Category Archives: Creativity

The Most Important Step in the Creative Process

I liken the steps of creative insight to an image of a creator and a room. There is a room: at first the creator opens the door to the room a crack. They are very curious about what is in that room. They can see visually very little that is in Door slightlin openit, but they feel “there may be something there.” Then they open the door a little wider and can see more, and then wider, and wider, and many things in the room appear in their field of vision and become clearer.

Then the creator pushes the door open wide. They step boldly into the room , and  sensing there is something significant that will be revealed, explore every nook and cranny–the closet, the ceiling, under the bed, under the chairs, the floor, the light fixtures, the windows,  the window shades and curtains, the molding, the crack in the wall–until even the smallest detail of the room is known.

Excited now, feeling an urge, they get to work and sweat over their project, entering that room at will a hundred times, a thousand, five thousand, and whether they feel up to it or not, are happy or sad, healthy or sick, they go back to that room again and again. Then with a mixture of luck, timing, and skill the novel is acclaimed across the country, the etching is featured in a show, or the play is in a theatre where people applaud it. The creator is fulfilled.

 None of those things would have happened had the person not begun by thinking with an open mind, “Oh, I wonder very much what is in that room.”

I

If you are creative, I think you and I are very much alike because I am creative too, and the mystery I call my mental life is probably not very different from yours.  In my mid-twenties I was hired to work with a think tank of college professors at the University of Michigan–psychologists, economists, and sociologists, and their graduate assistants.  University buildingThey had been conducting research projects having to do with what were then in the sixties called “anti-poverty programs.”

I had written articles and speeches on that subject, and the institute contacted me to “do some writing” for them and to “put myself into the writing.”  I took the hour flight from my home in Chicago to Ann Arbor by way of Detroit to meet the directors. Specifically, they had written books that neither the government funders of the projects nor the target readers could understand because the writing was what they admitted to be a lot of academic mumbo-jumbo.

They wanted me to “clean it up”–something like a Hollywood script doctor–because I had a talent for turning difficult to understand academic textual concepts and badly written prose into clearly-written, understandable, serviceable, every day Anglo Saxon English. Most of my writing could be done at home–always a pleasure for me to be at home with my wife and children.

But I thought that it would be beneficial to start my project by working at the institute–studying their writing, meeting with staff, getting settled in a good work space. So I spent considerable time in Ann Arbor. I like college towns–like the bookstores, the activities, the restaurants, and the comfort of being where learning is occurring. The institute’s chief writer was out of commission with writer’s block, so I would be writing on my own.

The first week I was walking down the street on the way to dinner with a prominent economist and he called out “Congratulations” to a man across the street. Then he said to me,” He just won the Nobel Prize.” I very much like and feel most comfortable working with very intelligent people. With my mind filled with what I had read and gotten from discussions with staff, I began the writing stage by doing no writing at all, not even doodling.

Just sitting in my office at the institute, being imaginative, I let information I had acquired free-float in my brain, holding off committing my fingers to a pad of paper or a keyboard till I was ready and eager to start. I looked out the window at a pond where mallard ducks were floating, a peaceful, lovely little scene. In the background I could hear cricketpeople coming and going, talking, and laughing, and one day couldn’t help but hear the chirping of thousands of leaping crickets that had escaped from their cage where they were being kept for someone’s scientific project. I have no fear of chaos and disorder and thought the crickets were fun. (A major characteristic of creative people is physical and mental messiness, a mind cluttered with ideas, and a disorganized environment which can frustrate to no-end neat freaks they may be working with).

The directors would visit me from time to time and ask how the writing was going, reminding me not to forget the deadline I was working under. I said the writing was going fine. Though I hadn’t written a word, I knew without a doubt I would meet the deadline because I always meet deadlines. I like deadlines. I knew that time pressure, though it can be an impediment to creativity at times, usually facilitates it. For example, I have a writer friend named Stu who is able to produce what he has been procrastinating over when he knows that friends are coming over in an hour,

When I did not turn in a word of copy, the directors got nervous. They had had enough experience working with people in the act of creation (most of the people involved in the projects) to know that creative people are lousy with details and pay little attention to them. But I said everything was under control, and they gave me leeway because they were used to the eccentricities of creative people.

II

My mind then began the vital and intriguing process of what I have named “Pre-Compositional Lilt,” which I believe is the most important step in the creative process. I think you too know it well. It is semi-dreamy aimless state when ideas bubbles floating on colorful backgroundfloat lightly as bubbles through the mind, coming and going,  bursting and dissolving, some more promising and useful than others, a few sticking that will became a permanent part of your thoughts about the thing you are about to create–the painting, the essay, or story, or symphony.

It has been known for a long time that there are two types of thoughts, one of which is creative. The less creative type is under active control of your conscious mind, and the other is involuntary. The involuntary type is called Primary Process Thinking. It is the source of your creative inspirations. It is my Pre-Compositional Lilt: a disorganized drifting and succession of fragments of images and ideas in which a number of ideas fuse themselves with other ideas so that sometimes strange or extraordinary links are made between images and ideas that are not usually linked, but are unrelated. That’s when you have something original, or, in other words, creative–a practical, useful product of a wild ranging of the creative mind. (A creative idea–if it is truly creative–must have a practical use).

Almost all accounts of creativity by scientists, mathematicians, artists, and writers indicate that they feel that unconscious processes are passively revealed to them rather than delivered up to them by conscious thought. For example, novelist William Makepeace Thackeray said, “I don’t control my characters. I am in their hands and they take me where they please.” A common phrase of artists is, “It came to me; I hadn’t planned it.”

It comes at the conclusion of Pre-Compositional Lilt.  Walking alone often seems to spring creative ideas from the splashing water with floating bubblessubconscious. Poet Wallace Stevens composed his poems in his mind on the long walks between his home and his office. For me, a single word I may see in a book or on a sign on a store front, or in my notes, a word that has a special relevance for that text, may pop into mind and straighten out all my thinking about a text. And I know that once I get the first sentence right–and I can always tell l if ii is right–basically the whole thing, however long it will be, is as good as written.

Creative intuition, which works in a non-logical realm, is not simply in-born as it is often thought to be, but is developed and made stronger, beginning with “Lilts” and then enhancing your ability to bring together a wide range of relevant information without even being aware of what items of information you have used or how you have integrated them. Knowledge of your art or discipline is essential. In fact knowledge is not everything in creativity, but it is almost everything.

III

Creators typically have an obsessive side and often have few concerns other than their creative work. Most of their Door opening onto a colorful sceneconscious and subconscious thoughts are directed toward that work. Creators keep the subject of their work consistently before them and wait patiently or impatiently till the work opens slowly, little by little, into full and clear awareness.

