Category Archives: Developing Talent, Human Potential and Achievement

Creators’ Lives: The Need to Turn and Change

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

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

I’ve been wondering too:

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

 

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

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

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

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

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

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

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

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

 

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

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

Is it time for you to turn?

 

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

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

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

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

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

 

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

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

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

 

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

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

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

 

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

 

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

 

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

 

© 2018 David J. Rogers

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

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

 

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

Fighting to win Amazon

Click on book image to order from Amazon.com

or

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

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

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Click on book image to order from Amazon.com

or

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

 

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

How Creatives Should Present Themselves When Speaking to Groups and to The Media

PART ONE

Creative artists in general welcome aloneness and are often apart, by themselves, and deliberately seek heavenly solitude.  To be able to work with no one to bother them and boss them around and divert them from their creative goals may be the main reasons they go into the arts to find fulfillment nothing else brings. Some creatives cannot produce a single thing unless no one is near. However, they cannot work alone forever.

The day inevitably dawns for artists–particularly if they have any hope of making money from their art or of establishing any kind of favorable reputation–when they must come out of hiding and leave their easel or keyboard. They must go somewhere, telephone someone, meet people, sometimes in groups, and talk. In that world of person to person conversation and group dynamics, rules other than sentence structure and perspective apply.  The artists leave their expertise and often become fledglings in a world they don’t quite feel secure in. The artist wishing to survive in that give and take and take again competitive marketplace of the arts today will have to learn new skills related to how they present themselves to groups and the media.

Nowadays authors usually do their own promotions, but in the past the deal was that that was the publisher’s job. I was surprised back then to learn that not all writers were sent on promotional tours to tout their book–in a way shocked–that some authors make a poor impression in the media. The publishers’ thinking was, “The book looks good, but if the author is not able to inspire audiences to purchase it and may even be a disincentive, why send them out of the road at the cost of…?”

You might think that having a facility with language, authors in particular would be articulate and persuasive and make good guests. But that is not always–maybe not usually–the case.  That has been confirmed a number of times at various author’s readings, author’s speeches, and at book signings, etc., I’ve attended, the uncomfortable authors obviously as aware as everyone else that they had lost the audience. At times I have been embarrassed for the author and wondered why in the world they didn’t take the time to learn how to speak effectively.

I participated in an arts center poetry reading, and I noticed that many of the poets that day were rather diffident and shy in front of the audience.  Although many were fine poets, they lacked confidence. Speakers wishing to connect with their listeners must be sure of themselves, their skills, and the positive effect they will have on audiences.

The objective when a writer, artist, or most any other person in the arts appears on radio, television, and cable, discusses their work in face to face contact with people in groups, gives a formal speech, talks with journalists, or is involved in any other public forum is usually ultimately to behave in such a way that results in the sale of their work. Oh, a desire to inform and educate may be there too, but creative artists are always aware of their desire to have their work published or put in a show or gallery, or produced in a theatre, etc. I’ve had considerable experience with media appearances and making speeches.  I was a graduate school teacher, and taught classes of about twenty or thirty students.

After my book Fighting to Win (FTW) was successful and I became nationally known–and because of it–I quickly found myself speaking to audiences of thousands in cavernous auditoriums in America, Canada, and Europe.  With that kind of responsibility I was very conscious of the obligation on me to satisfy through my words, skills, and personality those who had sometimes traveled far to hear me talk about my ideas.

PART TWO

The goal of your planning your comments and delivering them is to get the listener’s ATTENTION, to hold the listener’s attention, and induce interest in what you have to say. You must hold the listener in the highest regard whether it be a single listener or an audience of thousands. Whatever the size, you have to get the listeners’ attention right away because, as in writing a story or novel, the very beginning of your talk, whatever your art,  will often determine who stays with you and who tunes out, never to return. To the listener the start of your talk is a preview or dress rehearsal of the whole talk. If it’s no good, the listener will assume the whole talk will be no good, so why bother listening?

