Category Archives: Eastern Philosophy

The Warrior Creator

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

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

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

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

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

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

Japanese Character for Warrior

Japanese Character for Warrior

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

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

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

She said, “I never finished it.”

I said, “You were afraid.”

She said, “I was terrified of it.”

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

 

© 2017 David J. Rogers

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

www.mentorcoach.com/rogers

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

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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:

www.mentorcoach.com/rogers

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

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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

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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:

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Samurai Concepts For Creators

A New Language For Creative People

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

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

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

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

Duty—we must make good what we owe.

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

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

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

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

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

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

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

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

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

Hesitating: Wanting to do something but stopping.

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

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

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

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

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

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

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

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

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

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

*******

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

© 2016 David J. Rogers

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

www.mentorcoach.com/rogers

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Living with Commitment and Power

When I was writing Fighting to Win: Samurai Techniques for Your work and Life and getting ready to send the manuscript off to Doubleday, the publisher, a good friend with my best interests in mind made it a point to come over to my house one afternoon to warn me. He said, “You’re not going to talk about death are you, Dave? It will be too depressing for your readers because your writing is always so optimistic, hopeful, and inspiring, and that’s what readers will be expecting. No one wants to read about death. No one wants to be reminded they’re going to die. I know, I know very well you have this belief that a writer must always tell the truth and owes it to the reader to never not tell the truth, but leave that out of your book. Even your editor won’t like it.”

Fighting to Win shows how the wisdom and philosophy of the samurai, the greatest and most spiritual warriors who samurai-161642_640ever walked the earth, applies to the everyday lives of anyone who can read the book, and will help them—old people, young people, students, movie stars, writers, artists, business people, teachers—anyone–Americans, Frenchmen, Swedes, Russians. And since death was so ever-present in the lives of these samurai men and women whose role was to risk death in battle without flinching or running away, how could I ignore death?

Warriors are taught to act boldly and decisively in the face of inevitable fate. In his “Primer” for samurai, Shigesuke Daidoji says, “The idea most vital and essential to the samurai is that of death, which he ought to have before his mind day and night, night and day, from the dawn of the first day of the year till the last minute of the last day of it . . . Think what a frail thing life is, especially that of a samurai. This being so, you will come to consider every day of your life your last and dedicate it to the fulfillment of your obligations. Never let the thought of a long life seize upon you, for then you are apt to indulge in all kinds of dissipation.”

Hagakure, a famous samurai text, says, ‘Every morning make up your mind to die. Every evening freshen your mind with the thought of death.”

“Freshening” your mind with the thought of death might seem a grim way to spend time; on the contrary, it is anything but. Those who are totally aware of how short their life will be—and who can feel the importance of that fact in the deepest corners of themselves—live a completely different kind and quality of life than the people who drift mindlessly along, never letting the thought sink in that in a relatively short time they will be gone.

All truly living things–creators in particular–have an urge to grow, to continue growing til the end of their lives.

In Japan the samurai is likened to the delicate cherry blossom which doesn’t last long in the wind that blows it from the japanese-cherry-trees-324175_640tree. One moment it is there and the next it’s gone. The same is true of the samurai and you and me. You are a cherry blossom and I am a cherry blossom too.

Every person with vitality and spirit chooses to die hard; to not go gentle into that good night and to fight against the dying of the light. If you’re a person with spirit, you’re no fool. You know death is going to get you, but it’s going to have a battle on its hands. While alive, you’re going to live without wasting your limited time being worried, cowardly, tentative, or putting things off for a tomorrow that might not come.

When you live with the full knowledge that death is always stalking you, you feel a quick surge of powerful energy, a sudden spark that overcomes you. When you live in the samurai style—as if you are already dead—you operate even more vitally. You acquire extraordinary courage, boldness, and decisiveness. You’re not timid any more, not about anything, any task, any impediment. You “go beyond the trifles of the world.” You fear nothing; you are fearless.

You reach a state of seishi o choetsu, “beyond life and death,” where even the knowledge of your death no longer frightens you. All that matters now is making use of the tremendous power you suddenly feel inside to accomplish all you set your mind to and to find your true destiny, a power strong enough, says the samurai “to bring down walls of iron.” And then your every act takes on an intensity that you have never known before. You live with commitment and power, two feet higher and  three steps faster than everyone else. And you find that you have incredible control over the conduct of your life. You find that there is not a single obstacle you cannot overcome.

The Rabbit and the Fox

A wise master and one of his students went for a walk through the countryside. The student pointed to a fox chasing a rabbit and said, “Oh, the poor rabbit.”

cottontail-rabbit-938478_640The master said, “The rabbit will elude the fox.”

The student was surprised. Maybe the old man’s mind wasn’t so sharp anymore. He said, “No, you see, the fox is faster.”

“The rabbit will get away,” repeated the master.

“What makes you think so?” asked the student.

“Because the fox is running for his dinner, but the rabbit is running for his life.”