The creative artist’s mind (like the inventor’s and mathematician’s) even during a day at the beach, even during a vacation in the mountains or a night at the theatre, is immersed in her art and consciously or subconsciously is always working on it and never takes a break. A sentence or paragraph that will convey exactly the mood she is seeking to communicate may elude a writer for days or months, only to suddenly appear when she is having sex or petting a dog because she is an artist and her mind never rests. Mozart jotted down pages of notes while waiting his turn at billiards. It couldn’t be otherwise.

I wanted my work to be as elegant as highly creative works such as paintings, musical compositions, and literary works. One test of a scientific theorem is: “Is it elegant?” I talked to my wife, who is also my editor, about that, and she was in agreement that having that goal would make the work more fulfilling for both of us and a bigger challenge. Why not always aim for beauty, so you may pause over a sentence or paragraph or musical phrase you’ve written or a painter’s right brush stroke and say, “That’s just beautiful, if I do say so myself.”

 

IV

I finished the books on time. They were published, distributed, and highly regarded. The material was put to use by people fighting poverty in many places in the world, and I was hired to work with the institute again on another project, and then others. I developed strong friendships with the people I met.

 

 

© 2018 David J. Rogers

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

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

 

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Filed under Creativity, Personal Stories, Pre-Compositional Lilt, The Creative Process, The Nature of Artists, Writers, Writing

24 Quotes About Creativity and Creative People

CREATIVE PEOPLE

A writer “takes an anecdote told by another man over a glass of wine; he takes an episode out of a stranger’s life; he takes the thoughts of philosophers; reports from newspapers; feelings out of his own imagination–and then he writes his little name under all this” (August Strindberg).

“The writer’s mind is everything. Nothing fascinates lovers of exceptional poetry or prose more than the intelligence and talent of the minds behind the words of writers they consider worthy of attention. To climb the heights those minds are reaching is the main reason a person goes on reading” (David J. Rogers).

“When I am finishing a picture I hold some God-made object up to it–a rock, a flower, the branch of a tree or my hand. If the painting stands up beside a thing man cannot make, the painting is authentic. If there’s a clash between the two, it’s bad art” (Marc Chagall).

“The most regretful people on earth are those who felt the  call of creative work, who felt their own creative powers restive and uprising, and gave it neither power nor time” (Mary Oliver).

“Aloneness is not only a major effect of the life of the creator, it is often a part of his/her personality…for the creator is frequently apart and withdrawn even in the presence of others, and makes a deliberate attempt to seek solitude” (R. Ochse).

“Human life itself may be almost pure chaos, but the work of the artist is to take these handfuls of confusion and disparate things, things that seem to be irreconcilable, and put them together in a frame to give them some kind of shape and meaning” (Katherine Anne Porter).

 

THE CREATIVE PROCESS

“You never have to change anything you got up in the middle of the night to write” (Saul Bellow).

“The more pictures you paint, the better you get” (Rembrandt).

“Gifted children do not necessarily become creators…Something is needed to translate talent into the power to create. That something demands work–work that builds the skills upon which creative productions rest” (R. Ochse).

“A writer has to have some kind of compulsive drive to do his work. If you don’t have it, you’d better find another kind of work, because it’s the only compulsion that will drive you through the psychological nightmares of writing” (John McPhee).

“The composer’s principal problem is that of recapturing in every phase of his work…the energy which keeps it going…of bringing, in other words, the requisite amount of energy to bear on every detail, as well as constantly on his vision of the whole” (Roger Sessions).

“After a thousand  or two thousand hours experience of focused writing, painting, dancing, or acting, you will be able to access your creative centers very quickly” (David J. Rogers).

“If your writing or painting are dull and uninteresting, it is usually because you need a stronger, clearer voice. Liven up your work with a voice that’s more heart-felt” (David J. Rogers).

“Mental imagery comes from within every creator, and must come out of her/ his memory. So it is ultimately memory that is the creator’s workshop. In their mind’s ear composers manipulate tones–auditory images–into sounds as adeptly as in their mind’s eye painters manipulate visual images into paintings and writers manipulate auditory images into dialogue” (David J. Rogers).

The state of many artists after finishing a work:  “Personally, I am not satisfied. It is something–but not the thing I tried for” (Joseph Conrad).

“Most people won’t realize that writing is a craft. You have to take your apprenticeship in it like anything else” (Katherine Anne Porter).

“Draftsmanship is key to who I am and what I create. I feel it is important to introduce the factor of the hand. It gives our images identity, like that of handwriting. Through seeing it we are then able to consider it and then understand it “(Sarah Ball).

“Shape captivates me. I look intensely and wait my judgement upon my piece of paper until I am ready to “expect the unexpected”. The shape of the object makes me determine the line quality. Judgements are passed with the intermingled sense of how I am feeling about what I have created. Sometimes it frustrates me, other times I feel overjoyed. This up and down rush from a few brush-strokes. I feel I am living it. It absorbs me until I am done” (Sarah Ball).

Sarah Ball is the talented  and award-winning artest whose work is featured in this post. I saw her work online and was drawn to her use of color and shape.

 

CREATORS’ WORK LIFE

“Solitude is taking me over: it is absorbing me, I see nothing, I read nothing. It is like being in a tomb which is at the same time a hell where one must write, write, write” (Joseph Conrad).

“But though some great writers may at times write awkwardly, it is nevertheless the case that one sign of the born writer is his gift for finding or (sometimes) inventing authentically interesting language” (John Gardner).

“The more I’m let alone and not worried the better I can function” (Ernest Hemingway)

“Every time I start on a new book, I am a beginner again. I doubt myself, I grow discouraged, all the work accomplished in the past is as though it never was. My first drafts are so shapeless that it seems impossible to go on with the attempt at all, right up until the moment…when it has become impossible not to finish it.” (Simone de Beauvoir)

“As far as I can tell, the decisive factor is what I call endurability: that is, the ability to deal effectively with uncertainty, rejection, and disappointment” (Ted Solotaroff).

“I’m not a must write every day writer, maybe a write four or five out of every seven days writer. And a reader when I’m not writing. But yet at times I do think, ‘Who knows what beautiful thing I might have written today if I hadn’t taken the day off?’ “(David J. Rogers).

 

© 2018 David J. Rogers

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

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

 

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Filed under Artists, Creativity, Creators' Work Life, Developing Talent, Human Potential and Achievement, Emotions of Creators, Quotations, The Creative Process, Voice, Writers

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

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

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

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

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

Anton Chekhov

Anton Chekhov

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

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

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

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

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

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

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

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

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

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

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

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

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

 

© 2018 David J. Rogers

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

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

 

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Many Paths to a Meaningful Life

“Nobody has a right to be unhappy, or to live in a way that makes them unhappy” (James Agee).