The beginning must be lively and have verve (Verve, what a magnificent word.) Never take listeners’ interest for granted. You have to earn their interest through your skills and personality, including the aura your body, mind, and spirit communicate. You might want to start, as I do, with a brief, colorful, story that shows that your mind is sharp and you are down to earth, a regular person. Your job during the first few minutes is to convince your listeners that you have something interesting to say, that you are competent to develop your ideas, and that you should be listened to to the end.

My career made a leap up in quality and success when, riding home on a plane from a talk, I had an insight I want to share with you. That insight is that in contact with an audience you are not just a speaker, you are a PERFORMER, and to come across in the best possible way, you need some of the skills of an actor. That will make your presentations better. You must, like an actor, be at least slightly “larger than life,” more alive and animated than you may usually be. Gesture with your hands, arms, and face. Be energetic, have a sharp mind, be quick, alert, mindful and dynamic, and visibly happy to be there with those listeners who want to hear you. Energy is contagious. It is generated from you in waves or a steady stream out into the audience.

You must always be SINCERE and MODEST. Fakery and big egos will not do. Audiences can see right through a phony–and it doesn’t take more than a couple of minutes. No tricks–just actual sincerity and modesty. Even if a speaker is not overly brilliant, polished, or a spellbinding wordsmith, if he or she is truly sincere, the listener will like the speaker, and will listen, and liking and listening are necessary if listeners are to be pleased with you and stay with you every second, every word, till you take a bow and thank them for their attention.

My second main insight was that you must appeal to listener’s FUNDAMENTAL INTERESTS such as health, wealth, family, home, and personal success. Once a publicity tour took me to St. Louis, Missouri to appear on a radio show hosted by one of the country’s leading radio personalities. He began by interviewing me for a while, and then turned it over to call-ins.  I was there mainly to talk about the book and why the audience would like it and should buy it.  The callers were interested in solving their problems such as unemployment which was rampant in the community. So I talked about how the book might help them handle that problem in a positive way.

I felt great sympathy for the callers, and felt that helping them in any way I could was the main thing and selling my book was a secondary thing. I think it was apparent in everything I said that I identified with them, having gone through tough periods in my life too, as everyone has, wishing them the best, trying very hard to help them. I became totally absorbed in their problems and tried to draw out anything in my mind and experiences that could be of aid to them. I happened to have written articles I had been asked to write about techniques for finding jobs. That fitted into the conversation well. The hour and a half went unbelievably fast, and when it ended I felt I had been of help to the callers.

As the host walked me to the car he said, “Most authors who come here are full of their own egos and don’t connect with my listeners who are important to me.  They don’t care about them. But you did connect in a powerful way because you are a caring person and have a lot of valuable things to say. I’ll tell you this right now: if you ever have anything you want to talk to my listeners about just call and I’ll put you on immediately. Thank you, friend.”

The third major insight came easily to me because I always devote a lot of time and effort to being well-prepared whenever I write or speak. It is that PREPARATION for the talk and KNOWLEDGE of the topic are king. You must know your material backwards and forwards. You must love your material and feel a strong urge to share it.  Ideally there should be no question you could possibly be asked by a listener on your material that you would not have an intelligent answer for.

With that kind of preparation comes an extremely important and irreplaceable result: CONFIDENCE and POISE. You will not experience stage fright or timidity if you are confident that you know and can present the material, perhaps like no one else. Fear will disappear.

The major ingredient of self-confidence and poise is PAST SUCCESS. If you’ve succeeded doing something in the past, you will likely believe you can succeed with it again: why not? The important thing is to make sure you succeed the first time so that subsequent success will occur. As you begin a speech, having fully prepared and being fully confident of your material and your speaking skills, you should have in your mind, as I always do, the sentence, “They’re going to love what I have to say. Let me at them.”

You will hold listeners’ interest by arousing their CURIOSITY. Keep them looking forward to what is coming next and to what your development of the talk is leading to. Always be specific and concrete; do not be abstract.

Use IMAGERY and COLORFUL PHRASES when you speak. The death of my sister at a young age was instrumental in my beginning to write seriously–her daily courage during her long illness inspired me–and I shared that with my listeners in my Fighting to Win speech, saying, “Goodness shined down on Sharon like light from a private sun.” That very personal image which was important to me connected with my listeners. Often after the talk people would come up to the podium and ask me to repeat that sentence because it had moved them.

