Category Archives: Developing Talent, Human Potential and Achievement

Achieving Mastery in Creative Work

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

 

© 2017 David J. Rogers

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

www.mentorcoach.com/rogers

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

Fighting to win Amazon

Click on book image to order from Amazon.com

or

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

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

Waging Business Warfare812sCY9edLL._SL1500_

Click on book image to order from Amazon.com

or

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

 

 

 

 

 

 

 

24 Comments

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

Creative Talent and Sweat

cherries-and-peonies

Cherries and Peonies by Georgiana Romanovna http://www.romanovna.com/

Whenever I look at the work of the creative people who follow my blog –and I do often–I marvel.  I think, “There are so many talented people—she there in Australia and she in England are talented and he in Ireland is talented. Just look at that French woman’s work; it’s beautiful. That Russian woman is so accomplished; everything about her work is just right; it was created by a tremendously talented human being.”

But I know that the finished products that I admire so are far from the whole story because no outstanding creative achievement has ever been produced without a lot of effort on the part of the creator, however much natural talent he or she possesses. Hesiod, a poet who lived several hundred years before Plato, showing great insight into the creative life, wrote, “Before the gates of excellence the gods have placed sweat; long is the road thereto and rough and steep at first; but when the heights are reached, then there is ease though grievously hard in the winning.”

Sweat becomes part of the successful creator’s everyday life before that ease Hesiod talks about (that effortlessness that really does happen only after some years of learning and application) is reached. One day painting becomes automatic, writing becomes automatic, performing becomes automatic.

The existence of some creative people is organized completely around their work—they think about it all the time, even when they are not working. Even,

Genesis - Abstract Expressionism Art with beautiful colors and a sense of movement. Mixed Media Painting in warm and vivid tones of Autumn Buy Art Prints by Georgiana Romanovna Mixed Media Artist. Mixed Media Digital, Traditional and Photographic Art Encompassing Design, Original Paintings, and Vector Artwork. Art Which Is Colorful And Bold, Sedate Or Classic. Contemporary Landscapes, Abstracts, Flowers, Portraits, Vintage Reproductions, Fractals, Still Life, Impressionistic Paintings and much more. Art for All your Decor and Decorative needs. Watermarks will not be printed on your print purchases. If you like my Art Gallery or a Particular Artwork, please push the Pinterest, FB, Google+ Twitter or SU Buttons. Thank you. All artwork in this gallery is the original artwork of Georgiana Designs. All Rights Reserved. It is copyright to Georgiana Romanovna and is protected by US and International Copyright laws.

Genesis by Georgiana Romanovna http://www.romanovna.com/

research shows, when they are asleep. And their ability to produce it is staggering. But many prodigiously gifted artists, writers, dancers, and actors don’t end up where they belong–in the upper echelons of their field—for the sole reason that they don’t sweat enough.

They are not willing to travel the long, rough, steep, grievously hard road to high expertise. After Michelangelo died someone found a paper on which he’d written in his old age to his apprentice, “Draw, Antonio, draw, draw Antonio and do not waste time.” Without sweating sufficiently you won’t go far. In every field, experts work harder, not less hard than non-experts.

A common notion among laymen is that the main cause of creative success is natural talent one is born with, and that a major cause of failure is the lack of talent. But the most eminent people in any field, including creative work, generally attribute their success to high ability and high effort and attribute failure to lack of effort, saying that a person’s success comes mainly from ability combined with hard work over a long period of time.

If they fail, the goal of excellence they’re pursuing becomes even more attractive to them. They get hungrier to succeed. If things don’t turn out well they don’t believe it’s because they aren’t capable. It’s because they didn’t sweat enough. They apply themselves; they work harder; they sweat more. That brings them hope. Optimism is kept high, for effort is a virtually limitless resource. You can always work harder.

Less successful creator’s thinking is “Either you have talent or you don’t.” Talent is not something they feel they can improve, so they don’t attempt to, even though they may have the potential to develop their talent to a very high level. It’s as though they are not aware that one’s level of talent is not fixed forever at some point and unchangeable. As your talent increases, as it will through conscientious education, training, experience, and practice, the probability that you’ll successfully reach your creative goals increases—paintings in galleries, books published, roles gotten– and your ability to perform more ambitious and difficult creative tasks also increases.

Most of the time the creators around you will have one of these attributes, either talent or sweat, but not both. If you do have both you have a tremendous advantage.

Springtime Ornamental

Springtime Ornamental by Georgiana Romanaovna http://www.romanovna.com/

The effective way to develop your talent is not to blindly put in more hours working on this and that, but to take time to identify the small number of main skills most related to success in your field and practice them over and over and over until they become your main strengths, hopefully under the guidance of a knowledgeable person.  For example, a characteristic of successful writers is often a rich and varied vocabulary. To improve your writing you might wish to develop your talent along those lines. So important is an appealing writing style to a writer that J.A. Spender said, ”If you are getting the worst of it in an argument with a literary man, always attack his style. That’ll touch him if nothing else will.” The same is true of painters and performers.  Strive to refine your style or styles so they are recognized as yours. Some artists, such as Georgiana Romanovna, featured in this post, have multiple styles, but their work is always recognizable as theirs.

Most people in the world—whatever their field– can be divided psychologically into two broad groups. There is the minority who are willing to work hard to achieve something. Some creators are capable of producing ten, fifteen, twenty-five times more than others. And then there are the majority who don’t work hard. If you work hard, at the bare minimum you’ll be good at whatever you do.