The first step in living at the gut-level is understanding that we are all running for our lives.

An Exercise

The exercise is a short one. Read this . . .

The first man asked, “How do you feel?”

“Like one who has risen in the morning and doesn’t know whether he will be dead in the evening.”

“But this is the situation of all men.”

“Yes, but how many of them feel it?”

. . . and feel it.

I sent the manuscript off and ten days later my editor called to talk about it. He started by saying, “We love that section about the samurai and death. I was worried about how you would handle that. You made a potentially depressing subject inspiring. One editor would read those pages and pass them on to another editor and say ‘Look at this’ and now we can’t imagine the book without them.”

© 2015 David J. Rogers

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The Inner Skills of Creative People

I’ve been writing blog posts for writers and artists for sixteen months and over that time have published about 120,000 words. And though I’ve been a professional writer for many years, have written national and international best-sellers, startup-594126_640 (1)been contributing editor to popular magazines, have had published non-fiction, poetry, and prose, have advanced degrees, have taught in graduate schools, and have been studying, reading, and researching about the arts all my adult life, very rarely will you find me writing anything about how to write or paint better because that is not my main interest.

I will not tell a painter how to paint because I don’t know enough about that. But even if I did I probably wouldn’t talk about good technique or good use of color except to say I recognize them when I see them. I will talk about what made great artists tick and why they’re so special. And I will say that people who do great things are great in themselves.

I know enough about writing to have taught serious writers and found great pleasure in that and discovered I have a lot to say. I’ve written about extraordinary writers—the most extraordinary ever to write. But you won’t hear from me these days anything about developing characters, scenes, conflicts, and episodes, or how to write dialogue, or generate a mood, or structure a plot, or that kind of thing. There’re plenty of books, magazines, web sites, classes, and blogs for that. People have been writing about those things for 2,000 years.

My interest—the territory I have staked out for myself—are The Inner Skills of Creative People, for there, I think, inside, in your spirit, will be found the magical difference between adequate creators and great ones.

ballerina-534356_640_copy2I write freely, unabashedly, happily of human qualities that distinguish one creative person from another such as strength (suggesting that every day it’s worth a creator asking, “Am I strong today? Will I be strong?”) And I write about courage, persistence, tenacity, will power, commitment, empowerment, sense of purpose, discipline, good writing moods and bad writing mood, and ideal writing moods. And self-resilience, enthusiasm, guts, self-motivation, energy and your capacity for work, sacrificing for the sake of your craft, boldness, doggedness, adaptability, endurance, resilience, maintaining at all times a high hope of succeeding, and other spiritual dimensions of you. I teach Buddhist and Hindu non-attachment so that the writer or artist might become selfless and dispassionate, and free himself from debilitating envy and worry that so recklessly destroy talented people.

I write about self-doubt, the creator’s curse, and I write about creator’s confidence because confidence may be the most important factor of all. Creative people fail because: (a) they lack the necessary skill, or (b) they have the skill but don’t have the confidence to use that skill well. More fail because they lack the confidence and not because they lack the skill. If you have confidence and faith in yourself you’ll reach higher levels of success than other creators of equal ability who lack them. So much of realizing your long-held hopes—possibly you’ve had them since childhood–is a result of knowing exactly what they are, wanting badly to achieve them, and believing that you can. Confidence precedes success. All great creators are confident.

A poet who lived several hundred years before Plato wrote, “Before the Gates of Excellence the high Gods have placed sweat.” No outstanding creative achievement has ever been produced without a lot of effort on the part of the creator, however much natural ability or how many technical skills he/she possesses. So I write about sweat.

I write about creative patience because patience makes artists and writers more successful.

martial-arts-291051_640I write about warrior artists and writers—and warrior actors and ballet dancers—because warriors know things and possess skills that enable them to go through life 18 inches off the ground and to move faster and live more intensely, with stronger commitments and greater seriousness, than everyone else.

I write about production because to produce a work—a painting a sculpture, a poem, a stage performance—is the reason for being of a creator. Everything—all the creator’s training and education, habits and routines, dreams and hopes—are aimed at that central goal: no matter what is happening around you, to get the work out. Some writers and some artists are 25 times more productive than others.

Out of the mass of experiences of a life, you (1) must somehow or other settle on the creator’s way of life, which is a distinct way of being; (2) must have the personal makeup necessary to excel as a creator; must possess the (3) knowledge, (4) persistence, (5) confidence, and (6) complement of skills necessary to excel, and must (7) minimize your weaknesses and develop your strengths.

The creator who has technical skills, but lacks these spiritual inner skills will not go as far as he could, or may not go far at all. What you are—what you are made of, what constitutes you, what you stand for—is so important.

Your technique and your spirit must be united. Creators grow from within.