Use many EXAMPLES. The easiest and quickest way to get people to listen, and the surest way to hold their attention is to use ILLUSTRATIONS. Talk about PEOPLE. People are interested in other people’s habits, peculiarities, and their stories in general.

Let your PERSONALITY liven up your talk. Early in my career I was hired to give a number of presentations to an organization. After a few of them the director said to me, “The presentations are great. We couldn’t be happier. But there is one thing: people want to know about you. Who you are, what you believe in, are you married, do you have children, what are you like? Are you just a smart man, or are you human too?” You needn’t be a solemn sourpuss. When you prepare the talk weave in personal information that will create an I-and-Thou relationship with the listeners.

I was in a grocery store pushing my cart, on the way to the scale in the produce department to have my vegetables weighed. I could see that a woman to my left with her cart was going to reach the scale at the same time, so, feeling playful, I speeded up and got to the scale first, and said, “Beat you.” I thought possibly I had made the woman feel badly, and so I said, “You can go first,” and she said, “No, no, you go. It’s just so refreshing to find a person who has such a lively spirit.”  Audiences too love some PLAYFULNESS and LIVELY SPIRITS in speakers, again showing you’re a blood and bone human being.

LOOK at the audience. You need to read the faces of the listeners to judge whether they are giving full attention. If you give your full attention to what you are saying and the dynamics of the audience, you will not have time to worry or be unsure of yourself. If the audience is bored or uninterested, their faces will let you know.  You must always accept full responsibility for holding their attention. Only a naïve speaker thinks it is the responsibility of the audience to listen. The listener has no obligation to a speaker who cannot gain and hold its attention.

From your first word to the last be ENTHUSIASTIC, conveying “What I am telling you I think is important and valuable to you. If it weren’t, I wouldn’t be talking to you. I’m excited to be here telling you about it. My hope is that when I am finished you will feel excited about it too.”

People are generally interested in life, action, energy, and movement.  They want to be around exciting people, not dull people. Excited people excite them. That’s what charismatic people do. A speaker should never appear feeble or weak, or talk feebly and weakly, nor should he or she rant and shout or be melodramatic. The Greeks believed that enthusiasm is a gift from the gods. Wherever it comes from, speakers are often good or bad based on whether they possess it or do not possess it.

The effective speaker should have a steady a focus: the listener: “So long as you are mindful to say nothing unworthy of yourself, nothing untrue, nothing vulgar, you had better forget yourself altogether and think only of the audience, how to get them and how to hold them” (James Bryce). By focusing on your listeners, you will forget yourself, and no longer be unsure of yourself, but will have the confidence you need to be a superb, polished speaker.

 

© 2018 David J. Rogers

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

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

 

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

Fighting to win Amazon

Click on book image to order from Amazon.com

or

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

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

Waging Business Warfare812sCY9edLL._SL1500_

Click on book image to order from Amazon.com

or

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

 

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Filed under Artists, Confidence, Creativity Self-Improvement, Developing Talent, Human Potential and Achievement, High Achievement, Media, Preparation, Public Speaking, Salesmanship, Self-Confidence, Success, Writers

Inspiration, Guidelines, and Quotations for Writers, Artists, and Other Creators

Painting of red trees on blue and green background

Above Vinci by Karin Goeppert

This is my eighth post of quotations about creativity, creative people, and the creative process that I’ve assembled from my reading and writing. These quotes are valuable because writers, artists, photographers, and actors and other performers have expressed interest in them. They are interested in them because insights into creativity and the creative life can be applied to their work, bring them inspiration, and  increase their knowledge and skills, enabling them to produce increasingly better, more sophisticated, and more popular work. That is an urge to improve and excel that animates almost every creative person from the first morning of the first day of their creative life to midnight of the last.