Painting of Sunrise

Glowing by Nadia Parsons

There are many paths to the top of a mountain, and there are many paths to a meaningful life readily available to us. Paths are as innumerable as stars, and everyone has more than one.  If you think your paths are best, well then they’re best–for you, though even the person dearest to you might give you an argument. But even if they did, it wouldn’t matter. If you believe yours are best, no argument will convince you they aren’t. And if you believe someone else’s aren’t, no argument will convince you they are.

Some find that living what I call a “smart” life–a life rife with meaning and vitality and purpose involves acquiring wealth and luxury. Others–like me–have little interest in that at all. They can’t understand what the overly aggressive pursuit of wealth is all about and what makes pursuers of it tick. If you are a writer, artist, or actor, and I asked you about your attitude toward money I suspect you would be something like me.

Some people live to acquire power, and they run for political office or head a corporation.  Others, like many artists, like to stay out of the limelight and are not interested in acquiring power, they prefer quiet, modest lives. Some other people like to win and are so competitive that they’ll bet you that their pat of butter will melt faster than yours or their elevator will beat yours to the top. But others find no meaning in competitiveness and couldn’t care less about butter pats or elevators.

Painting of grey clouds over pink sky

Coating of Smog by Nadia Parsons

However they differ, all paths to meaning and living a smart life have this in common: for the people traveling them they have heart. Following paths that have heart brings you happiness. You don’t find meaning as if it’s lying around like a quarter on the sidewalk by a parking meter. You have to decide on the paths you’ll follow and hold them prominently in mind and commit yourself to them. That’s mature living.

These are ever-changing times. Everything is going faster. But here are paths that are leading people like you and me to meaningful creative lives.

Beauty

You and I have had moments of experiencing something so incredibly beautiful it was indescribable. It was then that we were reminded of what we had forgotten in the whirl of our everyday lives: we are insignificant and half the time we don’t know what we’re doing, but there’s pure joy in just being alive. The flow of life in our veins, in the world, before our eyes–the dazzling sun settled in the sky like a yellow coin, flopping in the whitest snow when we were children, sky-writing on a summer day in a clear sky, clouds, friends waving as they come down the street, a poem, a painting, the smell of a barbeque, a yelping dog chasing a squirrel in the yard– precious life at its simplest. What is more to be treasured than the energy I feel in my muscles right now, this moment, and the ability to think any idea I wish this moment, and excited now, to follow it wherever it leads?

Devotion to a Purpose.

A life without purpose is a meaningless existence. For many people life is tedious and unrewarding. But when, perhaps suddenly, they discover the purposes that ignite their imagination, their lives acquire a vital meaning. They focus on their most important purpose and their lives change instantly.

Adventure, Thrills, Excitement, and New Experiences.

Paintng of sky with blue and orange sections

Divisions by Nadia Parsons

This is the path of men and women of action: explorers, mountain climbers, high wire trapeze artists, etc. Race car drivers are the happiest they will ever be when they’re banking into a curve at 180 miles an hour.

Fun and Laughter.

Play comes naturally to animals, including humans. Every mother knows that even babies have a sense of humor. Smiles are universal. In every culture on earth a smile means the same thing. Laughter is therapeutic. There are more than five thousand laughter yoga centers worldwide.

Leading a Moral Life

“How lovely goodness is in those who, stepping lightly, go smiling through the world” (Virginia Woolf.) Our goodness tells us what we ought to do. During the Great Depression my mother found a hundred dollars on the floor of a bus. That was a lot of money in those days; money was scarce in our family. Instead of spending it she placed a notice in the newspaper, despite the fact that she and my father were broke, unemployed, and had a family to support. Here was a good woman and good man. No one claimed the money so it now belonged to my folks.

Achievement.

People often think of hard work and long hours as unpleasant and damaging to one’s health. They consider it something to be avoided, whatever the achievements it might lead to. It’s often thought that people who are like that are “work addicted.” Well, that’s true, they very well might be addicted, but hard work in pursuit of your purposes, overcoming obstacles to them,  is a positive addiction. People who train hard every day to run a marathon–for that achievement–are addicted, and it’s positive. We applaud them. Psychologist George Valliant studied the lives of leading achievers among graduates of the Harvard Business School. He found that they had unusually excellent health, and good marriages and happy lives, in spite of seventy hour work weeks.

Living Up to Your Duties and Responsibilities.

A duty is an obligation. It’s what we owe. Even the word “duty” sounds like a burden to some people.  But if we love what we owe the duty to, it is no burden at all, and we welcome it.

“Responsibility” is derived from the Latin “re-spurdere,” which means, “to answer the challenge.” We bear responsibilities to ourselves, our husband or wife, our children, our parents, our lovers, our friends, the earth, and all humankind. When we live up to them, we answer the challenge to a responsible life.

Painting of sky in white and grey

Climate Shift 2 by Nadia Parsons

Some people will shirk responsibility and refuse to answer the challenge whenever they can. You see that in personal life and at work. In any group or organization, given a task to perform, if one member of the group doesn’t do his job, the best workers will generally assume the responsibility he is avoiding rather than not accomplishing the task. To complete the task is their duty. Many people living smartly and meaningfully relish taking personal responsibility rather than being the pawns of circumstances. They owe that duty to themselves and to those who depend on them.

Some duties you bear as lightly as a feather and live up to gladly. But duties are not always pleasant. You would rather stay home on a rainy night when you are bone tired rather than driving twelve miles to visit your friend in the hospital. But you do what your duty requires you to do, without regard to how pleasant or unpleasant it is, and you’re proud of yourself and happy you answered the challenge. To lead a life of duties fulfilled is worthy of you.

Financial Security.

The need for security is a powerful human need, and people will do almost anything to satisfy it. It’s said, “Money can’t buy happiness.” But after having none of it for a long time and suffering, when you have it, it certainly does bring happiness. Some people have the need to acquire security, and when they do they’re at their best and leading a smart and happy life.

The Good Life

A life of ease, luxuries, good food, good drink, and good times brings meaning to the lives of many people. It has down through the long corridors of history. In the ancient Roman city of Timgat an inscription was found in the pavement which reads, “To hunt, to bathe, to gamble, to laugh, that is to live.”

Good Health

The young believe they are generally immune to illness, just as they are not quite convinced that they’re mortal and will not live forever. Older people know they are mortal and everything about the body goes through periods of disrepair. That’s why you hear them say, “The most important thing is your health.” For some people, attaining and preserving good health through such things as diet, exercise, and fitness is prominent in their life path.

Leisure

Some people value vacations, long weekends, or puttering around in nature. A famous little Zen poem reads: “Sitting quietly, doing nothing/ Spring comes/ And the grass grows by itself.” Wonderful nineteenth century American author and naturalist Henry David Thoreau wrote, “Time is but the stream I go fishing in.”

A Spiritual Life.