© 2015 David J. Rogers

 

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Writer and Artist Warriors

sunset-190922_640My younger sister Sharon died of bone cancer at the age of thirty-seven in a hospital in Honolulu, where she lived. She was a small, delicate woman who had the will of a warrior. When a doctor came to see her as she lay in her bed, he jumped back as though he had been pushed. He said to her, “I feel your power coming out to me.” But she was dying. There was no hope. Once she had been beautiful. I prayed, “Dear God, give me her pain so she will be free of it.”

I told her that I’d had writing a book in mind for a long time, but that I was very busy running the business I had started and really had no time, and that even if I did write it, it would take years to research and more years to write, and I wasn’t sure it would ever be published—the odds were against that as they are against any book being published–and I had a wife and four children to support and couldn’t afford to take a chance. And I was afraid I wouldn’t succeed, that I didn’t have what it took. But I didn’t tell her that.

She was in such pain that even the slightest, even the lightest, touch of another person on her was agony. So when I left to fly back home, knowing I would never see her again, I couldn’t kiss her. The pressure of my lips would bring her pain. I leaned over her and rested my head next to hers on the pillow. She whispered in my ear, “Dave, you write that book. I have faith in you. Write it for me.”

I returned home and organized my work space and set to work, thinking of her “Write it for me.” I told my wife, “I’ll close the business and I’ll finish the book in one year, and during that year we will have no income.” My wife said, “I understand. Go ahead. It’s important.” Nothing could stop me. What before had been a vague dream now became a purpose to devote myself to, to write a book, a good book for my little sister. It became my wife’s purpose and my children’s too. Whenever I was discouraged that purpose made me return to the book and to work till dawn, to sleep a few hours and get back to work for a year until the book was done. While I was working on it I thought, “I’m making a book Sharon would be proud of.”

I dedicated it to her with the inscription: “In memory of my sister Sharon. Just one word—courage,” and that word meant a lot to me because in this life everyday courage is so important.

Fighting to win Amazon

My book Fighting to Win: Samurai Techniques for Your Work and Life came out and has been called “an underground bestseller” because with almost no advertising it swept the country and my life was changed in so many ways. The book became known in my family as FTW. It went through multiple printings, and appeared on bestseller lists; the cover price rose and rose. FTW discussion groups took shape in big cities and remote towns in America and Europe. Articles about this strange book with the Japanese symbol “spirit” on its cover appeared in scholarly journals and popular magazines alike. The book was read by generals, governors, and dancers, writers, artists, and riveters, heart surgeons, business executives, retirees, and sales clerks. It began being included on university required reading lists. It was not about Anthropology, Physics, or Botany, but about how to live. This little book is about musha-shugyo, “training in warriorship.” It teaches the skills and passes on the insights of samurai warriors adapted to everyday life.

It is an optimistic and encouraging book. That’s how I intended it. It is full of promise, full of hope. It teaches strength and makes you strong. It says we have but one life, but this one life can be changed in an instant. It can become two lives. The life before the changes and the richer, more fulfilled and stunning life after them. We can renew ourselves and start fresh at will on a new creative course, a more fruitful course, a better course any moment we wish, putting aside disappointments, discouragements, false starts, and failures and emerging as full-blown, skilled, exceptional artists or writers. Every living thing, every artist, every writer, has an urge to grow, to realize its full potential. My life tells me that. I believe it more every day.

Warrior symbol

“Warrior” by tiseb

The book teaches us to persevere, to be brave and not hide from difficulties, but to race forward to meet them so we may overcome them all the more quickly, maintaining high spirits and complete faith in ourselves. It teaches that we must never be stationary, but must be always moving at a good clip toward a better life, never slowing down because we’re too lazy, or afraid, or self-doubting, or discouraged, or have been set back by circumstances. “When you meet calamities and rough situations, it isn’t enough simply to say you’re not flustered. Whenever you meet difficult situations dash forward bravely and joyfully.”

Readers started contacting me, and I was happy to get to know them and listen to the stories they told me. In the revised E-book edition I mention a few of their stories.

A Hollywood movie director called me and said he felt that people in that aggressive film industry had been “eating him alive.” A successful opera singer wrote me and told me she had been overwhelmed by a sudden and inexplicable fear of performing. She felt helpless. She didn’t know what to do and stopped singing. They read FTW. He became more assertive, self-confident, and successful; she overcame her fear and went back on stage and resumed her career.

A newspaper was having serious financial problems. Its existence was in jeopardy. And so the publisher was going to launch a five-day intense telephone subscription sales campaign using 100 sales people. The publisher, who was also a playwright, was confident that exposure to FTW ideas would inspire them, and had me speak to them for an hour. Following the campaign, he called me and said that the campaign had been a huge success–the staff was fired up and the result was thousands of new subscriptions. He said, “You and FTW saved the paper.”

The book teaches us the samurai concept of mo chih ch’u, “going ahead without hesitation.” It’s not looking back once you have decided on your course of action. Once you can say to yourself “This is what I want to do”—“Write the novel I’ve been talking about so long;” “Rent a studio;” “Move”– then be on your way immediately, mo chih ch ’u. Why delay when life is so brief and the most important time of your entire life is this present moment?

