Category Archives: Developing Talent, Human Potential and Achievement

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effect of the life of the creator, it is often a part of his/her personality…for the creator is frequently apart and withdrawn even in the presence of others, and makes a deliberate attempt to seek solitude” (R. Ochse).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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Filed under Artists, Creativity, Creators' Work Life, Developing Talent, Human Potential and Achievement, Emotions of Creators, Quotations, The Creative Process, Voice, Writers

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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or

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

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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/

 

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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or

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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/

 

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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:

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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/

 

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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:

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More Inspiration and Information for Creative People

Part 4 in a Series

See also Part 1 and Part 2 & 3

Drawing of hand holdng a pen

CREATORS WELCOME ALONENESS, LONELINESS

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in the life of creators: it is often also part of their personality–for the creator is frequently apart and withdrawn even in the presence of others, and makes a deliberate attempt to seek solitude… Research shows that people are likely to come up with better ideas when they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

 

INTERRUPTIONS, OBSTRUCTIONS, AND TROUBLE ARE A SCOURGE TO CREATORS

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

 

CREATORS ARE COMPLICATED

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

 

CREATORS BETTER ACQUIRE CONSIDERABLE KNOWLEDGE

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

 

CREATORS MUST FIND THEIR AUTHENTIC STYLE, TECHNIQUE, AND VOICE

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

 

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

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

 

CREATORS FOCUS AND WORK HARD

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

© 2017 David J. Rogers

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

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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How Creators Benefit from Teachers

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

“No.”

“Why not?”

“Because I have no talent.”

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

 

© 2017 David J. Rogers

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

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

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

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

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

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

Part One of this two-part post began…

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

 

© 2017 David J. Rogers

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

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

 

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