Painting of heavy, dark clouds

Clarity by Nadia Parsons

It’s been said that the essence of modern life is that nothing is sacred. But for many people who are leading a smart, meaningful life that’s not true at all. Some people find happiness in material objects, but others find it by turning away from outward things. They seek happiness inwardly, in the spirit. Many find meaning in the belief that they belong to something cosmic, something beyond human existence. They believe that we all come from God trailing clouds of glory and are the beneficiaries of divine grace, and that one’s soul can be elevated toward God. Walt Whitman wrote: “I see something of God each hour of the/ Twenty four and each moment then/ In the faces of men and women/ In my own face in the glass.”

Unhappiness.

Some people are happiest and seem most alive when they’re miserable. You might be able to name people like that. But in some ridiculous way, they may have found something that suits them. Their unhappiness may be deceptive. Listen to your friend bitterly complain about a terrible job, nagging wife, troublesome children, interfering in-laws, the price of gas, a bad movie, problems with the boss, too-tight shoes, a medical report, crooked politicians, traffic, etc. In the middle of their complaints interrupt him and ask, “Are you happy?” They will stop talking, smile, and say, “Yah, I’m pretty happy.”

The Respect of Other People

We have a need for family, for friends, for company, to fit in and be a part of society, to belong. But at the same time we also have the contrary need–to be unique, to be different, to be noticed and singled out and respected for who we are alone, individually, for ourselves.

Self-respect, Self-esteem.

Life isn’t a courtroom. People needn’t prove their worth to anyone else. But they do need to find themselves acceptable, approve of themselves, be a person they can believe in, feel proud of being someone they can confidently reveal to the world and not hide. They can boldly declare, “This with my flaws, weaknesses, and strengths is who I am.”  Those who pursue a path of self-respect, no matter what circumstances they find themselves in, never lose sight of that goal. They strive never to do anything that is in any way unhealthy for them. Then they are in good company with themselves.

Loving and Being Loved

“Love is patient and kind…. Love bears all things, hopes all things, endures all things” (First Corinthians 13) “Love seeks only one thing. The good of the one loved” (Thomas Merton). We are intended to be loved and to love, and not to be lonely and unloved. We are not isolated islands in a sea of humanity. If we love, we will be loved. D.H. Lawrence wrote: “Those who go searching for love/ Only make manifest their own lovelessness/ Only the loving find love/ And they never have to search for it.” To have a day as I have and you have when everything turns against you, to arrive home, to be greeted by someone you love and who loves you, to see a smile, to hear laugher somewhere in the house, to be kissed: that is life at its fullest.

Sacrifice and Service.

Painting of sunset

Transitioning to Night by Nadia Parsons

Leading a life without concern for others becomes increasingly unsatisfying. We are capable of pettiness, jealousy, and selfishness, but we are also capable of unselfishness, compassion, helpfulness, kindness, and sympathy. “Man achieves fullness of being in…care for others. He expands his existence by bearing his fellow man’s burden….The deepest wisdom man can attain is to know that his destiny is to aid, to serve” (Abraham Joshua Heschel). Some people find great happiness devoting themselves to the wellbeing of others, and ask nothing in return. There are countless examples of such quiet self-sacrifice in everyday life. Someone set out this morning to help the needy, and someone else to comfort the sick, or to visit the home-bound, or to raise money for a charity. They make the other person’s problems their own. Helping to solve them, they are making the most of their lives.

There are many paths to the top of a mountain, and there are many paths to a meaningful life. What are you doing here on this earth with this life you’ve been granted gratis?  Does it have meaning? How will you be remembered? What paths are you following?

The beautiful and powerful paintings featured in this post are by artist Nadia Parsons, the Sky Painter, whose path is to capture fleeting moments of change in the sky. “As we observe the sky,” the artist says,  “we can become acutely aware of how small we are in contrast to the vast scale of the universe. We also have an opportunity to appreciate our importance as it coexists with fears of our own insignificance.” (Nadia Parsons, https://www.skypainterstudios.com/about/ )

© 2018 David J. Rogers

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

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

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Inspiration, Information, and Learnings For People In The Arts

Part 6 of a series.  See also Part 1, Part 2 & 3 Part 4, and Part 5

Pink and orange zinnias in impressionist style

Late Season Zinnias by Steven V. Ward

THE NATURE OF ARTISTS

  • “Artists shape the structure of their creative lives not by means of their gifts, but by means of their work. Production–to produce good works– is the artist’s overriding goal. Delicate creatures, when unable to produce works, they almost immediately fall into some form of self-doubt and then despair” (David J. Rogers).
  • “To possess and capture beauty (the artist) will do anything, use anything…be ruthless, murderous and destructive, cold and cruel and merciless…to get the thing he wants, achieve the thing he values” (Thomas Wolfe).
  • Berry branch with shadowy colored background

    Berry Shadows by Steven V. Ward

    “There is nothing we will not give to the person who can show us the undiscovered world within ourselves, for most of us are unaware of the possibilities we hold” (Seymour Krim).

  • “It is all in the art. You get no credit for living” (V.S. Pritchett)
  • “The hunger to succeed in spite of every impediment and the confidence that you can, along with skill, energy, focus, and the knack of overcoming obstacles have proven to be the key indicators of success in art” (David J. Rogers).

 

THE CREATIVE PROCESS

  • “The uninitiated imagine that one must await inspiration in order to create. That is a mistake. I am far from saying that there is no such thing as inspiration; quite the opposite. It is found as a driving force in every kind of human activity, and is in no wise peculiar to artists. But that force is only brought into action by effort, and that effort is work” (Igor
    Pink flowers on impressionist background

    Spring Colors by Steven by Ward

    Stravinsky).

  • “It has not been possible to demonstrate that creativity tests are valid” (Howard Gardner).
  • “If I create from the heart, nearly everything works; if from the head, almost nothing works” (Marc Chagall).
  • “If he thought, he would go wrong; it is only the clumsy and uninventive artist who thinks) (John Ruskin).
  • “If a man has talent and can’t use it, he’s failed. If he uses only half of it, he has partly failed. If he uses the whole of it, he has succeeded, and won a satisfaction and triumph few men ever know” (Thomas Wolfe).
  • “Everything you can imagine is real” (Pablo Picasso).
  • “It is important to forget about the opinions of others and to write after your own fashion with careless, proud indifference” (Llewelyn Powys).
  • ”There are no rules. It’s amazing how willing people are to tell you that you aren’t a real writer unless you conform to their clichés and their rules. My advice? Reject rules and critics out of hand. Define yourself. Do it your way. Make yourself the writer of your dreams (Anne Rice).
  • “Most creators know intuitively from the beginning of their serious work on a project what the final product will “feel” like. It may take weeks, months, or years to complete the work. But they’ve had from the beginning some sense of it. And that sense will guide them through the entire creative process” (David J. Rogers).
  • “Great artists feel as opportunity what others feel as a menace” (Kenneth Burke).
  • “A great portrait is always more a portrait of the painter than of the painted” (Samuel Butler).
Three white and pink lotus blossoms on blue background