I shouldn’t have to ask where you intend to go in your career. I should be able to tell by watching you and hearing and reading about you. Your undeviating aim should be to reach the fulfillment of the creator’s life you can envision, letting no impediments keep you from it. You know that in this life you’ve chosen rather than the other 5,000 easier lives you could have chosen, courage is a necessity, that there really is nothing to be afraid of and no reason to hold anything back in reserve, and that the whole secret of existence is to have no fear. Getting closer each day to a more fulfilled creator’s life, becoming extraordinary, your energy and strength will be boundless. Others will let go of their dreams, but you never will. You’ll draw from deeper inside and be willing to exhaust yourself for the sake of your happiness.

You must never lose the expectation that no matter what, you will succeed. Your art will work out. Your book will be published. Your skills will get better and better, equipping you for your craft in ways you haven’t dreamed of yet. Knocked down, maintain your confidence that all will go well as long as you get up. Knocked down seven times, get up eight. For that is how a better creator’s life is reached. Like a warrior, you must only “take care that your spirit is never broken.” Never let disappointment and discouragement “penetrate to the depths.” “Wear your existence light as a feather.”

The samurai warrior spoke of internal “dragons” and “striking through the dragon’s mask.” The samurai was taught what we should take to heart: “When all psychological blocks are removed the swordsman will move without conscious effort.” When your blocks are removed you will write, paint, sculpt, or perform without conscious effort. “Success will always come if your heart is without disturbance.”The meaning of all things is within, in your mind, not something that exists ‘out there.’” After reading the book people ask themselves, or ask their friends, “What is holding me back? What are my dragons? How can I overcome them?”

dragon-149393_150Ask any small child what a dragon is and you’ll get an earful of terror and horror. You and I both believed in fire-breathing dragons until we discovered that the only place they existed was in our minds, that they were merely products of our imagination. They only “lived” and had the power to frighten us because we granted them license to. They died and no longer troubled us when we revoked their license. All obstacles inside us—in our minds–are dragons. They are no longer of the fire-breathing variety. They are now a different species entirely. But the effect of scaring us and making us draw back in horror is precisely the same. The goal of the warrior writer and artist is to strike through dragon’s masks and free himself/herself of obstacles so the mind is “free to function according to its own true nature.”

The five most powerful dragons samurai—there were women samurai too–were trained to strike through, and artists, writers and performers must train themselves to strike through, are any kind of fear, the fear of taking risks, thinking too much of what might go wrong, doubting yourself, and hesitating, particularly when that golden but fleeting opportunity appears. If the samurai was afraid, didn’t take risks, thought too much, doubted himself, or hesitated, he would lose—possibly his life–because of fear most of all. A creative person must be bold; fear cripples her: “Fear is the true enemy, the only enemy. Overcome fear and nothing can stop you.”

The one constant factor in warfare as well as a writer’s and artist’s life is uncertainty. Half the things you try to accomplish are obscured by it. Risk and danger and fear and self-doubt are always partners. You do not go into the arts if you want a secure, uneventful life of ease. In samurai swordsmanship there is a move that requires you to take two leaping steps forward and to come within a hairsbreadth of your opponent’s sword. It is not a difficult move and can bring quick and total victory, but it is rarely used. Why? Because taking the risk of coming so close to the foes blade terrifies most swordsmen. In a creator’s life, as with that sword move, it is only by edging yourself in close to danger and living more dangerously that you approach great success. Who are those artists and writers who are least satisfied with their lives? Precisely those gloomy writers and artists—and actors and dancers– who regret, now when it’s too late, being timid and playing it safe all their lives.

bird-226700_640As an artist or writer, you must have an immovable mind—a mind totally committed to facing with calmness and composure any fate, circumstance, or challenge a creator’s life throws at you. An artist’s or writer’s life is often filled with troubles. But you must never let them disable you: “Forget about death, forget about the enemy, forget about yourself, keep your thoughts motionless.” Then you will “flow with whatever may happen.” Then your craft will blossom and you will reach your destiny.

Unless you have mastered your mind and body, you cannot beat your enemies on the battlefield.” Take up one idea. Make that idea your life, recalling,  “No matter what it is, there is no hardship you can’t overcome.” Like a warrior “When crossing marshes, your only concern should be to get over them quickly.”

© 2015 David J. Rogers

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Non-Attachment: The Solution to an Artist’s or Writer’s Problem

It’s a paradox that when we detach ourselves from thoughts of ourselves and how we’re coming across and do with concentration solely what’s necessary to do to create good art, many obstacles disappear and no longer trouble us. Then the work we do is infinitely better and the artist’s life we lead is infinitely happier. We just do our work as well as we can and live our life as well as we can because that’s how work should be done and an artist’s life should be lived.