An important reason a creator hungers for information like this is the competitiveness of fields requiring inventiveness: painting is exceptionally competitive; writing and acting are too, and the creator is looking for an edge. Even one idea from these posts may lead to a creative breakthrough that strengthens the creator’s competitive position.

Persistence

The first thing a creator has to learn is not to quit.  Have you thought of quitting? The majority of creators quit. They quit because they think no matter what they do they can’t succeed.  But that can be overcome.  The ideas in this post may help. What they need are new insights showing them that success comes from within a healthy, creative mind and is feasible for them. Then they have to also learn not to be mediocre. Most people don’t want to be mediocre, yet are perfectly satisfied to be mediocre-plus. The quotes may help you not to quit and not to be mediocre. A creator must learn to persist, and then persist more, persisting if need be beyond what seems human capability.

Painting in blue shades

Waterborn by Karin Goeppert

Naturally much is made of a creator’s talent. Thomas Wolfe said about the need to put your talent to use: “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.” Almost all people believe that talent is the reason for creative success. But persistence–the art of refusing to give up–may be more vital to a creator’s success than talent. Teachers of the arts often state that the students who will fare best in creative life are not the most gifted but the students who are the most determined to succeed. If they are persistent, less talented writers may have more works published and make more money than the more talented. The same is true of painters. American Jack London received 600 rejections before his first short story was published. He was not considered one of the great writers, but after the publication of that first story he became the most popular writer in the world within one year.

Enlightened creators are confident of themselves and possess what I call “inner skills” that not every creator possesses, returning again and again tirelessly, almost maniacally, to their work. They overcome sometimes enormous obstacles and difficulties that would deter less powerfully persistent people. Painter Pierre-August Renoir’s hands were crippled and rendered useless by severe rheumatoid arthritis and he was unable to paint with them late in his career. But with a strong will he produced some of his greatest works after that lying on his back, painting with the brush between his toes. Even without such extreme obstacles, creative work can be exceedingly difficult. When creative work “goes painfully, when it’s hideously difficult, and one feels real despair (ah, the despair, silly as it is, is real!)–then naturally one ought to continue with the work; it would be cowardly to retreat” (Joyce Carol Oates).

If you are a creator with talent and persistence both, your prospects of success are excellent.

Intensity

Orange flowers on green background

Floris Mit Rahmen by Karin Goeppert

Intense people are growing rare in this era. Something is weakening people. But creative people are different.  They tend to live intensely, and have strong beliefs about their creative pursuits: “It is through art and through art only, that we realize our perfection; through art and art only that we can shield ourselves from the sordid perils of actual existence” (Oscar Wilde). That intensity of their emotions and sensitivities is a necessary part of their make-up. They think, feel, and imagine intensely. They are often overstimulated, and at any moment may be flooded with mystical waves of rapture and joy with a sense that every cell of their body is incredibly alive.  “So far as the artist is concerned, the unlimited extent of human experience is not so important for him as the depth and intensity with which he experiences things” (Thomas Wolfe). “It is evident that a faith in their vocation, mystical in intensity, sustains poets. There can really be no greater faith than the confidence that one is doing one’s utmost to fulfill one’s high vocation” (Stephen Spender). The creator has to learn to harness that intensity and aim it to producing quality works.

Creators must have a hunger to experience, to feel deeply, to know, to self-disclose, sharing what they have learned, felt, seen, and heard with anyone who is interested.  “The meaningful difference intellectually between one painter or writer or one actor or director and another is simply the number of things they are intrigued by in a square yard of their experience and the urgency of their hunger to express them”(David J. Rogers).

Risk-Taking

Purple flowers on white background

Nothing Ever Stops by Karin Goeppert

Creative works do not come cheap. In order to produce them, creative people, once as ordinary as dishwater, must reshape themselves and not be afraid to branch out into the insecure, the anxious, and the unknown, risking, daring. For the creator risk-taking is not fool-hardiness. It is essential. On what is a memorable creator’s life based if not taking chances because life is short, time is fleeting, and an art that burns inside the artist must be expressed or it will extinguish into nothing. Can you feel it: that hunch igniting your spirit that there is a passion there that has appeared in your writer’s, painter’s, or composer’s life that must be pursued to its conclusion no matter the cost to your time, personal life, or peace of mind? Picasso said that “one must act in painting, as in life, directly.”

