fates are sealed with that clue.  I will watch movies over and over, waiting for that definitive clue. And then I’m thrilled.  In the same way, I can’t think of any time in my life I haven’t been intrigued by those events in peoples’ lives that started them on the course that would define them as human beings—the Turning Points in their lives. The first clue.

Why were they this and then became that? What happened?  I would like to know. That’s true now of artists whose lives fascinate me—writers, painters, sculptors, actors, ballet dancers, composers, musicians. Was it a lucky break or a bad break? A triumph or a failure?  An illness? A significant man or woman?  A teacher? A lover? A walk on a beach?  A birth, a death?

If you and I were ever to meet–how nice that would be–I’d ask you about yours. I think you would tell me that after the Turning Point you knew right turning-arrowaway you’d never be the same. You were facing in a new direction. Winds picked up and caught your sails and you set out to sea. You were on a quest and were experiencing the pouring-out of floods of creative thoughts. You’re confident that your quest is still leading to something though you might not be aware yet just where it will take you. You will have to see.

American Nobel Prize dramatist EUGENE O’NEILL’S Turning Point was a life-threatening illness. The son of a rich and famous actor, he quit college after a year, worked as a deck hand on ocean-going ships, drank heavily in various ports, and dissipated his life.

Then he experienced his Turning Point: “I just drifted along till I was twenty-four and then I got a jolt and sat up and took notice. Retribution overtook me and I went down with T.B. It gave me time to think about myself and what I was doing—or, better, wasn’t doing. I got busy writing one act plays…If I hadn’t had an attack of tuberculosis, if I hadn’t been forced to look at myself, while I was in the sanitorium, harder than I had ever done before I might not have become a playwright.” He would, he said, “Become an artist or nothing.” From that point on, his life was centered on, focused on, and organized around writing plays.

Writer RAYMOND CHANDLER’S Turning Point was getting fired from a high-paying executive job. For many years he drifted from job to job. He started in silhouette-144967_640business as an accountant and rose to the ranks of the director of eight oil corporations. He was called by some the best businessman in America. He drank so heavily that he started going off on his own on binges without telling anyone for weeks at a time and eventually was fired– the worst crisis of his life.

But while driving along California’s Pacific coast to a cabin where he planned to figure out what to do now, he stopped at a gas station and picked up reading material: copies of Black Mask, a magazine of hard-boiled detective stories. Reading them, he decided that he could write stories as good as those, and that’s what he did, starting a  writing career at age 44 that saw him establish himself as probably the greatest writer in that genre.

Self-taught VINCENT VAN GOGH’S Turning Point was reading a particular book. Before deciding to devote himself to art he wrote to his brother Theo: “I quite well remember that when you spoke at the time of my becoming a painter, I thought it was very impractical and would not hear of it. What made me cease vincent-van-gogh-self-portrait-1887to doubt was my reading a clear book on perspective, Cassagne’s Guide to the ABC of Drawing and a week later I drew the interior of a kitchen with a stove, chair, table and window, in their place and on their legs, while before it had seemed to me witchcraft or pure chance to get depth and the right perspective in drawing. If you had only drawn one thing right, you would feel an irresistible longing to draw a thousand other things.”

Many creative people have Turning Points in childhood. They fall in love with some activity. Children who know what they are in love with and are pretty boy-paintingsure what they will be when they grow up are likely to be creative as adults.

At the age of eight Nobel writer SAUL BELLOW was hospitalized for half a year in the children’s ward. With boys and girls dying all around him he decided that his own survival was a near miracle; that he was “privileged” and that there was some form “of bookkeeping going on.”

He did his own mental bookkeeping and decided he “owed something to some entity for the privilege of surviving.” He believed he had “better make it worth the while of whoever it was that authorized all this.” In his twenties he turned to writing and went on to achieve all the highest literary awards. Until he died he thought it possible that he had “gotten away with something but that it had been by permission of some high authority.”

Short story specialist/poet RAYMOND CARVER’S Turning Point was meeting a teacher– being taught at the Iowa Writers Workshop by John Gardner and pen-27043_640being 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.”

Gardner taught Carver to be tough on himself, showing what is best about all good teachers. Through them you learn to adopt an objective critical attitude toward your work.  You learn “taste.” At that point Carver and his wife Maryann shared the goal of Raymond not selling out his writing and not have him get involved in any career but writing. Not to forget that he was put on earth to be a great writer and for no other reason.

MARY CASSATT’S Turning Point midway in her paining career was the result mary-cassatt-89730_6401of a sequence of Turning Points: living in Paris, mingling with the French Impressionists, especially Edgar Degas, and becoming an Impressionist herself. But the single most important turning point for Cassatt was finding her true subject: mothers with their children.

ERNEST HEMINGWAY’s Turning Point was deciding a college education wasn’t for him and landing a job as a journalist on the Kansas City Star.  Over the years the “Stars” editors had complied a book of 110 rules designed to force reporters to ernest-hemingway-401493_640use simple, plain, direct, cliché-free English, and those rules were strictly enforced. Hemingway’s writing style that revolutionized the way writing is done across the globe, was based on those very rules. He later called them, “the best rules I ever learned about writing.” He showed the first cable he ever wrote to fellow writer Lincoln Steffens and said, “Steffens, look at this cable: no fat, no adjectives, no adverbs…It’s a new language.”

Novelist THOMAS WOLFE’S Turning Point was submitting his first novel to Maxwell Perkins and Perkins becoming his editor. Perkins was the most acclaimed book editor of the twentieth century and thus far in the twenty-first. During the 1920s and 30s his Scribner’s writers included the greatest and most gifted working with one editor in the history of American publishing. They included, in addition to his protégé Wolfe, Ernest Hemingway, F. Scott Fitzgerald, and Ring Lardner. Wolfe’s association with Perkins is the most celebrated author/editor relationship in American literature.

Wolfe was stupendously talented. But his main problems were his uncontrollable, obsessive verbosity and a chronic inability to cut that resulted in unedited manuscripts of fantastic lengths, three or four times longer than a publishable book could possibly be.

Those problems in turn were caused by Wolfe’s difficulty making any kind of vintage-typewriterindependent decisions. He didn’t know where or what to cut. He would stare for hours at the manuscript before eliminating a few sentences when his agreement with Perkins was that he would strike out tens of thousands–a hundred thousand—words. He would start by rereading the manuscript section by section, trying to find things that were unnecessary and could be omitted. But he was totally blind to them. He never in his entire career had a concept of a publishable book.

The day before Christmas, 1929 Wolfe wrote to Perkins: “One year ago I had little hope for my work, and I did not know you…. You are now mixed with my book in such a way that I can never separate the two of you. I can no longer think clearly of the time I wrote it, but rather of the time when you first talked to me about it, and when you worked upon it….You have done what I had ceased to believe that one person could do for another–you have created liberty and hope for me.” Wolfe wrote a note to Perkins: “In all my life, until I met you, I never had a friend.”

I doubt there’s ever been a great creator who after a Turning Point didn’t have a powerful sense of single-mindedness and an ability to persevere, face difficulties, and concentrate on reaching goals while resisting distractions.

And rarely, if ever, wandering off on tangents. High-powered focused attention is a result of Turning Points–the ability of the creator to be absorbed, caught up in, and wholly involved in his/her creative existence.

Do you remember your Turning Point?  Just look up from the screen now and reflect on when the first clue appeared in the mystery you call your life and you turned from this direction to that.

 

© 2016 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/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

 

 

 

12 Comments

Filed under Artists, Becoming an Artist, Creativity Self-Improvement, Developing Talent, Human Potential and Achievement, Serendipity, The Writer's Path, Writers