“Victory goes to the one who has no thought of himself.” (Chozan Shissai, The Way of the Sword)

 Archers and Artists

bows-and-arrows-650474_640(1)Two thousand years ago Chuang Tzu wrote a description of a situation so relevant to painters, writers, dancers, and other artists of today that he could have written it this morning. He wrote that when an archer is shooting and no external prize is at stake he possesses all his skill. The moment a prize is riding on the shot, even a brass buckle, the archer becomes nervous and loses confidence. If the prize is more valuable, as a quantity of gold, “he shoots as if he were blind.”

Describe that situation to archers today and they will tell you what they tell me: “That’s exactly what happens.”

The archer’s skill hasn’t changed, but the importance the archer has attached to the prize has made him care too much. Because he is thinking more about winning the prize than simply shooting the arrow he becomes anxious and his performance suffers.

When realizing that a critic, an editor, an agent, a reviewer, a gallery owner, a potential buyer, an audience will soon be evaluating the work, for most artists, even the best and most highly regarded, the self-conscious uneasiness begins.

Crippling self-doubt and fear of not succeeding and falling in someone’s estimation are not only the archer’s, but the artist’s, major internal obstacles, haunting many artists, writers, composers, and performers, replacing self-confidence with discouragement at the first hint of possible failure, and making many magnificently talented people give up and quit their art rather than endure them.

So the question is: How can artists keep from going blind?

 What is Non-Attachment?

On the one hand, making a painting or story should be its own reward. The artist should be happy just because of the fulfillment inherent in the artistic work itself. He shouldn’t care whether the work will be liked by others, or whether he will receive public recognition and possibly wealth. But he does care, and the conflicting motivations of art for its own sake on the one hand and art for profit or other external signs of success on the other put the artist in a quandary, particularly if to achieve success he is asked to make compromises and do things he does not want to do. Is there a way to solve this quandary?

misty-364498_640To non-attach means to be totally engrossed, completely absorbed in the fulfillment of the task before you, whatever it is, and the full realization of your art and your potential, giving everything to them and nothing but them, forgetting everything else. Bullfighter Juan Belmonte, the greatest torero of his era, an artist of the bullring, wrote, “I forget the public, the bullfighters, myself, even the bull.” Japanese samurai, the most action-oriented and decisive people ever to live, were advised that to be effective in action they must “forget life in the face of an opponent, forget death, forget the enemy, forget yourself.” Free yourself from any preoccupation with yourself—your fame, your wealth– and you’ll overcome impediments to your best work because your focus will be on the work 100%, nothing left over for anything else. All your attention will be brought to bear on the one thing to be written, painted, composed, or performed.

The non-attached artist is the most conscientious of people. All actions are equally important to him or her. Non-attachment doesn’t mean to be indifferent to the results of your efforts, or not to be ambitious. Be active, be industrious, like a sculptor, make chips, be ambitious, accomplish goals, emphasize actions, get things done.

If fame or fortune, success, honors, and achievement come your way, that’s fine, that’s wonderful, that’s something to be happy about. But the mistake we make is getting caught up in them, hungering for them, clinging to them, needing them desperately and, measuring our self-worth against our ability to achieve them. If we make that mistake and don’t achieve them, we’ll feel we’re failures. Just put your mind, your spirit, your energy–your whole being–into the action at hand, the person at hand, the life at hand, the writing or painting or dancing at hand, and forget everything else.

 The Woodworker and “Outward Considerations”

woodwork-166695_640There was a master woodworker who made such beautiful works that the king himself demanded to know the secret of his art.

“Your highness,” said the woodworker, “there is no secret. It’s all very simple. When I set out to make a chair I enter the forest and look for the right tree, the tree that is waiting there to become my chair. I cut it down and set to work. I clear my mind of everything else. I become oblivious to any reward to be gained or fame I might acquire. When I’m free from such outward considerations I just do exactly what I have to do, using all my skill.”

When you free yourself from everything else, and again and again bring your concentration back to what you have yet to do, you’re at your best. The woodworker produced masterpieces, but didn’t worry about producing a masterpiece. The highest performers in field after field—business and industry and the arts–are motivated by the work itself—to do the best job possible–and not by external rewards. Even though they are more successful and receive those rewards more than other people, they aren’t driven by them.

When you work best you accept yourself with no strings attached. Finally, at last, you don’t have to prove yourself. You just do whatever is there for you to do. If you’re a woodworker you absorb yourself in creating the finest chair you can, never stopping to think of what glories will be yours when you produce a masterpiece. If you’re a baseball player you don’t worry about how cheered you’ll be if you get a hit, or what a goat you’ll be if you don’t. You just step up to the plate, keep your eye on the ball, and when it gets close you swing the bat. If you step to the podium and worry about what the audience is thinking of you, you won’t be totally focused on what you have to say, and you’ll fumble and stumble. But if you just concentrate on the words you’re speaking and speak with sincerity, you should do well.

cabbage-flower-204087_640Philosopher and mathematician Bertrand Russell, a Nobel Prize winner, wrote, “I was not born happy….In adolescence, I hated my life and was continually on the verge of suicide, from which, however, I was restrained by the desire to know more about mathematics. Now, on the contrary, I enjoy life; I might almost say that with every year that passes I enjoy it more. Very largely it is due to diminishing the preoccupation with myself.”