Creators who love to work, enjoy sweating, and are confident they have what it takes to attain success are rare. If you are one you have a major advantage over other painters, writers, performers, etc. who believe high talent is an unreachable dream for them and that sweating is unpleasant.

 

© 2017 David J. Rogers

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

www.mentorcoach.com/rogers

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

Fighting to win Amazon

Click on book image to order from Amazon.com

or

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

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

Waging Business Warfare812sCY9edLL._SL1500_

Click on book image to order from Amazon.com

or

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

 

13 Comments

Filed under Artistic Perfection, Artists, creativity, Developing Talent, Human Potential and Achievement, High Achievement, Motivation, Preparation, Stamina, Writers

Devotion to a Particular Creative Subject Matter

The work of two good blog friends of mine, artists Michelle Endersby and Janet Weight Reed, fascinates me. Michelle paints roses, lovely roses, different varieties of roses, every color of rose, and travels her native Australia and elsewhere to study roses, always searching for a new rose to paint. Then she paints them and then they appear on her blog and in homes and galleries for us to enjoy.  My English blog friend Janet paints masterful landscapes, portraits, and bright, colorful hummingbirds, and it’s apparent to me that she studies hummingbirds—how they fly, how they flutter, how they cling to trees. She is a wonderful colorist, and her colors you don’t forget. Every rose and hummingbird they paint is different and unique. I have to realize that when they look at roses and hummingbirds, they are seeing much more than I am able to see.

ingridbergman

Ingrid Bergman Rose by Michelle Endersby

11061352_10153183551635396_8740567483782858174_o-2

Hummingbird by Janet Weight Reed

 

 

 

 

 

 

 

Painter Julian Levi said, “It seems to me that almost every artist finds some subdivision of nature or experience more congenial to his temperament than any other. To me, it has been the sea…In painting the sea coast I have tried to acquire as much objective knowledge of the subject as I possibly could.” He studied the fishermen, fishing gear, their boats and assorted paraphernalia.

Another artist I know specializes in painting clouds and another paints skies exclusively. American impressionist Mary Cassatt came into her own when she began specializing in the personal lives of women and painting mothers with their children. That’s because the most creative minds are drawn to explore and write or paint about—or take photographs of or make movies about–specific material in one segment of their experience.

They look at something that takes their fancy and feel an excitement within them, a yearning, a hunch, a hard to define but easy to recognize intuition that there is something there in that familiar subject that’s worth pursuing further. They then work with a devotion to that specific sort of material, possibly for their entire careers. It is their most creative world, their signature, what we know them by.

It is not a random choice, but a discriminating, highly selective instinct, a particular order of things that has an outstanding appeal to that particular creative woman or man. Ernest Hemingway and before him American novelist Stephen Crane were drawn to writing about men under extreme pressure such as warfare and shipwrecks where the best way out was through having courage. Nobel Prize winner William Faulkner wrote a fictionalized version of his home town.  Like me, many writers write mainly about growing up.

Speaking of creative people, T.S Eliot said, “We all have to choose whatever subject matter allows us the most powerful and most secret release; and that is a personal affair.” Literary critic Gilbert Murray wrote, “It seems to me that the writers who have the power of revelation are just those who, in some particular part of life, have seen or felt considerably more than the average run of intelligent beings.” I think the great difference intellectually between one painter or writer or one actor or director and another is simply the number of things they can see and feel in a square yard of their particular world of creation.

Creative people create because what they create and the act of creating it please them. Unless they please themselves, they will please no one. They function best when, while at work, they are thinking of nobody’s liking and standards but their own: “I alone here, on my inch of earth, paint this thing for my own sole joy, and according to my own sole mind. So I should paint it, if no other human being existed but myself…Thus I must do it, for thus I see it, and thus I like it” (John Ruskin).

They are at their best when they are immersed in their own individual creative segment of the world—Michelle with her roses, Janet with hummingbirds, Mary Cassatt with her women and their children, Hemingway and Crane with men of courage, Faulkner walking the streets of Oxford, Mississippi.

In what “subdivision of nature or experience” do you see more and feel more and are more at home and have more knowledge than other people? What subject allows you your most powerful creative release? Once you’ve defined it and have the voice to express it, then you become immersed in it and its details and you make it your own.

Then you tell us all about it and we find pleasure in it too.

© 2017 David J. Rogers

 

 

25 Comments

Filed under Artists, creativity, Developing Talent, Human Potential and Achievement, Ernest Hemingway, Faulkner, Writers

Samurai Concepts for Creatives Part 2

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

Do: The Concept of a “Way”

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

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

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

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

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

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

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

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

Let your work become a Way.

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

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

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

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

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

Kufu: “Struggling, Wrestling, and Grappling with Something

Until a Good Solution Is Found”

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

“Don’t quit after an hour,” I said.