Lotus Trio by Steven V. Ward

CREATORS’ WORK LIFE 

  • “Wake about seven thirty, have breakfast and am working by nine and usually work straight through until two p.m. After that it’s like living in a vacuum until working time next day” (Ernest Hemingway).
  • “Publishing is a very mysterious business. It is hard to predict what kind of sale or reception a book will have and advertising seems to do very little to the good” (Thomas Wolfe).
  • “We should write our own thoughts in as nearly as possible the language we thought them in, as though in a letter to an intimate friend. We should not disguise them in any way” (Leo Tolstoy).
  • “When I write I feel like an artist. When I’m not writing I don’t feel like anything at all) (Saul Bellow).
  • “I work on whatever medium likes me at the moment” (Marc Chagall).
  • “They come and ask me what idea I meant to embody in Faust as if I knew myself and could inform them” (Goethe).
  • “Great artists have no consideration for anyone’s sleep. Left alone and working all night, they phone you at three or four in the morning to announce they’ve thought of something” (David J. Rogers).
  • “We all do better in the future” (Raymond Carver).
  • Yellow Wildflowers on an impressionis style background

    Yellow Wildflowers by Steven V. Ward

    “You have reached the pinnacle of success as soon as you become uninterested in money, compliments, and publicity” (Thomas Wolfe).

  • “Inspiration exists, but it has to find us working” (Pablo Picasso)

I am pleased to again feature in this post artwork by the talented artist Steven V. Ward whose work can be found on FineArtAmerica.  Some of his work also appears in my post More Inspiration and Information For Creators #5

© 2018 David J. Rogers

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

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

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The Self-Concept: Freeing Up Your Creator’s Mind and Personality

In those happy days when I was starting out and writing books during the night while my wife and children slept, I was a business consultant during the day. One client was an anal-type organization–lots of rules, very little freedom, business workers in office cubiclesdictatorial–and many disgruntled employees. You might have worked in an organization like that. You may be working in one now.

One rule was that no one from one unit was to visit another unit during working hours. They were serious. Wherever you went you heard people saying, “Don’t get caught out of your unit.”

Your creator’s self-concept–self-image, self-estimate–is your internal, private opinion of the kind of creator you are and of the actions you are or are not capable of performing as a creator. It directly controls how successful you are in your creative endeavors and how full and satisfying your creative life will be. Like that nutty rule, your creator’s self-concept says, “Whatever you do, don’t get caught out of your self-concept.”

Your behavior has absolute trust in your creator’s self-concept and believes it and obeys it. You may have decided after five years writing that you’re a pretty average poet, so you work only hard enough to write average poems, never expecting to do any better. Your self-concept is perfectly content with mediocrity although you may have the potential for greatness. It is continually telling you to stay inside its definition of the kind of person you are: “You’re a decent painter but let’s face it, you’ll will never be much more than that.”

Many people I’ve met and you’ve met tell themselves they’re not creative. They realize that creativity could make them happier, but they claim they just don’t have it. Many people think, “Oh, a painter is creative, or a novelist or an architect. But I’m not a bit creative.” Yet researchers have demonstrated that the self-concept is so powerful and yet so malleable and so easy to change that the moment–the moment–people start thinking “I am creative” instead of “I’m not creative,” creativity increases. They can write and paint and perform dramatic roles passably well.  Now they have a creator’s self-concept.

Disappointments lead some creators to think, “I can’t produce really superb art work. . .sell my stories to magazines…make a lot of money…place my paintings in the best galleries…get in a good show… compete with young creators…” and so on.

Many creators have such narrow self-concepts they’re living in a unit that’s only a fraction of the size of their true creative ability. They possess the capacity to accomplish high creative goals but they don’t realize they do. Other creators have wide and expansive self-concepts. Their actions are bolder. They are self-confident. They expect to excel and often do.

What’s holding narrow self-concept creators back? Don’t look at me. I’m not holding them back. You’re not holding them back. They are holding themselves back. Some creators—maybe you know a few of them—have self-concepts so narrow and confining that they have made themselves incapable of doing anything significant. Often they don’t even try.

Many of you reading this are fiction writers. But we are all fiction writers. ALL SELF-CONCEPTS ARE FICTIONS; THEY ARE ALL MADE UP.  They are not real in the way a flower pot is real or a desk is. They are merely ways you have chosen to view yourself. From this insight it’s a short, leaping step to the next: “Hey, since I made up this damned self-concept and I’m not happy with it, and it’s holding me back, all I have to do to increase my possibilities and free up my creator’s mind and personality is to create another one and act accordingly,” or “Do I need a self-concept at all?” If your self-concept is right for you—if you’re happy with it—by all means keep it. But if it’s bringing you creative disappointment after disappointment and discouragement and you’re dissatisfied with it, you’d better, I think: (1) change it, or (2) operate without it.

I want to tell you two stories:

Story One: “The Storekeeper and the Thief”

In Japan in the nineteenth century, storekeepers were considered lily-livered weaklings. One storekeeper became sick and tired of this reputation. To prove that it was totally false he took lessons at a martial arts dojo. He devoted himself religiously and after some years he became an expert. After closing his shop late one night, the storekeeper and his wife started home down the dark streets carrying the day’s receipts. They had just turned the corner when a man holding a knife stepped out of the shadows and ordered the storekeeper to hand over his money.

At first he refused, but when the thief charged him, growling, “You miserable merchant, I’ll cut you to pieces,” the storekeeper lost his courage, fell to his knees, and began to tremble with fear. Suddenly his wife cried out, “You’re not a storekeeper, you’re a master of the martial arts.”

The storekeeper turned his head and looked at his wife. “Yes,” he said, “I am.” He stood, a warrior now, totally fearless, completely calm. He let out a powerful katzu, “battle shout,” and leaped at the thief. He defeated him easily.

Story Two: “The Teaman and the Ronin

In feudal Japan, a servant, a poor practitioner of chado, the Way of tea, unwittingly insulted a ronin, a masterless samurai. Outraged, the ronin challenged the servant to a duel. “I’m not a warrior,” the teaman said, “and I’m very sorry if I offended you. I certainly didn’t mean to. Please accept my apology. ”But the ronin would have none of it. “We meet at dawn tomorrow,” he said, and as was customary, he handed the terrified teaman a sword. “Go practice,” said the ronin.

The servant ran to the home of a famous sword master and told him the terrible thing that had happened. “A unique situation,” the sword master said. “For you will surely die. The thing I might be able to help you with is isagi-yoku, the art of dying well.”