Identifying Creativity

How can you tell if you are creative? The pursuit of ways to identify creative people has led to scores of tests. But it has not been possible to demonstrate that creativity tests are valid. “High scores on a creativity test do not signal that one is necessarily creative in one’s actual vocation or avocation: (Howard Gardner). The answer is in the work: Is it original? Does it have a use? Do your artistic peers and the public agree that it is creative? If so, it is creative and having produced it, so are you.

Life of Creators

Ferns and leaves on white on green background

Hasenheide by Karin Goeppert

Generally, creators’ childhoods have more impact on their creativity than any other period of their lives. “Early in life, the creator generally discovers an area or object of interest that is consuming(Howard Gardner). Author John Updike said that nothing that happens to you after the age of twenty is worth writing about.  If you knew in childhood what you loved doing and were relatively sure what you would be when you grew up, you were more likely than most people to be creative as an adult.

The creator’s life, being hard, is not suited to everyone. To succeed you have to be an exception from the norm. To become highly skilled in creative works takes many years of hard work that only a minority of people are equipped for. “The sheer labor of preparing technically for creative work, consciously acquiring the requisite knowledge of a medium and skill in its use, is extensive and arduous even to repel many from achievement” (Brewster Ghiselin). “Writing a book is a horrible, exhausting struggle, like a long bout of some painful illness. One would never undertake such a thing if one were not driven on by some demon one can never resist or understand” (George Orwell).

To live the life of an artist appeals to millions of people, many envious of artists who they think lead “glamorous, exciting” lives. But that life is especially difficult in ways that other lives are not. “The artist’s life cannot be otherwise than full of conflicts…There are hardly any exceptions to the rule that a person must pay dearly for the divine gift of the creative fire” (Carl Gustave Jung).

To accomplish something noteworthy in art requires that you sacrifice at least one other important activity, person, or goal. The hard and fast rule is: to get, you must give up. “A special ability means a heavy expenditure of energy in a particular direction, with a consequent drain from some other side of life” (Carl Gustav Jung). The artist must take time and think very carefully and decide what he/she is willing to give up. What shall it be–this or that?

Influences on Creative Output

Red buds on branches on blue background

Harbinger by Karin Goeppert

Memory is the most significant key to the creator’s gifts. “The poet above all else is a person who never forgets certain sense impressions which he has experienced and which he can re-live again and again as though with all their original freshness…There is nothing we imagine which we do not already know… And our ability to imagine is our ability to remember what we have already experienced and to apply it to some different situation” (Stephen Spender). All creators in any of the arts and sciences possess this kind of memory.

Creative works are the products of the whole person: intelligence and courage, talents and commitments, and unceasing energy: “It is not what the artist does that counts, but what he is…What interests me is the uneasiness of Cezanne, the real teaching of Cezanne, the torment of van Gogh, that is to say the drama of the man” (Pablo Picasso). “I don’t care who the artist is, if you study him deeply, sincerely, detachedly, you will find that he and his work are one” (Henry Miller).

Creative Vision

Many artistic creations are a result of the creator playing with new possibilities that disregard and shatter society’s sometimes restrictive rules of decorum, conformity, and political correctness. Doing that may lead to a kind of liberation: Novelist Henry Miller wrote, “The world would only begin to get something of value from me the moment I stopped being a serious member of society and became…myself.”

The creator must never sacrifice his or her own vision, or water it down for the sake of acceptance,  whatever the opposition to it or how out of the ordinary it may be, and must never be intimidated by anyone, or live in fear of anything for even a moment.

leaves and flowers reflected on aqua water

Beneath the Surface by Karin Goeppert

The artist whose beautiful work is featured in this post is Karin Goeppert (www.karingoeppert.com). She says, “Life is a largely subjective experience; but that subjective experience is my bridge to the objective world. And it’s this synthesis of the two that I am trying to capture.” She says of her inspiration and process: “I love experimenting and want to give my works an individual expression. Most of my works are abstracted from nature but I also do non-objective paintings. I am inspired by the beauty and power of natural phenomena, the mystery of nature, its colors and forms. Every painting is a one-of-a-kind work in which I try to combine feeling and thought.”