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

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

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

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

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

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

Makoto: “Sincerity”

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

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

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

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

japanese-garden

 

© 2016 David J. Rogers

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

www.mentorcoach.com/rogers

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

Fighting to win Amazon

Click on book image to order from Amazon.com

or

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

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

Waging Business Warfare812sCY9edLL._SL1500_

Click on book image to order from Amazon.com

or

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

 

 

 

 

 

 

 

 

13 Comments

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

Confidence of Creator Champions

I

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

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

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

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

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

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

II

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

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

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

Supreme self-confidence

An empowering concept of themselves

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

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

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

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

 

© 2016 David J. Rogers

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

www.mentorcoach.com/rogers

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

Fighting to win Amazon

Click on book image to order from Amazon.com

or

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

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

Waging Business Warfare812sCY9edLL._SL1500_

Click on book image to order from Amazon.com

or

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

12 Comments

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

Turning Points In The Lives Of Creative People

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

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

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

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

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

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

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

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

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

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

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

Short story specialist/poet RAYMOND CARVER’S Turning Point was meeting a teacher– being taught at the Iowa Writers Workshop by John Gardner and pen-27043_640being affected profoundly. Carver said that whatever Gardner had to say “went right into my blood stream and changed the way I looked at things…He took my stories more seriously… I was completely unprepared for the kind of criticism I received from him.”

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

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

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

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

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

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

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

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

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

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

 

© 2016 David J. Rogers

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

www.mentorcoach.com/rogers

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

Fighting to win Amazon

Click on book image to order from Amazon.com

or

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

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

Waging Business Warfare812sCY9edLL._SL1500_

Click on book image to order from Amazon.com

or

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

 

 

 

12 Comments

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

Serendipity in a Creator’s Life

My journey on the life path of the writer (you may be on a creator’s life path too)–studying writers and the writer’s life, and writing and reading a great Road with the-sun-470317_640deal of my time, setting writing as a high priority in my life; thinking of it all the time; sacrificing for it—was shaped by serendipitous experiences which are probably not very different from yours.

In the third grade when I was seven, the teacher, Miss Gross, stood at the front of the room and read to the class my theme–I’d described playing football. I’d said when I was tackled “I fell to the ground like a blob of jelly coming out of a jar.” Miss Gross said to the class. “David has used poetic language. He’s written what’s called a simile.” That single little event—her saying that and showing admiration for those few words,  and making me feel that it was somehow worth commenting on—immediately sparked something in me, let something  break free in me.

David youngRunning home down the street after school feeling wonderful and liberated—when I was young I was almost always running–I decided I would become a writer if there were such people and make similes as often as I wanted all the rest of my life. Miss Gross then encouraged me and worked with me and nurtured me. She arranged for my stories and poems to be published in newspapers and magazines. She asked me to apply myself and work hard at the writer’s craft. I was awarded first prize in a regional essay contest.

What if there hadn’t been a generous, giving Miss Gross in my life? What if she hadn’t been that kind of extraordinary teacher who holds students in highest regard and inspires them to aim high? What if she hadn’t cared enough to help me?

At about the age of nine I happened to be playing in front of the TV instead of playing tag outside with my brother and sisters when an old black and white English movie came on.  I knew nothing about acting, but there was one actor Laurence Olivieron the screen who I could see was doing something remarkable. He was just different, unlike any of the other actors, though I couldn’t say how. But I could see that something right there on the screen. What he was doing, how he was acting, the impression he was making made me feel a sensation which I now know was awe. I realized I was watching some exceptional thing I had never seen in movies before, in my life before. I pointed to him and asked my mother who that was. She was a movie buff. She knew. “That’s Laurence Olivier. He’s the greatest actor in the world.” Even so young I had recognized supreme mastery, the highest attainment of an art.

I decided that I wanted one day to be able to affect people the way his performance had affected me—he had made me gasp. And I thought the best way to do that was to write things so beautiful that people would gasp too. A major event for me in college involved another teacher, Dr. Hunt, a well-known visiting professor of creative writing who one day read to the class a piece I’d written. (The assignment was to describe a person by describing a piece of clothing they were wearing, and I wrote “My Father’s Corduroy Jacket,” the best writing I’d done to date.)  When she finished reading, she said, “A teacher waits her entire career for a student who can write like this.”  She had me visit her in her office and helped get my work in a prestigious literary journal. So there was my second encouraging Miss Gross who happened to be on the faculty for one semester—the same semester it fit my schedule to take her class.

To create beauty—to write beautiful poems and stories—I decided depended on how moving the subject was and also the beauty it was expressed with, and Writing near a treeI placed a great deal of emphasis on the imagery in the writing.  In college I’d read Gerard Manley Hopkins’ “God’s Grandeur,” and was greatly impressed with its beautiful language. I never forgot Hopkins and years later (before Amazon.com or Barnes & Noble) I had the urge to read a book studying his imagery so that it might affect my imagery. Wherever I traveled—and I did extensively, big cities, small towns–I visited new and used bookstores and in every bookstore I browsed for such a book, but never found it.

Once I was to give a speech in Rock Island, Illinois. It’s a small city in the western part of the state that I had never visited before. I discovered that the hotel I was to stay in had just been built and had opened its doors only a few trash-25081_640days before. It had hosted a conference for fire fighters. The attendees had left just the day before. The event at which I was to speak came next. I arrived at midnight and was given the only available room. I laid my bags on the bed, and then noticed something in the trash basket. Apparently it had been left by one of the firefighters and the maid had overlooked it when she cleaned the room.  There it was: a full-length book on the imagery of Gerard Manley Hopkins—another serendipitous event, the only available room, a fire fighter who liked Hopkins too, and a maid who’d forgotten about a trash basket.

