Category Archives: Inner Skills

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

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Total Concentration: The Heart and Soul of Creative Work

Part One of Two Parts

In the lives of great creators past and present, we find many characteristics that equip them uniquely for their role, especially tremendous powers of concentration. Those same powers of concentration are readily available to you.

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. For example, even fledgling actors are able to routinely commit to memory many pages of complex dialogue in a short period because of the phenomenal ability to concentrate they’ve had to acquire if they wish to act.

Make a pact with yourself: when you do creative work let nothing interfere with the only life that exists at the moment, namely the life of an actor or dancer or sculptor, and so forth. Just kick everything else out of your mind. All your life now for this time is the role your whole being has equipped you for because you have a love of your craft. There is no separation between you and it. It is part of you as much as your arm.

Concentration is an ability most people have not developed. Their minds run wild. That people generally are so poor at concentrating is shown in the fact that patrons in an art museum look at a work on average for 1 1/2 seconds. But out of the necessity of producing a stream of tangible works of high quality, many creators have disciplined their mind to be clear and not to wander. Those creators remind me of this famous story about concentration from the samurai Way. Samurai are ideal examples of how with application a person can increase his or her mental powers substantially and turn them to practical results, how ordinary people can become extraordinary.

Centuries ago in Japan there lived a man who had devoted himself completely to kyudo, the Way of the bow. Early one evening he was walking in the mountains when suddenly he saw a flicker of movement in the shadows. It was a tiger, its back arched, ready to pounce. Without hesitation the archer nocked the arrow. Concentrating all his power in the shot, since it might be his last, he let the arrow fly. A direct hit, right in the head. Without stopping to examine the dead animal, the archer continued on his way.

The next day, though, he became curious and returned to the spot. But hard as he looked he could not find the dead animal. He was about to abandon his search when he saw his arrow, lodged in a huge boulder. It hadn’t been a tiger after all, but his concentration had been so intense and his shot so powerful that the arrow had been driven into solid rock.

From this incident came the famous maxim about concentration and power in any Way of life–business, athletics, the arts, everyday life, and more: “Ichinen iwa wo mo tosu:” “The focused mind can pierce through stone.” (From Fighting To Win: Samurai Techniques For Your Work and Life.)

One-pointed, stone-piercing concentration is the ability of you, the creator, to direct your attention exclusively on the challenges of the work at hand as they appear, and being able to prevent any stray, muddling, interfering thoughts that aren’t related to solving the creative problems confronting you.

Also from the samurai Way , applicable to the Way of the creator, is the story of a contest:

The greatest archers in the land were invited to the contest. A fish was put up on a pole a great distance away. Asked by the judge if they could see the fish, one by one the archers said they could. One last contestant stepped to the line.

“Can you see the fish?” asked the judge.

The archer replied, “I’m looking at its eye.”

This was the champion.

Learn to concentrate on the fish’s eye and you’ll often find success in creative work. You will produce more works, and the work’s quality will improve.

I proved to myself the benefits of concentration in another context when I was a bodybuilder. I said, “I’m going to devote myself to this and see what happens.” It is as much a craft with high standards of performance and traditions as acting, painting, and writing. For the body builder and the writer at work a single stray thought not belonging to the performance breaks concentration. A lift is wasted, an injury is possible. The writer loses that one thought that would have conveyed exactly what the text needed. I worked hard and concentrated totally on each separate lift and every repetition with remarkable results. I had put into practice the words of champion bodybuilder Arnold Schwarzenegger: “One lift with concentration is worth ten lifts without concentration.”

The first quality of the creator’s concentration is an alert, undivided, focused, attentive mind that has nothing left over for anything unnecessary, irrelevant, and inessential while you are creating. As much as possible you want your concentration to be uninterrupted while you work and to not be diverted from the task involved in creating, or divided for any reason. How does a creator work on developing an alert mind?