 

© 2018 David J. Rogers

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

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

 

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

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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/

 

Order Fighting to Win: Samurai Techniques for Your Work and Life eBook by 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/

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

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Filed under Achievement, Beauty, Creativity, Creativity Self-Improvement, Developing Talent, Human Potential and Achievement, Duty and Responsibility, Finding Meaning in Life, Goals and Purposes, High Achievement, Moral Life, Motivation, Self-Concept, Self-Direction, Spiritual Life

The Authentic Voice of Creative People

Creatives’ On-Going Quest for an Authentic Presence

Painting of a tree with birds

Inspiration by Regina Valluzzi

We homo sapiens are marvels, aren’t we? Since the dawn of our species, through every era, among us have been extraordinarily artistically gifted people. They are blessed or burdened with an unquenchable need to express, to grow, to explore, to create, and to embellish their existence by communicating in their own voice–which is not precisely like any other voice–a presence they wish, rather urgently, to share.

The first subject our artistic forebears chose to leave behind for us to see are impressions of their hands on the walls of caves. There at that site thirty thousand years ago, a man or woman–much shorter than us, with faces different than ours, working alone as artists do–put aside chores, squatted down in darkness, and blew colored pigment through a rod onto their hand, leaving no other trace of their days and nights but that hand. Yet through that hand–that painter’s medium, that subject–we feel their presence, and with it a bond, a caring for them, a love. We hear their voice.

Blue waves with pink and blue sky

Rose Dusk Beach by Regina Valluzzi

The late composer Marvin Hamlisch–a three-time Academy Award winner, and Pulitzer Prize winner for the composition for the play A Chorus Line–was a friend. Once I told him I’d been watching a movie and a few bars into the music, I knew he had written it.  He said, “Is that true?” I said yes, every distinctive piece of music, writing, art, acting, and composing is marked by the recognizable voice of the person who created it.

Pink and white thread-like flowers on a branch

Alive by Regina Valluzzi

It is often because of that clear voice that we go on reading the poem, or viewing the painting, or listening to the actor or to the music, and are attentive and respectful. It’s only inferior work that doesn’t take us back to an interesting, stimulating, flexible, and complex mind of the person behind the work.  Who a creative is intellectually, emotionally, and spiritually radiates from the creative’s presence in the work and cannot be hidden. Many creatives have recognizable voices because they return again and again to painting or writing about a particular subject matter.  Some creatives, such as Welsh poet Dylan Thomas, discovered their authentic voice when they were young; others, such as self-taught American poet Walt Whitman, not until later in life.

So if we’re looking for prescriptions to the creative for finding or authentic voice and presence, the first would be: “Reveal yourself. Let your true identity permeate the work—your sincerity, your honesty, your mind in action, your originality, abilities, and uniqueness, the ‘I’ who you are–for it’s that, above and beyond the other content that your audience will be attracted  to. Be interesting, be clever, be skilled, be alive, be true, and be authentic.

 

Learning to Write In a More Satisfying Voice

Painting of plue water with brown sand

Rhapsody on the Sea by Regina Valluzzi

American novelist John Hersey said, “The voice is the element over which you have no control.”

Contrary to Hersey’s belief that writers have no control over their voice, they definitely do. Yet many writers have searched their texts for their authentic voice and can’t find it. So they sometimes conclude that while there may be such a thing as a voice, they do not have one, or they might have one but they don’t know what it is, and couldn’t describe it if they were asked to. But their voice is right there in the text, or the right voice can be added to the text. Always be thinking of the voice you want your work to project.

Misty pastel hills

Hills and Fog by Regina Valluzzi

A writer was dissatisfied with the voices she found in her writing. They didn’t seem to be “her.” They were different from what she felt should be the voice of a mature, thirty-five year old mother of two, an assertive, experienced writer of essays and short stories. A few of her stories had been published in a local literary magazine. She hoped to continue writing and seeing her work appear in better magazines. She didn’t like the syntax in her writing. She thought the writing was too formal and stilted, too cold, humorless, bland, business-like, academic, dull, lifeless, and not inviting for readers.