While they talked, the teaman prepared and poured tea. The masterful way he did it caught the eye of the sword master. He slapped his knee and said, “Forget what I just told you. Put yourself into the state of mind you were in as you prepared the tea and you can win this fight.” The teaman was shocked. The sword the ronin had given him was the first he had ever held. “What state of mind?”

“Were you thinking ‘I’m a teaman?’ ” asked the master.

“No. I wasn’t thinking at all.”

“That’s it!” The sword master laughed. “Tomorrow draw your sword and hold it high over your head, ready to cut your opponent down. Don’t think you’re a teaman or that you’re a swordsman. Just listen. When you hear him shout, strike him down.”

Image of kendo {{PD-1923}} The next morning the ronin appeared on the field and the teaman immediately raised his sword overhead, his eyes on the ronin, his ears waiting for the battle cry. For long moments the ronin stared at the raised sword, and the determination in his opponent’s eyes. Finally the ronin said, “I cannot beat you.” He bowed and left the field.

The problem of these two men should seem familiar. Their predicament is one we all encounter every day. Our opponents aren’t usually thieves and they certainly aren’t wandering samurai ronin, but that’s not important. Those weren’t the main opponents anyway. The primary battle, the main event, was going on inside the storekeeper and the teaman. To win on the outside, each had to deal with a faulty, inadequate, self-defeating self-concept.

Option One: “I’m a Warrior, Not a Storekeeper.” Changing Your Self-Concept

Many creators are overlooking their creative abilities. They persist in thinking they’re storekeepers when if they just thought differently about themselves they would see what warriors they have the potential to be. Listen to the things you say about yourself and think about yourself that begin with “I am,” “I’m not,” and “I can’t.” They are your self-concept in action. And they directly control what is possible for you.

 

Robin tells herself, “I’ve been working on the thing I call ‘My Novel’ for years and can’t seem to finish it. It’s embarrassing. I have no will power.”  And because of it she has real problems getting the damn thing off to a publisher. Ariel tells herself she’s not intelligent enough to write a Hollywood screen play. She doesn’t realize that intelligence is not fixed and final in a person, but can increase with use and with it her concept of herself as an intelligent woman.

Creators are what they are because they keep telling themselves they are. If they stop telling themselves they are, they change. If creators say to you, “I just can’t talk in front of large groups,” or “I’m not the sales type,” or “I’m not a really clever person,” and then ask you if there is anything they can do about it, you might suggest that they never, never say that again. Then suggest they counter every “I’m not” or “I just can’t” with a firm “I am” or “I can.”

Saying it isn’t enough.  What is in your head doesn’t count for anything unless you translate it into action, “body knowledge.” It’s not enough to think, “Hey, I’m not just a storekeeper, I’m really a warrior after all.” To defeat the thief you have to fight, and you can because:

 All behavior is nothing more than an act, a performance.  Acting is easy. Everyone can act. We are all performers.  As soon as a public speaker realizes that she is not a lecturer but an actor, her presentations get good. To BE confident, ACT confidently.

Find a model, someone who does well what you would like to do. Watch how she does it, then do it the same way yourself. Or borrow from a number of models.

Option Two: Operating Without a Self-Concept

The sword master advised the teaman, “Tomorrow draw your sword and hold it high over your head. Don’t think that you’re a teaman or you’re a swordsman. Just listen. When you hear him shout, strike him down.”

In sales training sessions I gave I often used a simple role-playing exercise that’s designed to demonstrate the teaman alternative. The teaman alternative is not replacing your old, limiting self-concept with a new and improved one. It’s not thinking you’re a cowardly storekeeper or a poor teaman, but it’s not thinking you’re a warrior either. It’s not holding any self-concept in mind, but just taking action, doing something.

After everyone in the training group had played the part of a sales person making a presentation to a potential customer, I asked them to list the things that they did well during the role-play and the things they would like to improve upon. Then we discussed the “like-to-improve-upons.” Sam said he was no good at thinking on his feet. He went blank. A real salesman, Sam said, is able to handle himself smoothly.

Gerri said her problem was talking too fast. Her words came shooting out so fast she often said the wrong thing. She got flustered. She blew sales.

One by one, they all had to tell me about their “improve-upons.” Midway through every description of a problem I stopped the speaker and said something like “I’m not sure I understand what you mean. I’ll tell you what: show me how you would like to be able to do it.” Then I just sat back and watched the amazing thing that almost always happened. Virtually every time, they were all able to do what they said they had trouble doing or could not do at all. Now they were acting.

Sam, for example, actually did think on his feet, and responded smoothly and quickly to the prospect’s objections. Gerri actually became a more composed, together, non-flustered and relaxed saleswoman. Shy people who wished to act more boldly and self- confidently actually did. Those who wished to improve their body language did so. And tough, defensive people who “always” argued and who wanted to be more friendly and warm succeed in acting that way.

I had prompted each of the role-players to act directly without letting their self-concept affect their performance at all. They were doing before their self-concepts had time to inform them, “You just got through saying you couldn’t do that, so it doesn’t make any sense for this guy to ask you to.”

What the role-players learned is precisely what the sword master taught the teaman: You can do what even you believed you couldn’t if you forget about your self-concept totally.

Seeing how easy and effortless it was to forget about a previous self-concept and just act, just be, just perform was exciting for everyone. It was an unforgettable life learning experience.

Man painting a pictureDo whatever you’re doing  creatively without any thought about your “I ams,” “I can’ts” and “I’m nots,” or any concern about “what bad thing will happen if I fail” or “what great thing will happen if I succeed.” You’ll be unhappy whenever your internal opinion of yourself makes you concerned with yourself instead of the creative action at hand.

The creative action at hand–the story or the painting to be crafted, the role to be played, the dance to be danced–they are all that matters, they are the main thing.  Forget about everything else. Watch what happens. Watch your creative life change.

 

Parts of this post appeared in different form in my book Fighting to Win: Samurai Techniques For Your Work And Life

 

© 2017 David J. Rogers

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

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

 

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

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Fiction and Truth

I was in a writer’s group some years ago, an extraordinary group because except for me it was composed entirely of women–and they were elderly, seventy, eighty, ninety years old. At first I thought, “What am I doing with this bunch of old ladies?” But I quickly changed my tune.

They were tremendously talented and clever, sharp, and knowledgeable, and taken all together had hundreds of years of Typewriter, paper, glasses, pen, book on a wooden surfaceprofessional or amateur experience. It was a great, exciting group, the most pleasant and worthwhile I’ve known. The atmosphere every time was warm, radiant, cordial, and safe–a most productive creative environment. I often think of them fondly. At a session I read aloud a short story I’d written.  When I was reading I heard one woman–an award-winning journalist–say to her friend with a tone of discovery, “This really happened. You can tell.”