Preparation: You begin preparing your mind for the task of writing well before you sit down at the computer, on sculpting before you enter your studio. Skilled actors don’t wait until they get to the theatre, but prepare themselves for their first entrance on the stage while they are still at home. On the days they are to perform they don’t clutter their minds with all sorts of unimportant things that have nothing to do with playing their role. When they arrive at the theatre they may not stop to engage in idle chatter that takes their mind from their performance. When they are putting on their makeup in front of the mirror they are solving problems and finding inspirataion.

In the morning start the day by thinking of the novel you’re writing, or the painting, or the role you’ll play when the curtain goes up tonight, of what you want to have accomplished creatively when your work days ends. And think of it in the afternoon and before you go to bed.  Think of it when you drink coffee and brush your teeth. Think about it whenever you can. Scribble notes about it on napkins when you’re having lunch. You must be a novelist, actor, painter, etc., the whole day, not just an hour or two.

Harmful emotions like anxiety, fear, envy, discouragement, and self-doubt are threats to your concentration. So you must learn to concentrate on the task and forget the emotion.  As much as possible, put how you’re feeling out of the equation. Tell yourself your emotions are irrelevant at the moment; you’ll take care of them after work.

Take your mind off what you’re feeling. You can feel afraid to write, as many writers do, and still write, and you can still do what you doubt you can do if you don’t let the fear and doubt stop you from concentrating. And too, once you’re engrossed in creative work, however poorly you were feeling before, your mood almost always improves and becomes more positive, optimistic, hopeful, confident, even blissful.

While you’re working develop your attention so that no extraneous thoughts interfere with the work. Don’t worry, for instance, whether you’re at your best today or you aren’t, or think about what might happen if you succeed and produce a great work–the glory, the applause– or if you fail–or if you have the sniffles or would rather be making love. Don’t fret about bills or personal problems or what you’ll make for dinner. Again and again bring your mind back to the work because right now it is the most important thing.

It’s hard to change your concentration from low to high if the environment you’re working in isn’t comfortable. It may not be comfortable for me, but it has to be for you.  For example, I am very comfortable with chaos–not in my personal life, not at all, I crave tranquility there. But in my work room chaos is welcome. To me in chaos there is order. But my wife tsk-tsks, and says, “It amazes me that you can possibly work under these conditions.” To placate her I say, “You’re right. I have to organize this mess.”  But between you and me I have no intention of ever organizing the mess.

You have to find an environment in which you can flourish, or create one. Many writers work in restaurants. I see them in the Starbuck’s down the street. Nobel Prize winner Ernest Hemingway wrote in cafes and was extremely productive. But home is best for me. F. Scott Fitzgerald didn’t have a comfortable work setting because of his wife Zelda’s constant interference.  She would take Scott away from his work to have fun and play pranks. One night she collected all the women’s purses at a party and boiled them. Whatever the place you work you should be able to go to it, focus, and be productive.

A perfect work place and good production routines and rituals are to be treasured. Simply by being there ready to work repetitively the same time day after day after day the power of good habits goes into effect. Some creators’ work habits will strike you as strange.  The poet H.D. (Hilda Doolittle) splashed ink on her clothes to give her a feeling of freedom when she wrote, and poet A.E. Housman rarely wrote unless he was sick.

For high quality, uninterrupted work to happen, not all, but most creators need isolation and solitude. To get rid of distractions some creative people eliminate newspapers, TV, clocks, telephone calls, emails, face book, and unnecessary conversation. One study showed that following an interruption for an email or phone call people were so distracted that 40% of the time they didn’t get back to work, but moved on to something else. If you quit 40% of the time, how long will it take you to finish your novel?

All your mental powers should be aimed in only one direction–toward the work at hand. But your creator’s imagination is always boiling over with ideas and has a playful impulse to lead you astray. To keep out even the smallest distracting sounds, the wonderful and eccentric Marcel Proust who was so focused on writing that he never learned how to open a window or boil a kettle of water wrote in a cork-lined sound-proof bedroom. “If you’re silent for a long time, people just arrive in your mind” (novelist Alice Walker). But some creators concentrate best when it’s noisy:–a jack hammer under their window, a baby shrieking. Which do you prefer, silence or noise?