If you have a similar problem, here is an approach you might find helpful: ask experienced writer friends to look through a piece you’ve written. Ask them to identify sentences or passages that sound most like you. Then analyze what they think sounds most like you and identify the salient elements that gave them that impression-when they say, “Right there you were doing something very good. You should get more of that into your writing, you may be onto something.”

Then write a piece in that voice. Then show a draft of the piece to a supportive writer. Ask them what they think. Does it work? If it doesn’t work, write the piece again. If it does sound like you, you’ll be encouraged.

Twisted brown trees with aqua sky

Undulating Wood by Regina Valluzzi

If in your craft you are trying to communicate a particular voice or to avoid communicating another one, you might tell your friends what you would like them to look for as they look at your work. Once when I was working on a book, I left some pages on my desk and went to bed. The next day I noticed my teenage daughter had circled a couple of sentences and written, “Write more like this, Dad. Sounds like you,” and it was my voice loud and clear.

Avoid steering their perceptions in a particular direction, as saying to them, for example, “Is my writing dull?” “Is it too complicated and unclear?” Leave them alone to make their own observations. Be sure to tell them that you want their opinions and that you are giving them your permission to be honest and open.

A competent writer should be able to write in more than one voice, as required by the work at hand, a competent painter to paint in more than one. Who could paint in as many voices as Picasso? But in the creatives’ way of producing works there is one voice that is the most powerful, natural, and suitable to what creatives are trying to accomplish, what author Peter Elbow calls the “juice.” When the quest for an authentic voice is successful, creatives come into their own and do their art better than ever before.

I can’t think of better teachers of voice than writers who have the kind of voice that appeals to you and you would like to learn from.  I find the voices of James Agee’s A Death in the Family, Joseph Conrad’s Heart of Darkness, some passages of Thomas Wolfe, Ernest Hemingway’s The Sun Also Rises, and Anton Chekhov’s “The Lady With a Dog,”  full of instruction for me as I look for the voice I want, thinking, “I’d like my writing to sound that way consistently.” To better understand how Hemingway created the effects he did, I analyzed his work and read what critics and teachers had to say about it, then wrote an essay on techniques he employed to create his voice. It is a voice that in the 1920s marked the start of the “Hemingway Voice” that revolutionized how, ever since, Americans have written and spoken. Whose voices do you admire most?

Branches with blossoms and birds leaning toward each other

The Sentries by Regina Valluzzi

The lovely art featured in this post is by Regina Valluzzi, a trained scientist and researcher in the Chemical , Physical, and Biological Sciences. The influence of her scientific experience permeates her approach to painting as both an art and a science, and gives her a unique voice. The pieces she has kindly allowed me to display here, she has informed me, “feature mixed media and a combination of “classic” painting techniques, controlled fluid pouring techniques and acrylic extrusion using cake decorating tools to control the three dimensional line shape and forms.  In most cases [she has] developed [her] own techniques or versions of techniques through a variety of controlled experiments.”

 

© 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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A Strategy for Defeating Writer’s Block and Painter’s Block

Hand of artist dipping brush into colored cups of paintWhen they are free of blocks creators are the most productive human beings on earth, capable of generating tremendous volumes of writing, painting, music, etc., the likes of which no one has ever seen. When I was in the business world lecturing on human motivation, my approach was unusual. I held up my beloved writers, artists, actors, composers, and particularly ballerinas as models of commitment, sacrifice, and inexhaustible drive and courage.

I’d say, “Study people in the arts. They will teach you more than anyone else what motivation and the quest for excellence really is, the demands it makes on you, and the heights of achievement it can take you to.”