Years later I’d been writing and researching fifteen or sixteen hours a day for many months to meet a book deadline, neglecting my wife, neglecting my children, concerned only with putting enough words on a page to satisfy me—words, words, words, words, words–an abstract existence. Everything, every experience that would go into the book had to be translated into language.

That night I’d had it; I couldn’t work another minute, stoic though I am; could not pull from my agonized brain another word. I quietly so as not to wake anyone left my home at about 3:00 a.m. and walked the Chicago streets trying to decide if I wanted to continue leading a grueling, neglectful life like that or follow a more conventional life, committing myself to “a regular 9-5 job.” It was a cool, pleasant night—very dark—with a soft, filmy mist in the air. Should I continue a writer’s difficult life?  Should I just finish this book and give it all up?

Then I noticed ahead of me something on the sidewalk precisely in the middle of a pool of bright white light cast by a street lamp, as though it had somehow Spotlightbeen known that I would find my way to that little street, and that object—whatever it was–had been placed there as though in a spotlight very carefully for me and me alone to see. I went to it and bent down and picked it up. It was a book—of all things a book–not a glove someone had dropped, or a scarf, but a new, thick hard-cover book. You see: I could not get away from the written word. I took this as a serendipitous sign that like it or not a writer’s life—imperfect, isolated, and much too demanding–was my identity and that it was futile for me to think writing would ever not be at the center of my existence.

It was a waste of time to imagine that I could ever get away from a life that had been shaped by Miss Gross, Laurence Olivier, Dr. Hunt, a literary fire fighter and forgetful maid, and the lesson of that book left for me in the pool of white light late at night on a Chicago street.

I’m sure you’ve had similar serendipitous experiences steering you straight to the craft you love and will always love–your writing, painting, acting, dancing, singing. And if you have the time I’d love to hear about them.

 

© 2016 David J. Rogers

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

www.mentorcoach.com/rogers

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

Fighting to win Amazon

Click on book image to order from Amazon.com

or

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

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

Waging Business Warfare812sCY9edLL._SL1500_

Click on book image to order from Amazon.com

or

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

 

 

 

18 Comments

Filed under Becoming an Artist, Developing Talent, Human Potential and Achievement, Goals and Purposes, Personal Destiny, Personal Stories, Self-Direction, Serendipity, The Writer's Path, Writers

The Perfect Creative Personality

The Perfect Creator Is Bold

What have you been working for these years and developing your talents for if not to set your creative potential free? And you will not do that without being bolder.

I know a painter. The best teacher she ever had gave her the best advice she ever received. He looked at her as she painted and said, “You’re being too careful. Make bolder strokes.” He went away. She followed his advice. The teacher came back and studied her work. He raised his voice and said, “Bolder.” Later he came back again and said, even louder, “Bolder! What are you afraid of?” It’s worthwhile to say to ourselves from time to time in our creative lives, “Bolder! What are you afraid of?”

The argument easily can be made that boldness in and of itself is what brings success in life. It’s a quality of excellence, of greatness, in every discipline, paint-33883_1280every field, especially in the arts where courage isn’t a luxury but a necessity. The great creative personalities couldn’t have attained success had they not taken bold risks. Even becoming creative at all carries risks. Creating seriously isn’t a typical life. Most careers are much less risky.

For almost all people—creative men and women among them–the problem isn’t being too audacious, but not being audacious enough. Boldness is the power to let go of the familiar and the secure. It isn’t something you save for when your life and your creativity are going well. It’s precisely when things are going badly that you should be boldest. When things look grim and you’re most discouraged, increase your determination and go forward boldly. Boldness brings a new intensity and sets you apart. When the situation is unclear but the outcome is important, be bold.

I’m interested in the samurai way of life and wrote a book about it. I find in it many analogies to creative peoples’ lives. In kendo—samurai swordsmanship—there’s a move that requires the swordsman to pass very close under the arms fighter-155746_150of his opponent. It’s not a difficult move, but taking the chance of coming so close to the opponent frightens the swordsman. It’s only the fear of taking the risk that prevents victory. But accepting the fear and edging in close anyway can bring easy victory. The great swordsman is bold and knows that the greatest rewards lie one inch from the foe’s blade. Your greatest future success in your creative life may lie close to the blade.

 

The Perfect Creator Is Sincere and Has Integrity

The true center of our experience with any kind of creation is the sense that someone with a mind, a personality, and a range of experiences is trying to communicate with us. That sense accounts—if it’s favorable–for much of the pleasure we get from the work or performance.  What a creative person is water-lilly-1227948_640intellectually, spiritually, and emotionally radiates in the work and can’t be hidden. Herman Melville said, “No man can read a fine author, and relish him to his very bones, while he reads, without subsequently“ forming “some ideal image of the man and his mind. And if you look…you’ll find the author has furnished you with his own picture.”

The  most loved creator is the one who’s able to develop a relationship with the audience that goes beyond liking and beyond friendship to intimacy, and that comes from above all else the sincerity we find in the work or the performance. Sincerity is what I sense all through the works of Pulitzer Prize winning author James Agee. Anyone who can write so beautifully and so sensitively, honestly, and intensely must be trying to pass on to me something that he cares deeply about.  (See especially Agee’s Let Us Now Praise Famous Men.) The sincere, intimate creator invites us in to her inner life and says “Here I am.” The sincere creative man or woman is trying hard to convey something directly to me as well as he or she is able. And I respond.