 

I’m planning to publish Part Two of “Total Concentration: The Heart and Soul of Creative Work” in a few weeks. I hope you’ll look at it. It answers an important question every creator asks: “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? (Creative work is often tedious.) You still have to solve the problem.  What can you do?”

 

© 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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Crucial Inner Skills for Writers and Artists 

I don’t know if you’ve noticed but my blog posts are not like the blog posts of other people.  Obviously, though, some of you notice the difference. You send me blog comments and tweets indicating that you do. I want to thank you because it’s gratifying to know that one’s ideas are of value to the people you’re trying to reach.

For example, when it started getting out that I was talking about ideas that were different, I was happy to receive an email from novelist Josephine Rose letting me know she thought I was on the right track: “David, it’s great that you focus on the practical aspects of being a writer. If I had read you 10 years ago I think I would have said, ‘Nah, it’s all about talent. Either you can write or you can’t.’ Now I know this is an error…Thank you for these wonderful reminders.”

I write about creators’ need for confidence because confidence may be the most important factor of all to the creator. Confidence touches every aspect of the creator’s being—whether you think about your prospects positively or in a self-defeating way, how strongly you motivate yourself, whether you will persist in the face of adversity and setbacks, your susceptibility to discouragement, and the changes you will be able to make in your life.

Believe in yourself. The higher your faith in yourself, the higher you’ll set your creative goals and the stronger your commitment to achieving them will be. You’ll feel serene, for now you can make full, free use of all your talents.

Failure can actually increase your confidence. If you experience only easy successes, you come to expect quick and easy results, and your sense of confidence is easily undermined if you fail. Setbacks and failures serve a useful purpose by teaching that success usually requires confident effort sustained over time.

Once you become convinced that you have what it takes to succeed you quickly rebound from failures. By sticking it out through tough times, you come out on the far side of failures with even greater confidence. If you’re not failing some of the time one thing is true:  you’re not aiming high enough.

I write about human qualities that distinguish one creative person from another such as strength (suggesting that it’s worth a creator starting every work day by 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 moods, and ideal writing moods.

And the creator’s experience of ecstasy, and the need for stamina, which I call “the creative person’s inner power.” And self-resilience, enthusiasm, self-motivation, energy and your capacity for work, sacrificing for the sake of your craft, boldness, doggedness, adaptability, endurance, resilience, maintaining at all times the highest hope of succeeding, and other spiritual dimensions of your personality.

II

My interest in the inner dimensions of creative people springs from the work I did on my international best-selling print book (now an ebook), Fighting To Win: Samurai Techniques for Your Work and Life, which is now considered a classic. In that book I said that a frightening 70% of the blocks–obstacles–impediments to fulfillment that a person encounters are inside them. Something is wrong and needs mending in their minds and spirits.

All people need to be inspired to overcome obstacles and shown strategies for accomplishing that. That’s what I set myself to accomplishing in Fighting to Win.

The main inner blocks people anywhere on earth and especially people trying hard to do creative work are encountering right now as they set out to work today are these:

Fear

Being Afraid to Take Risks

Thinking Too Much of What Could Go Wrong

Doubting Yourself

Hesitating

You will see that you’re no stranger to blocks.

So a person’s inner territory has been my main concern for more than thirty years–in fact probably much longer than that.

III

Rarely will you find me writing anything about how to write or paint or act or dance because that’s 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, or composition, or perspective except to say I recognize them when I see them. I’m a great lover of art. And I’m grateful to many accomplished artists who have allowed me to include their work in my posts. I will talk about what makes great artists tick and why they’re so special. And I will say that creators who do great work are great in themselves.

I know enough about writing to apply careful technique to my own writing and 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 anything dealing with technique and mechanics.

There are two reasons for that. First, technical skills aren’t my main interest. My main interest is the psychology of creative people and how to teach them and support and inspire them to reach tangible success and personal fulfillment.