Well it had really happened. I hadn’t changed a single thing from the actual events and the actual setting and mood and people, except the names.  Even then I used their correct initials–“Wayne Collins” became “William Carruthers,” etc. In writing it I had to make everything accurate. If I wrote, “She had grey eyes,” I wouldn’t let myself get away with it. I just had to change it back to the real color, blue. Then the group turned to the question everyone seemed interested in that my reading had raised: “Can obviously autobiographical material–meaning it had really happened, the detail told you that–qualify as fiction?”

The eight people in the group were evenly divided. Four said, “Fiction is fiction and non-fiction is non-fiction. There’s a big difference.” I once asked my wife, an excellent writing teacher, “What is a short story these days,” and she replied “Currently, a short story is anything you want it to be.” That liberal view was basically the attitude of the other four members of the group, including me, so in our minds my strictly and admittedly autobiographical story more than held its own as fiction.

It goes without saying that when they are creating, all writers–all people in the arts–depend heavily on their own past experiences. But while most writers create characters and plots using their imagination as the dominant shaper of the work, some writers–such as those cited in this post–adhere slavishly to their own experiences and knowledge.

Truth is what the writer, painter, actor sincerely believes in his/her own heart. Everything in the work of art must be convincing for the artist and for the audience. The artist is often not striving for literal truth, but is inventing too, saying to the reader, “I’m trying to convince you that if this were happening, this is how it would be. If characters were people, this is how they would feel, talk, and behave.” But some writers invent far less than remember.

In college and in graduate school I was trained in “The New Criticism” that says all that matters when studying a literary work is the work itself: the author’s personality should not enter into it. I had a knack for sticking to the text and ferreting out patterns of images and symbols.

But I am a writer of fiction and poetry and I know from my own long experience and that of many other writers that the author’s personality and experiences are everywhere present in the creative process and permeate the content of everything the writer commits to the page, every feature, major or minor. Critics may not know that or may act as though they don’t, but every writer does. A writer can look at a passage in her work and say, “That character sounds so bitter because I had a bad tooth ache that day and so I was in the perfect mood to write that dialogue.”

Anton Chekhov

Anton Chekhov

There is a long precedence for obviously autobiographical content being put into fictional form and being accepted as fiction even though it really happened. Short story master/playwright, Russian Anton Chekhov, said “Art has this one great specification: it simply does not tolerate falsehood…There is absolutely no lying in art,” and in a letter to his brother, “Don’t write about anything you haven’t experienced yourself.”

That’s much easier to do when you are writing about yourself because you know yourself better than you know any character you can imagine and you know better than anyone else what happened to you if you have a clear and accurate memory. Autobiographical fiction writers obviously need exceptional memories–and most have one. Their most important creative routine is to stimulate their memory. I may look at photo albums as a way of doing this.  I’ve said about myself–hopefully not bragging–that I can remember every blade of grass on the street I lived on when I was eight.

English poet Samuel Taylor Coleridge advised to “write from recollection; [but} trust more to your imagination than to your memory.” Most writers are liars–they invent. But some writers write their best fiction, poetry, drama, and screenplays when they are writing the literal truth–or almost the literal truth–and not lying.

American Nobel Prize winning playwright Eugene O’Neill, for example, said,  “I have never written anything which did not come directly or indirectly from some event or impression of my own,” and “I shall never be influenced by any consideration but one; Is it the truth as I know it, or better still, feel it,” and “I am a dramatist. What I see everywhere in life is drama. I just set down what I feel in terms of life and let the facts speak whatever language they may to an audience,” and “Writing plays was the easiest thing in the world for me. I wasn’t making anything up.”

Some famous autobiographical authors who could be obsessive about not lying or writing about things they hadn’t experienced themselves include:

Katherine Anne Porter

Saul Bellow

Ernest Hemingway

Sherwood Anderson

Marcel Proust

Thomas Wolfe

Eugene O’ Neill

Henry Miller

Anton Chekhov

James Joyce

D.H. Lawrence

Sylvia Plath

Malcolm Lowry

Scott Fitzgerald

Raymond Carver

Ernest Hemingway

Ernest Hemingway

Ernest Hemingway, another Nobel Prize winner, could invent with the best of imaginative writers, but was obsessed with telling the truth, the importance of telling the truth, in his words, “the straight statement without moralizing or elaborating or decoration”–what “is not messed with.” He was asked what the job of the artist is, and he said it is to put down what you see and what you feel in the best and simplest way you can. What he had personally done and knew most about was what he was interested in telling about. “His standard of truth-telling remained…so high and so rigorous that he was ordinarily unwilling to admit secondary evidence…picked up from other sources than his own experience” (Carlos Baker.) Whenever I read the wonderful Hemingway short story “Indian Camp” I know that boy sitting in the rowboat was once the real Hemingway and the man with him was his real father just as in the boy in the story I read to the group was my best recollection of how I was as a boy.

Thomas Wolfe had an enormously retentive memory, as autobiographical writers generally do, and engaged in exhausting, sustained, many-hours-long periods of writing. (Research shows that the most productive writers and painters usually work in long, protracted bouts of creation and not in brief, choppy spurts. For maximum effectiveness you would preferably have or develop the ability to concentrate your attention for long periods, and if possible, find long uninterrupted, unimpeded periods of time for work.)  The artist’s highest goal is to make conflict-free, habitual use of the urge to create that dominates him or her, with no one and nothing interfering. It is not just interference that so aggravates the creator, but even the threat of interference.

Wolfe’s aspiration was to put into his writing precise descriptions of every experience and every impression and every sight and sound he had ever known. He wanted to put all the experiences in his life into written language, and had every confidence that was possible. His life had to be “looted clean.” “Everything had to be used; nothing could be implied” (The Norton Anthology of American Literature).

Thomas Wolfe

Thomas Wolfe, Van Vechten Collection at Library of Congress

Like many creatives whether in the arts or the sciences, Wolfe was governed almost wholly by the compulsion to work, to be as productive as he could possibly be. Words came out of him straight from his memory as water comes from a spigot–hundreds of thousands of words, thousands every night, manuscripts of a million words, his never having any concept of the requirements of a publishable book. Whenever he was deterred from working, this tall, handsome, tremendously gifted man from North Carolina would fall into a black mood. Then he would brood, drink, and pace the streets all night until he was able to work again, starting in the evening and working past the break of dawn.

Malcolm Lowry was the English author of the wonderful virtuoso-performance novel Under the Volcano. It’s generally considered one of the great works of the twentieth century. It is possibly the most accurate description of a man’s alcoholism ever written. (He wrote, “One dreaded the arrival of anyone unless they were bringing alcohol.”). Lowry almost never tried to invent characters or events because he didn’t know enough about any other person to be able to do that. His subject was himself and he could not focus on anybody outside himself. When he tried to, the writing went flat. He didn’t know anything about world events or anything else either. Everything revolved around his thoughts.