Yet, it’s quite possible that at any given time the majority of creators–wonderfully talented though they are, with so much potential to contribute beauty to this oh-so-needy world, longing for one thing only: to create–are experiencing a block that is tying them in knots, and are at a standstill. The ability to overcome blocks is a major survival skill for creators

Some blocks last hours, and some for years. Minor blocks come and go and are nothing to worry about. For example, just not being in a mood to work for a short period. But some creators even now are being controlled by a chronic inability to create that is driving them to despair and anguish.

What could be more of a torture to a creator than to long to work, to be ready to work, and to have something urgent to say, but be unable to work?

There are many causes of creator’s blocks. Some of them are hard to diagnose and hard to cure. Exceptionally rare is the creator who is not blocked some of the time, though many puff out their chests and boast that they have never been and claim to be unable to imagine how anyone could be. That infuriates the person who is deeply mired in a block who prays night and day to know where to turn to remedy it.

A writer whose head is composed of crumpled paper uses a typewriter.

By Drew Coffman

The causes of blocks may be much more complicated than many people realize. It has been found that blocked creators are more anxious and less confident people than creators who aren’t burdened by blocks. Blocked creators tend to worry excessively, and are self-doubting, and more prone to depression. They have also been found to be less ambitious and more easily discouraged than creators who are not blocked.

So to cure a severe block, the creator’s whole unique psychology–who they are as human beings and how they differ from other people–may have to be factored in if the block is to be overcome. A creator’s mind, more than other people’s minds, is the birthplace of rich images.

No one on earth can generate mental images as skillfully and profusely as creators. That’s the role they commit themselves to–makers of vivid images in words, paints, physical gestures and movements, and sounds. I believe that a path to freedom from creator’s blocks is through those images. I’ve written extensively about that in another post.

BUT THE PERSISTENCE OF BLOCKS IS STRONGLY ASSOCIATED WITH A POOR CAPACITY FOR DAYDREAMING.

Here is a strategy involving your creator’s abilities to make images and daydream that may begin to loosen the grip of a protracted creative block. I have designed it for writers, but it can be adapted successfully by creators of any kind:

  1. When you are caught or snagged and having difficulty writing, I want you to slow your breathing down, inhaling and exhaling smoothly, using an ancient breathing technique I’ve written about. There is no need to hurry. Just breathe comfortably for a while until there is a rhythm.
  2. Now I’d like you to project your consciousness above you into a corner of the room and see yourself in images in your mind’s eye writing smoothly and effortlessly as though you are someone else who has never had any trouble writing. There’s no strain and the words appear almost magically on the page under the direction of your creator’s mind.
  3. Think about the state of being you would be in at maximum productivity. Can you identify it? What would it entail?
  4. Think about the state you’d like to avoid—anxious, compulsive, self-doubting, and depressed. Let all your ridiculous worries and all obsessions and doubts drift away.
  5. Think of your mental state. It should be alert. It should be sharp. You should be thinking of writing words and not thinking of yourself doing this exercise.
  6. Now, daydream to your heart’s content.

Vivid mental images that can be made into creative daydreams and “mind wanderings” that writers I’ve talked to have found helpful in breaking through blocks include:

Traveling through space to get to a place of creative freedom (I often in my fantasies do the backstroke through space high above the earth. Below me are ancient cities with palaces with magnificent gold steeples and minarets.)

Going down deeper, inside and under the block

A faucet opening and the words you’ve been waiting for pouring out in a deluge

Flipping on a light switch

Going around a wall

Crossing a bridge

Enjoy the images. Go with them. Revel in them.

 

Use this strategy, doing the exercise once or twice a day for seven consecutive days or whenever you are blocked, and you should see results.

 

© 2018 David J. Rogers

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

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

 

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

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Acquiring Creator’s Survival Skills

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

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

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

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

Three Stages

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

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

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

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

What Technique Can’t Help You With

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

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

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

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

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

Preparing For Survival

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

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

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

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

© 2018 David J. Rogers

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

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

 

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

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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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The Warrior Creator

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

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

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

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

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

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

Japanese Character for Warrior

Japanese Character for Warrior

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

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

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

She said, “I never finished it.”

I said, “You were afraid.”

She said, “I was terrified of it.”

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

 

© 2017 David J. Rogers

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

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

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