 The Process of Brushing Off

One person may be 25% taller than another or 25% more intelligent. We think that’s pretty significant. Yet some people are 50 or 100 times more creative than others. Creative artists are the best workers in the world. They are models of human motivation and productivity. They will work alone long hours for years, without feedback, without recognition, without praise, overcoming hardships and setbacks without flinching, always returning with high energy to the work which life has equipped them with a talent for, often producing a vast output. Yet they often meet hostility from critics of all sorts unparalleled in other fields.

English writer Rudyard Kipling would go on to establish himself as a master stylist with a staggering ability with words and to win the Nobel Prize in Literature. But early in his career a publisher wrote him: “I’m sorry, but you just don’t know how to use the English language.” Vladimir Nabokov, also a dazzling stylist, received this message from a publisher in response to Lolita: “I recommend that you bury this under a stone for a thousand years.” Many successful writers, artists, and actors, like painter Jackson Pollock, who revolutionized painting, have been told, “You haven’t an ounce of talent.”

When you non-attach you brush off such attacks, insults, and unfair criticisms because you’re not seeking anyone’s approval. If there is one thing famous artists will tell you it is that you work best and are most powerfully motivated to create and will surmount even major obstacles when you’re not thinking of anyone’s liking but your own.

Such a confident attitude gives you courage. In response to so many heartless rejection letters from editors, novelist Henry Miller, who was not one to suffer fools, said, “Who are these shits? Where do they get off telling me these things?” It is often the artist who’s not seeking approval who receives it.

 Not So Eccentric After All

Many creative people are considered eccentric when they aren’t eccentric at all. They just non-attach and are less at the mercy of people’s opinions. They genuinely don’t give a hoot what others think. Independence is a cornerstone of the creator’s personality.

Composer Igor Stravinsky was doted on by people who knew of his greatness. But he enjoyed himself more when in the company of people who’d never heard of him. Maurice Ravel, possibly the greatest piano composer of the twentieth century, was always averse to writing and talking about himself. When complimented for his creative ideas, Thomas Edison, as creative a human being as ever lived, declined credit. He said that ideas were “in the air,” and that if he hadn’t discovered them someone else would have. Of the handful of Emily Dickinson’s poems published in her lifetime, not one bore her name.

 Strategies

Practice letting go of any preoccupation with yourself. Nudge your attention away from yourself and back to the work at hand and the actions the art calls on you to perform, and you will excel. Just render the drawing; just write the novel, just perform the dance, just market your work.

  • Whatever task you’re performing say to yourself, “This one thing I’m going to do as well as I’m able. I am not concerned with myself. I am indifferent to everything but the quality of my work.”
  • Refuse to frighten yourself with anxious thoughts of all that’s riding on your success, of the honors that may be yours if you succeed, or of the horrors if you fail. Just bring your focus back to the objective at hand and watch obstacles dissolve. If wealth, fame, or accolades come your way, they will without your worrying about them.
  • Be bold in the face of harsh criticism. If you believe you’re right, stand your ground. Be unruffled under fire—cool and calm, unintimidated. Never let undeserved criticism weaken your confidence. They are wrong; you are right! We remember Rembrandt and Michelangelo; no one remembers their critics. You must never lose unshakeable confidence that you have the ability to produce quality art and will succeed sooner or later.
  • Always try to improve, but never dwell on your imperfections.
  • Place your emphasis on developing your skills to the highest possible level above everything else. The higher your skills, the higher the goals you’ll achieve and the more clearly you’ll express yourself, your vision, your voice.
  • Do what your life calls on you to do for its own sake. Engross yourself in it–big job or small job, important or unimportant, praiseworthy or not, paid or unpaid. Give freely of your talent without expecting anything in return.

CalderArtist Alexander Calder was asked why sculptors like to produce large works. He answered, “It’s more exhilarating…and then one can think he’s a big shot.” Rare are the people who can live five days without getting caught up in themselves–or five minutes. Ninety percent of what we talk about is ourselves and 95% of what we think about is ourselves. Our preoccupation with ourselves creates many of our miseries.

But when we become non-attached and focus on our work and the steady development of our talents to the exclusion of every other concern, we stop worrying about being big shots and talking and thinking so much about ourselves.

Then our work leaps up and becomes exceptional.

© 2015 David J. Rogers

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Setting Your Artistic Potential Free

 “Think differently about yourself today than you did yesterday.”