James Joyce

James Joyce

James Joyce had such a need for authenticity and accuracy that he believed he didn’t possess an imagination at all: he couldn’t make things up. When writing Ulysses he sent a letter home to Dublin asking a friend to go see if it was possible for a man in average physical condition to jump from this place to another at a specific address, or was it impossible. He had to know or he couldn’t finish the book. He was depressed when after the book was published a retired sea captain wrote him telling there was a mistake in the book in that with wind blowing the way he described, the boat wouldn’t have behaved in the way he had it.

F. Scott Fitzgerald, along with Hemingway, is arguably the most dramatic example in American literary history of an author whose private life is reflected consciously or otherwise in virtually everything he wrote. Fitzgerald’s language, his prose, his voice, tell us what he was going through at any given moment in his career, from his early extraordinary successes through his crack-up. Saul Bellow’s fiction is strongly biographical fiction. Its focus on the workings of a brilliant mind help explain why his writings are in essence long monologues. Sylvia Plath’s novel The Bell Jar is also strongly autobiographical.

T.S. Eliot said, “We all have to choose whatever subject matter allows us the most powerful and most secret release; and that is a personal affair.” Literary critic Gilbert Murray wrote, “It seems to me that the writers who have the power of revelation are just those who, in some particular part of life, have seen or felt considerably more than the average run of intelligent beings.” It is not a random choice, but a discriminating, highly selective instinct, a particular order of things that has an outstanding appeal to that particular writer. Painter Julian Levi said, “It seems to me that almost every artist finds some subdivision of nature or experience more congenial to his temperament than any other.” The subject matter, the subdivision of experience that all these writers mentioned here found, and that autobiographical writers today find, is not what they can imagine, but themselves and the recollection of the lives they’ve lived.

It’s generally thought among critics that Joyce’s Ulysses and Marcel Proust’s Remembrance of Things Past were the two greatest novels of the twentieth century. The subject of Proust’s book was Proust as much as the subject of Lowry’s works was Lowry. Wolfe’s subject was Wolfe, Fitzgerald’s was Fitzgerald, Henry Miller’s Tropic of Cancer and Tropic of Capricorn, Henry Miller, Plath’s was Plath, Hemingway’s was Hemingway, etc.

The answer to the question, “Can a true story be communicated as fiction?” is “Of course.”

 

© 2017 David J. Rogers

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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:

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The Perfect Imperfections of Creative People

Wedding cake topperIn a survey of the most desirable occupation for a mate “poet” and “novelist” scored near the top. If you’re a poet or novelist yourself I can just see you now. You’re stifling a knowing chuckle and asking, “Did the respondents have the remotest idea what might be in store for them if in fact their mate had either of those careers–or was a painter, sculptor, dancer, composer, violinist, etc? Or were they expressing some romantic fantasy picked up from books and movies? Would it be a blissful and fulfilling match made in heaven or would it be full of turmoil and misunderstanding? Would it be any different than having a less artistically-bent man or woman partner? When all was said and done, would it be worth it?”

I’ve known creative people all my life–grew up in a family of sensitive, fiery Welsh musical people–and for the last fifty years of it have been spending time with writers, painters, and poets in particular, and reading the life stories of the most eminent creators ever to kick up dust on this earth and of their almost miraculous achievements and analyses of their inner psychological workings. This blog puts me in contact with thousands of them in 172 countries.

The end result is that to me artists are the most enthralling, most complicated, gall-darndest, stupefying, generally frustrating, and when in their brooding dark  nasty moods the most demanding, maddening, impossible yet endearing individuals on this globe–in short, immensely fascinating, highly-productive, beautiful, focused, exasperating beings.Vincent VanGogh self-portrait Though they are often no more possible to understand than I can understand the mystery I call myself, and often torture to live with. Rascals like Dylan Thomas, Vincent van Gogh, or Jackson Pollack: there’s just, well,  something irresistible about them.

In my most visited blog post–“The Characteristics of Creative People: What We Learn from Writers, Artists, Dancers, Musicians, and Actors”–I laid out just that, the characteristics of people who do creative things that conspire to make them able to do those things. I said creative people possess extraordinary energy and a compulsion to work, are willing to sacrifice almost everything else for their art with no hesitations, can produce tremendous volumes of work, value authenticity, integrity, and sincerity, are oriented toward the fullest development of their creative potentials, are resilient and able to overcome obstacles and to persevere,  must have the ability to attract and hold an audience, are more self-confident, bold, and daring than the vast majority of people, and so on

I want to fill out the picture of these original, gifted, talented people who contribute so many ideas and such beauty and creative feats with a description of artists’ characteristics many people consider flaws, imperfections, but which I think if they are imperfections are perfect imperfections that in some convoluted upside down, day is night, night is day way also equip them for the artist’s unusual life.

Artists–creative people of all sorts–are often indifferent to social “rules” and values, and have far less respect for people in authority than the people around them. The artist’s main motivation I think is to be left alone. He craves the freedom Salvadore Dali portraitto express himself, to experiment, to blunder, to go this way and that without rhyme or reason, and rules and external authority hold him back. Artists are often rebellious and uncooperative for the same reason, finding it extremely difficult and painful to do things they really don’t want to do simply because another human being says they should do it, no matter who he or she may be.

They are careless, disorderly, absentminded, forgetful, sloppy with details and matters they consider unimportant though their partner and their teachers and editors and such may consider them extremely important, and there may be conflicts. In a study comparing experienced writers with novices it was found that experienced writers forget what they have just written almost immediately after finishing a piece while novices remember their pieces in detail. Probably like every writer reading this I’ve had the experience many times of finding in computer files or drawers completely finished, refined, polished pieces–even finished novels–I wrote and completely forgot about. My wife-editor will often say, “Remember that thing you wrote about….” And I’ll say, “Oh yah, I forgot about that.” To the artist to say the work is DONE means that his job of doing the creative work–the fun stuff– is done, the fun is over; let someone else worry about the middling details.

They may be argumentative, cynical, and sarcastic, “too” direct–and tactless and intolerant. Sensitive to their every mood, and every shade of their moods, they are often overly emotional and temperamental, and easily hurt and quick to anger. Aware at every moment of what they are feeling and what they are thinking, they are self-absorbed in ways other people cannot fathom. Bundles of energy, their bodies and minds are perpetually active–over-active, electrically-charged in a way that a partner may not be prepared for or know how to respond to.

Fingers circling to indicate perfectionThe Latin sine qua non means literally “without which, not.” It means the essential, crucial, and indispensable ingredient without which something would not be possible. I think that without their imperfections artists could not be artists any more than they could be artists without their positive creative characteristics. In other words, their imperfections are–for them–perfect.

 

© 2017 David J. Rogers

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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:

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

 

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