Good creators have integrity. They are whole and authentic. When we have integrity we guarantee we aren’t faking, or deceiving, or compromising. It’s futile to think we can hide ourselves from the audience for very long or fool them into believing we’re something we’re not. The person we are—with our history and our points of view and perspectives and opinions–comes through clearly.

A creative person’s authentic voice isn’t achieved by adding something, but by the opposite process—by subtracting what’s pretentious or phony. Every creative person is different from every other. There are no duplicates. But whatever he is like, we’re trying to locate him, understand, and admire him.

 

The Perfect Creator Is Fearless

All athletes, business executives, adventurers–and cab drivers, accountants, homemakers—and all creative people of any kind know that the single emotion that most often holds them back is fear. Hardly a single day goes by without most people being afraid of something.

Every early morning I go to my work room upstairs and settle down to write. I’ve been writing so long and have produced so many words that generating work-space-232985_640text is second nature to me—easy, effortless, without strain. Yet, there is another emotion that is there with me some days, and certain days it’s powerful and tries to keep me from work. On those days I pause, fold my hands in my lap, gaze at the screen and ask myself, “What are you feeling now? Why are you hesitating?” And I answer, “What I’m feeling right now is fear.”

Author Joan Didion wrote, “I don’t want to go in there at all. It’s low dread every morning.. I keep saying ‘in there’ as if it is some kind of chamber, a different atmosphere. It is, in a way. There’s almost a psychic wall. The air changes. I mean you don’t want to go through that door.”

I ask myself, “What am I afraid of?”

Bear in mind that I’ve had many successes in writing. I’ve proven myself. Also, I am no coward who’s easily intimidated. I once rescued a woman from a would-be rapist–chased him, caught him, fought with him, wrestled him to the ground, and held him till the police came. I was heroic. Yet, when I sit at the computer to do the thing I do better than I do anything else, sometimes I’m scared.

Each time I visited a painter friend 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, “Whatever happened to that green pastel that was on your easel so long?”

She said, “I never finished it.”

I said, “You were afraid.”

She said, “I was terrified of it.”

The goal is to be fearless when facing your creative responsibilities and tasks and obstacles, as many creative people are. Or to learn to be unafraid, or being afraid, to face up to fears and conquer them. There are creative people who are totally fearless. They don’t experience any fear whatsoever, the way some soldiers are fearless—and happiest–when under fire in combat.  Such creative people have a high threshold of fear, just as some people have a high threshold of pain.

janet self protrait3

Janet Weight Reed, self-portrait http://janetweightreed.co.uk/

There are creative people who experience fear and are stopped by it. They may be superb creatively but that doesn’t matter. They’re at fear’s mercy. When you’re stopped by fear, you have only the slightest chance of being successful. That’s why the top is such an exclusive place—because fear stops so many people from reaching it. Thousands upon thousands of wonderfully talented creative people fall by the way and simply quit–hundreds or thousands every day– because fear paralyzes them and they aren’t able to recover. There’s no premium on gifted creators. Gifted creators with indefatigable courage are a rarer breed.

Then there are other creative people who feel afraid but conquer their fear by nevertheless doing what must be done. They feel as afraid as anyone else, but they react differently. They have a lower threshold of fear than the fearless person. But they don’t permit their fear to stop them. You look at them and you can hardly believe your eyes. You know they’re afraid, and yet are unstoppable. They know that the best way to conquer fear is to do what you fear to do no matter how afraid you are. And that you can do.

sea-gull-939474_640In Ernest Hemingway’s The Old Man and the Sea, the old man Santiago is in his skiff out on the sea when a small bird lands on the boat to rest. The old man talks to it, saying that the bird can stay for a while but then must fly away, taking his chances like every other bird And so must we creative people take our chances, afraid or unafraid.

 

Paintings by Janet Weight Reed, one of my favorite artists and bloggers, are featured in this post. When I told her I was writing a post on boldness, fearlessness and sincerity and would like to use a piece of her artwork, she sent me three paintings, saying:

If ever a painting of mine symbolises boldness and fearlessness, it is the attached (large oil on canvas) self-portrait.   It was painted in 1989 during one of the biggest turning points in my life and career.     I keep the painting with me as a reminder of what it is to persevere through seemingly impossible obstacles.

The hummingbird  (watercolour) also symbolises for me the same traits.     They have been significant in my paintings, large and small over the past 35 years, symbolising the ‘unseen magic’ of our world….a source to be tapped into during times of great duress.

When I observe the life of cats (small and large) – I see the same traits…..

Loving all Janet’s work, it was very difficult for me to choose one of the paintings, so I have included all three she sent me.

 

© 2016 David J. Rogers

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

www.mentorcoach.com/rogers

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

Fighting to win Amazon

Click on book image to order from Amazon.com

or

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

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

Waging Business Warfare812sCY9edLL._SL1500_

Click on book image to order from Amazon.com

or

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

 

 

29 Comments

Filed under Artistic Integrity, Artistic Perfection, Artists, Boldness, Courage, Developing Talent, Human Potential and Achievement, Fearlessness, Inner Skills, Samurai Techniques

15 Ways to Overcome Fear of Failure

When most creative people pursue their goals they imagine what it would be like to reach them (Hope of Success). And they also worry that the goal will not mountain -seabe reached (Fear of Failure). Those two emotions go together and are reverse sides of the same coin. That creators’ fear of failure is perfectly natural and is to be expected whenever you’re facing a difficult, challenging task, such as a writer crafting a play if she’s never written one before, or a lithographer preparing a work for an important contest.