Also, there are already thousands of books, magazines, web sites, classes, and blogs for learning technique and mechanics. People have been writing books giving advice on how to write better for 2,000 years. The fact that information is so easily accessible is one reason why so many creators are autodidacts and have taught themselves their craft.

IV

In contrast, almost nothing has been written about what I write about and what the book I’m finishing up after 3½ years of researching and writing is about.  I’m convinced that inside, in your mind, in your gut, in your spirit, in your highest and dearest aspirations will be found the magical difference between adequate creators and great ones.

Creators who have technical skills, but lack these spiritual inner qualities and the ability to overcome internal obstacles will not go as far as they could. Or may not go far at all. Or they may give up and quit long before they would have reached their peak performance. Isn’t it sad to think of the thousands of gifted writers, painters, and performers who will quit this year, telling a spouse or a friend, “I’ve had enough”?

Who you are—what you are made of, what you know, what constitutes you, what you stand for and dream of—cannot be separated from your strange, puzzling creative self.

© 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:

www.mentorcoach.com/rogers

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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

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

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Confidence of Creator Champions

I

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

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

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

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

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

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

II

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

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

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

Supreme self-confidence

An empowering concept of themselves

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

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

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

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

 

© 2016 David J. Rogers

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

www.mentorcoach.com/rogers

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

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The Perfect Creative Personality

The Perfect Creator Is Bold

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

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

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

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

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

 

The Perfect Creator Is Sincere and Has Integrity

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

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

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

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

 

The Perfect Creator Is Fearless

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

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

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

I ask myself, “What am I afraid of?”

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

Each time I visited a painter friend I saw the same unfinished painting on the easel. Nothing about it changed month after month. Not a single new brush stroke touched the canvas. Then she moved away and I didn’t see her for a number of years.  When we got together again I asked, “Whatever happened to that green pastel that was on your easel so long?”

She said, “I never finished it.”

I said, “You were afraid.”

She said, “I was terrified of it.”

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

janet self protrait3

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

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

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

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

 

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

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

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

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

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

 

© 2016 David J. Rogers

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

www.mentorcoach.com/rogers

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

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Be a Quiet Hero

“When something rotten like this happens you have no choice. You start to be really alive, or you start to die. That’s all” (James Agee).

Miche Watkins 1

“Should I Stay or Should I Go” by Miche Watkins http://www.michewatkins.com/

Has there ever been a person in all of history who hasn’t suffered?  A thing always alternates with its opposite. On the one hand we fall in love. On the other hand at some time our hearts are broken. Maybe more than once. There’s a time to be born and a time to die, a time to be healthy and a time to be sick. A time to succeed, a time to fail. A time to win and a time to lose. Joy comes into your life, and then sorrow arrives, at times with what seems an unbearable weight.

Then we must remake ourselves as heroes. Most of us have neglected the necessity of heroism in our daily lives. We think of heroism as an attribute solely of soldiers, adventurers, mountaineers, first responders, and the like–people who perform great dramatic deeds. Heroes take dark and dangerous journeys. They transform themselves into something that matters and makes a difference by overcoming trials and ordeals.

We have our own journeys and trials, and our own deeds to perform, which, though small, still have a tinge of greatness about them. We can be heroes every day, even with regard to small things, and being heroic in small everyday things, we can prepare ourselves for being heroic when misfortunes and disappointments strike. We forget almost everyone else, but the quiet heroes we’ve known in our lives are the people we will never forget.

Recently I attended a wheelchair basketball game. The players in wheelchairs passed the ball, took shots, got back on defense, scored, and worked hard. And wheelchairs-79604_640they laughed and the spectators cheered for them. When they collided and their chair was knocked over they righted it and settled back into the game. They were disabled and would never walk again. But they loved playing basketball and refused to stop playing just because of their disability. They were heroes. They never gave in. Some limitations we will never be able to change. But we can still refuse to be stopped by them, can still overcome them. The path to our major life purposes and fulfillment almost never lies in a straight line.