“We should weave more of the actor into our lives.”

tool-210385_640A sculptor told me that for most of her life she considered herself average in every way. She was never the worst in anything, and never the best either. But when she stopped conceiving of herself as an average sculptor and conceived of herself as exceptional, she became exceptional and met one goal after another and had success after success. No longer considering herself average, she did what exceptional artists do–she took her art more seriously, became more ambitious and more conscientious, worked harder and learned all she could about sculpting and sculptors—took more classes, went to workshops, read. She made it a point to develop relationships with other artists and people in the field. And no longer average, her art quickly became less inhibited and freer and bolder. Her confidence grew every day, and her art came out of her more effortlessly and was of a higher quality. She gained the reputation as the hardest worker among her artist friends, and as a very bright and determined, successful woman. No one thinks of her as average.

When I was a business consultant, I once consulted with a company that had a rule that no one from one unit was to visit another unit during working hours. Signs to that effect were posted everywhere. Faced with such a ridiculous rule, the first thing people with any imagination will do is what you would do if you are an artist—they break it. But in this company you had to be very careful. Wherever you went you heard people whispering, “Whatever you do, don’t get caught out of your unit.”

Your self-concept is lot like that rule. It is like a miniature judge sitting vigilantly and unforgivingly on your shoulder, its eyes wide open, continually telling you like that company rule: “Be careful. Don’t get caught out of my definition of the kind of person you are, the kind of artist or writer you are, and of what you’re capable of and what you aren’t.” If you’re living inside a self-concept that limits your art because it is the wrong self-concept (“you’re average, not exceptional”), you’re up against a major inner obstacle that directly affects the quality of your work—your paintings, your stories, your poetry–and your ability to produce it. When you rid yourself of a limiting self-concept you’ll see other obstacles in you disappear. They will melt away.

We don’t just hold our inner views of ourselves in our mind as if they are some kind of internal ornament. No, we act as if they really are not just an opinion we’ve formed of ourselves, but the Gods-honest truth, as if they are accurate representations of ourselves. That’s the law of consistency–our self-concept and our actions are ordinarily consistent. All of your actions, and even your abilities in any area, including your art, tend to be consistent with it. We do what it tells us we can do, and shy away from what it tells us we can’t. The sculptor fashioned a new “exceptional” concept of herself and her exceptional actions became consistent with it.

The Ubiquitous “I Ams,” “I’m Nots,” and “I Can’ts”

You create and then maintain your self-concept by characterizing yourself in particular ways. You do that in the “I ams” you use when thinking or talking about yourself–“I am a generous person,’ or “I am clumsy.” And you shape it also by the “I am nots” you habitually use: “I’m not an affectionate person.” And there are “I cans” that you use when thinking or talking about your capabilities: “I can ride a bike, drive a car, and draw a lovely landscape.”

“I’m nots” lead to “I can’ts.” “Since I’m not A, I’ll never be able to do B.” “Since I’m not X, naturally I can’t do Y.” “I’m not a person who’s good with numbers, so I can’t help my daughter with her math.”

De-hypnotize Yourself

oil-painting-571164_640When under hypnosis, a timid man who’s afraid of public speaking is told and believes that he’s a confident public speaker, he is changed instantly. He speaks like an orator. He becomes what he’s told he is. His “I can’ts” disappear. Now he can. Under hypnosis we can do amazing things. We can become convinced we’re powerful and strong. Then we are able to lift heavy objects that we normally couldn’t lift. But what has really happened? Our physical strength hasn’t increased. We have merely lifted the limits we had been placing on that ability. In essence the hypnosis did not take place when we were told we could do things we didn’t believe we could. The hypnosis was taking place all the time that we believed that we did not have these abilities.

We have hypnotized ourselves into believing our self-concept—this inaudible voice in us–is reality. We’ve hypnotized ourselves into believing that we are like this when we could have been something else all along, could have been a thousand other types of persons all along, had we hypnotized ourselves differently. We created a fictional idea of ourselves, and then came to believe that idea, and then acted as if it were true when all along it was just an idea, just a notion. If we’ve hypnotized ourselves into a limiting self-concept, it’s our job now is to de-hypnotize ourselves. And that we can do.

The moment you de-hypnotize yourself and think of yourself as being something else is the moment you’re on your way to being it. A woman I know never thought of herself as a particularly good mother, but one day at the playground a woman she didn’t know said to her, “I’ve been watching you playing with your children these last weeks and wanted to tell you what a perfect mother you are.” That changed her concept of herself; “I am a good mother after all.”

Research demonstrates that as soon as people start thinking, “I am creative” instead of “I’m not creative” their creativity increases, even in a matter of minutes, and sometimes phenomenally. I’ve seen that happen hundreds of times with people of all ages from all walks of life. A group of people are given a problem to solve. They are graded and the person who graded them expresses disappointment, and says, “I really thought you’d come up with more creative solutions because I know you are very, very creative people.” Then they are asked to work on the problem again, this time developing solutions that are creative, being reminded that “My expectations of you are high because you are very creative people.”