But at times the fear of failing becomes a major psychological obstacle that keeps creators from reaching the success and satisfaction they’ve been hoping for. Creators who are dominated by the fear of not succeeding, but failing have developed—often without realizing it–characteristic tactics for protecting themselves from enduring what often is not just a fear of failing, but a much more dreadful terror of failing. Ironically, those tactics do more to contribute to failure than to prevent it.  It’s worthwhile looking at those tactics that you might recognize in yourself so that something might be done about them.

Rather than enduring the misery of experiencing that terror of failing the person harried by it may:

  • Avoid competing with others of comparable ability. They prefer being the big fish in the little pond.
  • Be perfectionists. They don’t attempt things in which they won’t be able to attain perfection or near perfection. The tactic here is to carve out a very narrow area of competence in which they excel and can approximate perfection.
  • Prefer very easy or very difficult tasks, nothing in the middle. In contrast, most high achievers generally pursue tasks and goals they have a one in three or two in three chance of succeeding at. Not a sure thing and not an impossible thing.
  • Avoid displaying their abilities in public. A pianist may be able to perform beautifully in private, but shy away from performing in front of people.
  • Avoid attempting anything important. The more important the activity, the more they avoid it. A writer may avoid trying to get his work published even though publication is the logical outcome of the writing process.
  • Avoid taking risks. Most creators who become eminent experience turning points at which they take a risk which their less eminent contemporaries are too timid to take. Fear of taking chances melts in the face of a strong and urgent purpose and self-confidence (If you’ve been reading my posts you can’t have helped but notice I’m enamored with self-confidence because it, along with skill, is the antidote to most creator’s main problems, including self-doubt and discouragement).
  • Have trouble performing under time pressure. They panic as they approach the deadline. Even the word “deadline’ scares them. They delay. They give up. They shut down. More confident creators are challenged by a race against time and are often the most excited and highly focused and at the height of their skills when the clock is ticking. The best tactic is to forget about the deadline completely and focus totally on the task.
  • Prefer practice and games rather than the real thing.
  • Seek social support. People who fail tend to have as friends others who fail.
  • Have unrealistic expectations–oddly enough, on the high side. Asked to estimate how well they’ll do at achieving a goal they will say they’ll do far better than they actually will. I had an egotistical friend in college who wrote a paper for English in which he said he was brilliant, a great lover women couldn’t resist, handsome, a wonderful athlete, and a conversationalist who could charm birds out of trees. The professor returned his paper with the comment scrawled on it: “It’s a shame you can’t add a command of the English language to the list of your other accomplishments.”
  • Misjudge past performance. They also exaggerate how well they did in the past.
  • Reject the measure of a skill. For example, the student who doesn’t do well and says, “Getting good grades doesn’t mean a thing.”
  • Avoid measurements of their performance. They don’t want to know how well or poorly they’re doing, for if they knew they might have to admit they failed. Without contrary information they can always say, “I’m doing pretty well.” At work, they are the employees who dread performance evaluations. They might even arrange to stay home on the day of the evaluation. The best writers, best painters and actors are just the opposite. They want to know if they’re doing well or poorly. They welcome feedback, and actively seek it, feedback that is rapid, specific, and helpful. They are always asking about their work, “Well, what d’ya think of it?” Studies of highly creative people show that they accept helpful guidance and have “an openness to advice.”
  • Not try. A fear that dominates many creators and makes them quit trying to succeed is the fear of failing to reach financial success, or just break even. Writer Francois Voltaire and painter Claude Monet won Money treefortunes in government lotteries and were able to devote themselves completely to their work. But Nobel Prize winner William Faulkner spent most of his writing life in virtual poverty. When his picture appeared on the cover of Time magazine he couldn’t  pay his electric bill of $35. He wrote: “People are afraid to find out how much hardship and poverty they can stand. They are afraid to find out how tough they are.” But financial risk is part of the creator’s life style and for many writers the fear of being broke can be exhilarating, a source of creative energy. Most creators perform better under some amount of financial pressure. Sherwood Anderson’s publisher thought financial security would help him produce more and sent him a weekly stipend. But that made him less productive, and Anderson asked them not to send it anymore: “It’s no use. I find it impossible to work with security staring me in the face.” In The Courage to Write Ralph Keyes says, “Knowing that there is a direct line between putting words on a page and food on the table keeps me focused.” Picasso said he was rich but tried to work as though he was poor.
  • Reject responsibility for their failures. If you wipe your hands of responsibility, all pressure is off and all fear of failing disappears. You might know creators who go to great lengths to avoid responsibility. They concoct elaborate excuses for their failures.

symphony-hall-893342_640A not uncommon fear of failure among creators takes the form of “encore anxiety.” It is the fear after producing a successful first work that no matter what you do you won’t be able to produce a second work that’s as good or as successful.