Many experts and music lovers consider Beethoven the greatest composer. He became aware that he was losing what he called his “noblest faculty,” his hearing, at the age of twenty-eight. Eventually he was completely deaf. He wrote, “I have avoided almost all social gatherings because it is impossible for me to say to people: I am deaf.” His battle with himself in facing up to the loss of that sense that should have been more acute in a composer than in others, and conquering it by continuing to live and work in spite of it is to be heard in the power and grandeur of the music he wrote, but could not hear.

At times living in a world without sound he was driven to despair and thoughts of suicide. But his commitment to his music kept him alive: “I would have ended my life. It was only my art that held me back. Ah, it seemed to me beethoven-1296374_640impossible to leave the world until I had brought forth all that I felt was in me.” That was his greatest triumph. When with all his strength and courage he had been reduced to despair and his deafness had cut him off from other people and driven him to terrible loneliness, he reached a turning point. He accepted deafness as a necessary condition of his life, and continued working in a frenzy in spite of it. He didn’t surrender to his suffering, but found in it the power to endure. “I am resolved, “he wrote, “to rise superior to every obstacle…I will take fate by the throat; it shall not wholly overcome me. Oh, it is so beautiful to live.” And the music this hero of the arts produced while totally deaf and suffering was magnificent.

Often the difference between a person who overcomes great obstacles and one who doesn’t isn’t that one is more intelligent than the other, or more gifted, or physically stronger–those things don’t matter very much to the everyday hero. But the one who has a powerful inner strength that is like a burning flame that nothing will ever be able to extinguish.  Even the meek can become heroes. There are situations every day that the timid and downtrodden rise up to meet.

You pass heroes every day on the street without realizing it. You glance at them, but don’t really see them. Who knows what they’re going through right walking-69708_640then as you look at them or how brave they’re being? You’re in a meeting and someone stands up and firmly says what everyone present knows is true but lacks the gumption to say. There is a hero. Whenever you face up to what you would rather hide from or ignore, you’re a quiet, unheralded hero. Homemakers are heroes at times, and at times workers are heroes, and a little child who is afraid of going to school but goes anyway is a hero. To face the truth about ourselves, to own up to our imperfections, takes a quiet and unobtrusive heroism. To lead our lives in an ethical way we must be heroes.

There come certain critical moments in your life when you’re at a crossroad: to be courageous or to be cowardly.  The moment of courage is the moment you plunge straight ahead with dignity and strength in spite of fears, ordeals, and adversities. At that point you transform your ordeal into a new power. Courage is what we do about our fears.

There’s no more important word in your language and mine than courage. You need courage even to love. The English word “courage” is from the Latin cor and the French word coeur“ heart.”  Courage is a thing of the heart.  It means never surrendering, never giving in, never giving up whether you’re in a hospital bed, or facing a devastating problem, or are discouraged. Whenever misfortune knocks you down, you get up. Your mind tells you that after failing three or four times you’d better give up. But your heart tells you that you must get up one more time. You know you will because your heart tells you that you will. You are knocked down seven times, so of course you get up eight.  It’s easy to keep going when nothing stands in your way. But when nothing stands in your way the prize at the end is usually nothing much to speak of.

We have to achieve our destiny whatever our circumstances. We all know at least one person who despite failed health or despite other misfortunes left his/her mark more decisively than others suffering under virtually no hardships and in perfect health.  The chief characteristic of Beethoven’s attitude toward life, and of courageous people today, is the learning that some suffering can’t be avoided. And in the realization of the heroism of continuing bravely on and reaching their purposes in spite of every obstacle.

We should let go of fear and self-pity and maintain the confidence that most things will turn out well after all. No matter what, we have to do the best we can, never losing faith in ourselves and the belief that life is more on our side than against us. In this life as it really is and not as we wish it were, something must always be left to chance.