A few minutes later they turn in their solutions and the solutions are more creative. Something miraculous has happened. The problem-solvers have abandoned their old self-concept that they hypnotized themselves into believing and have taken another which they needed in order to solve the problem creatively. The creativity that was in them all along waiting to be ignited shined through once they changed their self-concept. They have learned that they are creative after all. When an artist reaches a plateau, and doesn’t progress, it may be because his self-concept needs to be changed.

Two Strategies for Overcoming a Limiting Self-Concept

There are two methods you can use to free yourself from a limiting self-concept. One, you can change it. You can do that by trading it for another that you intentionally create that’s more beneficial, more to your liking, and that serves you better. Or, two, you can do without any self-concept at all. You do that by attending solely to the actions that life presents to you which are right there, right in front of you at every moment that need attending to. You pay no attention to this concept of yourself or that one. You pay no attention to yourself at all, but only to what needs to be done right now.

 Strategy I–The Storekeeper and the Thief: Trading in your Old Self-Concept

samurai-41200_640In Japan in the nineteenth century, storekeepers were considered lily-livered cowards and weaklings. One storekeeper became sick and tired of that 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. They had just turned a 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 an expert in 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 in a matter of seconds.

 Strategy II–The Teaman and the Ronin: Doing Without a Self-Concept

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 teaman 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.”

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.

The ronin too raised his sword and stood staring at the teaman. Then he saw the determination in the teaman’s eyes and said, “I cannot beat you.” He sheathed his sword and walked away.

The teaman had taken an alternative to changing his self-concept. He didn’t exchange one concept of himself for another. He didn’t change, “I’m just a teaman and not a warrior, so how can I hope to beat this trained ronin?” to “I am a good fighter.” He forgot about having any self-concept at all. He just did what life called on him to do—be prepared to strike the ronin down.

If I am a painter applying Strategy II, I do not replace the thought, “I’m an average painter” with “I’m a great painter.” I just pick up the brush and without any self-concept at all, just use all my skill and paint.

Strategies: Change or Do Without

  • Define your artist or writer current self-concept. What is it? It’s helpful to write an essay titled, “My Current Self-Concept.” It can be a paragraph or twenty or more pages–as long as you want. What do you say and think about yourself that begins, “I am,” “I’m not,” “I can,” and “I can’t”?
  • Design a more beneficial self-concept to your own specifications. Describe in writing what you want it to be. If you want to change it you should have in mind what you want to change it to.
  • Start with the realization that you don’t have to be any particular way. You don’t have to have the opinion of yourself that you do now. You can change it, and by changing it you will change your entire life. Or you can force it to change by stepping out of it and acting differently, even in a way it would never expect you to.
  • Wholeheartedly believe in your new opinion of yourself. As soon as you see yourself in a different light and believe completely what you now see, you instantly change.
  • Remember that all behavior is an act, a performance, and you can learn to be a good actor. You can author a new play with a new part for yourself. The first part of the word “action” is “act.” We should weave more of the actor into our lives. Act as if you can and you are when you feel you can’t and you’re not. Do that for an “I can’t” and “I’m not” and you’ll prove to yourself that you can and you are. Do that time and again.
  • Be careful what you say to yourself. You are what you are because you keep telling yourself you are. When you stop telling yourself you are, you change.
  • Replace every “I just can’t” that is holding you back with a determined, “I can.” Stop telling yourself nonsense. Don’t tell yourself that you’re fated to be in the future what you’ve been in the past. Don’t think so much and tell yourself that there are forty-four things–or one hundred and forty- four things– that could go wrong. Think differently about yourself today than you did yesterday.

lotus-214619_640Strategy II

  • Do what you want to do without any self-concept at all. Just turn your attention outward. Act as if you already are the way you want to be. Act as if you’re brave and you are brave, act as if you are a person of action and you are, act decisively and you are, act confidently and you’re confident, etc. Act that way consistently, at every opportunity, without any exceptions, moment by moment. Become what you want to be.
  • Absorb yourself in the action and not in yourself. Don’t think of anything else but the action. Don’t say to yourself that you are one way or the other, a good artist or a bad artist, courageous when facing life’s setbacks or cowardly, shy or outgoing, self-doubting or confident, happy or unhappy, discouraged or confident. Just put all concepts of yourself aside with no thoughts whatsoever of yourself and do what at every moment is right there in front of you to be done. Let no inner view of yourself get in the way.
  • Take no thought of any “I am,” or “I cant’s,” or “I’m nots,” and don’t concern yourself with “What great things will happen if I succeed,” or worry about, “What bad things will happen if I fail.” Don’t worry about anything. Don’t struggle to protect your inner view of yourself: “Oh, no, I could never do that. I’m not good at that kind of thing. I would be embarrassed if I tried and failed.” Every moment and every day and all lifelong just turn your thoughts away from yourself and back to the matter at hand.
  • Bloom like a flower. A flower is not a flower all its life. It starts as a seed and becomes a flower. Every moment affords you the opportunity to set your life out in a new direction and grow into the artist you have the potential to be.

© 2015 David J. Rogers

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