 

To overcome fear of failure, go down the above list and develop counter-tactics. For example:

  1. Always try; don’t not try.
  2. Be interested in measurements of your performance; don’t avoid them.
  3. Consider your past achievements dispassionately; put your ego aside.
  4. Associate with other successful creators of comparable ability, not failures with less ability.
  5. Pursue goals that aren’t easy, goals that are a little out of reach.
  6. Open yourself up to areas in which you haven’t yet mastered perfection
  7. Take more chances; that shouldn’t he hard because creators are attracted by risks.
  8. Have realistic, not unrealistic, expectations.
  9. Judge your performance as accurately as you can.
  10. Actively seek feedback on your performance; don’t avoid it.
  11. Have no fear of financial pressures; let them motivate you.
  12. Be confident that you will succeed again.
  13. Don’t be intimidated by deadlines and time pressures; they help you perform better.
  14. Don’t fear competition. It may bring out the best in you and help you reach a level of success in your craft you’ve never dreamed of.
  15. Accept responsibility for failures.

success-620300_640All creators are capable of overcoming fears of failing, and when they aren’t extreme and debilitating, those fears can be positive—a push, an incentive– and have helped many creative people reach success.

 

© 2016 David J. Rogers

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

www.mentorcoach.com/rogers

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

Fighting to win Amazon

Click on book image to order from Amazon.com

or

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

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

Waging Business Warfare812sCY9edLL._SL1500_

Click on book image to order from Amazon.com

or

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

 

6 Comments

Filed under Artists, Becoming an Artist, Blocks to Action, Conquering Blocks, Creativity Self-Improvement, Developing Talent, Human Potential and Achievement, Expectations, Faulkner, Fear of Failure, Feedback, Goals and Purposes, High Achievement, Inner Skills, Motivation, Picasso, Publishing, Self-Confidence, Success, The Writer's Path, Writers

Extraordinary Creative Outliers

I think all creative people are extraordinary. You’re extraordinary. I’m extraordinary too. We’ve been extraordinary all our lives and one day at the age of six or eleven or twenty-one or fifty-seven something remarkable happened and we discovered we were, and then a corner was turned.

But a separate breed of outlier creator is so extraordinary and so driven and capable of such incredible creative feats and leads such an extreme existence of sacrifice that we wonder what there is about them that inspires them so. What sustains them and equips them so perfectly to produce such exceptional work? Theirs isn’t the only path to creative achievements—most creators lead more moderate lives. But it’s a path extraordinary creative outliers often choose.

Creative outliers are so absorbed in facing challenges and solving creative problems that they have almost no interest in anything else. Nobel Prize winner Saul Bellow—the premier American writer of the second half of the 20th century– said, “I have always put the requirements of what I was writing first—before jobs, before children, before any material or practical interest, and if I discover that anything interferes with what I’m doing, I chuck it. Perhaps this is foolish, but it has been the case with me.” He was married five times.

Novelist Jane Smiley wrote, “Even if my marriage is falling apart and my children are unhappy, there is still a part of me that says, ‘God! This is fascinating.’” Ernest Hemingway lived in poverty early in his career and sometimes stole food and said a writer’s perceptions are sharper when he’s “belly-empty, hollow hungry,” that “hunger is good discipline and you can ballerina-534356_640_copy2learn from it.” Before taking the literary world by storm late-blooming novelist/essayist Henry Miller lived in poverty too. He once said, “I have no money, no resources, no hope. I am the happiest man alive.” Emily Dickinson, the greatest American woman poet, author of 1,775 poems, said that if she felt physically as if the top of her head was taken off, she knew that was poetry. Ballerinas—artistes of artistes–may practice until their muscles scream and their feet bleed.

We look at these creative outliers and we marvel and are impressed or appalled or shocked, and often ask ourselves “Could I live an unusual life like sunflower-395026_640that? Am I willing to sacrifice so much for my art and suffer so much and risk so much?  Is that possible for me? How much of my normal life am I willing to give up? If I sacrificed more could I be great too?” And ordinarily decide it isn’t possible at all and we’re not willing to sacrifice in that way, nor suffer, nor risk all that. We couldn’t because a life like theirs asks too much. We draw a line and dare not cross it.

All creative people are obsessed to some extent or another, from mildly to ferociously, so much so that when we obsessed-but-less-obsessed creators hear about these outlier creators we have no problems understanding them since they’re only different from us in degree.

What humans in their craft can accomplish extraordinary outlier creators are willing to push themselves upward toward.  They have a genius.  They’re self-absorbed. They’re determined. They’re completely taken by a way that’s too demanding for the ordinary run of women and men. But for a select few like these outliers their craft becomes a way of life, a journey, a goal, an inevitable struggle of someone rare who’s capable of achieving the impossible.

Creative outliers pour themselves heart and soul and muscle and blood into their work. They work and they work and they work repetitively, and think bird-226700_640about their art or their writing, acting, or dancing continually, and have a monumental amount of confidence. Any time they’re not working they’re making plans for improvement because they know no matter how good you are and what you’ve accomplished you can always be better.

The fundamental role of all creators without exception is to create—to produce works–and they do with a vengeance. Pablo Picasso produced 50,000 works—1,885 paintings ,1,228 sculptures, 2,800 ceramics, 12,000 drawings, thousands of prints, and tapestries and rugs.

There wasn’t a moment of his waking day all his career that Nobel Prize dramatist Eugene O’Neill wasn’t thinking about writing.  He produced 35 full-length plays and 17 one act plays and revolutionized American theater. Writing  long hours, English novelist Charles Dickens—the most popular writer in the world at the time– would sometimes put his head into a bucket of cold water, dry his hair with a towel, and then go on writing.

Creative outliers learn—often at an early age–that they will achieve more if they concentrate their efforts in one area. They are aware only of the work before them, and let nothing divert them from it. French novelist Gustave Flaubert said that only writing mattered to him, and that he kept all his other passions locked up in a cage, visiting them now and then for diversion. He said too, “Sometimes I don’t understand why my arms don’t drop from my body with fatigue, why my brains don’t melt away. I am leading a stern existence, stripped of all external pleasure, and am sustained only by a kind of permanent rage, which sometimes makes me weep tears of impotence but which never abates.”

French novelist/poet/dramatist Victor Hugo started his day by handing his clothes to his servant with strict orders to return them only after Hugo had finished a day’s work of seven hours. Composer Igor Stravinsky and novelist Thomas Wolfe worked all their lives in a frenzy—Wolfe in a “wild ecstasy” at top speed, never hesitating for a word, as though he were taking dictation.

You can’t measure intensity and a person’s pure life force. But the energy pouring out of outliers like Vincent van Gogh would bowl you over. Van Gogh vincent-van-gogh-starry-night-1889worked  furiously at a fever pitch, gathering up the colors as though with a shovel, throwing them on canvas with rage, globs of paint covering the length of the paint brush, sticking to his fingers. Goethe called such super-charged outliers “demoniacs”–people with a super-abundance of vitality, “something that escapes analysis, reason, and comprehension.” Goethe was aware of this power in himself.

Russian Anton Chekhov wrote 10,000 pages of short stories, and also produced great plays like The Cherry Orchard, The Seagull, and Uncle Vanya, and was a practicing physician too. Noted architect and futurist Buckminster Fuller was often unable to stop working until he dropped from exhaustion. Isaac Asimov, author or editor of more than 500 books, said he wrote for the same reason he breathed—because if he didn’t, he would die.

Extraordinary creative outliers are guided by an ambition, a notion so bold that it’s almost outlandish:  that you’re born with a certain aptitude and with direction, discipline, and sacrifice you can transform yourself into something magnificent. Their focus is maniacal—all day long every day. When they’re away from their work they long for it.

Nobel novelist Toni Morrison said, “But the important thing is that I don’t do anything else. I avoid the social life normally associated with publishing. I Toni Morrisondon’t go to cocktail parties. I don’t give or go to dinner parties. I need that time in the evening because I can do a tremendous amount of work then. And I can concentrate.” Outlier novelist Philip Roth said, “My schedule is absolutely my own. Usually, I write all day but if I want to go back to the studio in the evening, after dinner, I don’t have to sit in the living room because someone else has been alone all day. I don’t have to sit there and be entertaining or amusing. I go back out and I work for two or three more hours.” American William Faulkner said jokingly, “If a writer has to rob his mother, he will not hesitate: the ‘Ode on a Grecian Urn’ is worth any number of old ladies.”

We live in a world where everyone is selling something. Everyone has an ulterior motive. They want to be a brand. But these outliers only want one goal: to reach the highest heights they can. That’s it. There’s nothing else.

You look at Picasso and Faulkner and say, “Oh, that’s why painting and writing were invented. As if the gods of the arts declared, ‘To show you others how it should be done we’re going to make a person to represent perfection’.”

They have bad days, difficulties, and setbacks, and still believe in themselves. Andre Gide said, “The great artist is one …for whom the obstacle is a springboard.”   They know that effort is more important than talent. And if you say to them, “You’re just so gifted” they’ll stop you and say, “No, I’m no more talented than anyone else, no more talented than you, but I work much harder” and tell you and me, “If you want to excel you’ll have to overcome the notion that it’s easy.”

They’re a psychologically phenomenal combination of purity of focus and energy-1101474_640purity of discipline and purity of energy. Their creative lives are both comfortable and disciplined.  Even when they’re miserable they’re happy. Age has little effect on their skills except to improve them. They’re never happier and more at ease than when under pressure. They have a sense of being destined for something that very few other people are fitted for. But they are and they know they are.

They have a supreme care about their craft, and they never forget their failures. Their craft is their sanctuary. They’re never better than when doing their craft.

Outlier playwright George Bernard Shaw said, “I am of the opinion that my life sparks-142486_640belongs to the whole community and as long as I live it is my privilege to do for it whatever I can. I want to be thoroughly used up when I die. For the harder I work the more I live. I rejoice in life for its own sake. Life is no brief candle to me. It’s a sort of splendid torch which I’ve got to hold up for the moment and I want to make it burn as brightly as possible…”

 

© 2016 David J. Rogers

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

www.mentorcoach.com/rogers

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

Fighting to win Amazon

Click on book image to order from Amazon.com

or

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

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

Waging Business Warfare812sCY9edLL._SL1500_

Click on book image to order from Amazon.com

or

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

 

 

 

8 Comments

Filed under Artistic Perfection, Artists, Becoming an Artist, Creativity Self-Improvement, Dancers, Developing Talent, Human Potential and Achievement, Emily Dickinson, Ernest Hemingway, Faulkner, George Bernard Shaw, Goals and Purposes, High Achievement, Literature, Motivation, Outliers, Picasso, Poetry, Preparation, Self-Confidence, Self-Direction, Stamina, Success, The Writer's Path, Thomas Wolfe, Vincent van Gogh, Work Production, Writers