But we have to go on go on living as well as we can, have to function in any case. If we can’t plow our way through hardships, limitations, and setbacks, we tree-240802_640can find ways to go around them and reach our purposes by other routes. We should save ourselves the unnecessary pain that comes from wishing unchangeable things to be any different than they are. There are at least a dozen things you regret and bemoan you did in your life, and many things that have happened to you that you wish hadn’t. But you can’t change them now and you have to go on living fruitfully with zest nevertheless.

When you’re brave you grow in stature. You’re a remarkable human being. You’re someone to take note of. Someone to admire. All people who stand up to misfortune unflinchingly are heroes. The misfortune has come uninvited and is unwanted. We would rather not confront it. But there it is, large as life or larger than life, and if we’re everyday heroes we face up to it. Everyday heroism requires an indestructible faith that if you stay psychologically and spiritually strong and have determination and persistence that can’t be exhausted, you will come out whole on the other side of this misfortune, stronger than you were before misfortune struck.

© 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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Filed under Blocks to Action, Conquering Blocks, Courage, Heroes, Inner Skills, Overcoming Misfortune

Overcome Your Inner Blocks

“How easy it is to obliterate and wipe away every thought which is troublesome or unsuitable, and immediately to be in complete tranquility” (Roman Emperor Marcus Aurelius).

I’m best known for my book Fighting to Win: Samurai Techniques for Your Work and Life. In it I point out that the majority of our problems are not caused by anything outside us out there in the world as most people seem to believe, but by our own inner psychological blocks that it’s our lifelong job to overcome.

When painters are painting and writers are writing and actors acting—inventors inventing, sprinters sprinting–their mood almost always improves painting-1380016_640however poorly they were feeling before they started and whatever inner blocks they were facing. Why is that?  Because whatever they were thinking before, however dismal, however anxious or troubled, now they’re thinking, “At this moment I am doing what I love. I’m at my best.” And their mood brightens and blocks disappear from their mind. This example illustrates what happens to you and me many times every day.

  1. Something happens to you–a situation.
  2. You feel something about it–an emotion.

But something is missing. Something happens between the situation and the emotion. What is it? YOU THINK. You form an opinion of the situation.

So it really works like this:

  1. There’s a situation.
  2. You think, forming an opinion of the situation.
  3. You feel an emotion.

Emotions don’t just happen willy-nilly and they aren’t caused by situations. They’re caused by your reactions to situations, by your opinion of situations. One person jumps at the opportunity to write an important essay, enjoys writing, is very good at writing, and is thrilled about it. Another dreads it and is afraid she won’t do a good job. Objectively the situation– writing an essay– is the same for both. But their opinions are very different. And because they are, the emotions they feel are very different. One is confident and happy. But the other is up against an inner psychological block.  For him the situation is fraught with danger:

The situation: writing an important essay.

His opinion: “I’m afraid I’ll do a bad job.”

His opinion results in blocks: self-doubt and the fear of failing.

The transition from situation to emotion is a quick leap. It occurs instantaneously. There doesn’t seem to be any middle stage at all. But if you could replay your thoughts and slow them down, you’d find them interpreting the situation, resulting in an emotion. When Wally is cut off in traffic he gets very angry and pounds the steering wheel. But his wife sitting next to him doesn’t get mad at all. You look at her and it’s as if absolutely nothing has happened. They are both in the same car that has been cut off, but he thinks, “That bastard. Who does he think he is?” and she thinks, “He’s probably in a hurry to get home and see his family.” Wally’s mad and has lost his composure. His heart rate is soaring. His wife is settled and calm.

Almost invariably whenever the same thing happens again we think the same things about it. That’s how we create the same inner blocks again and again. We get stuck in emotional ruts because our thoughts are in a rut. We’re in the habit of interpreting the situation the same way, so much so that we think we have to feel that way when in reality we don’t.

The insight that emotions are not in what happens to us but in our opinions is the basis of cognitive psychology. But there’s nothing new about the idea. It appeared in the third century B.C. in the Buddhist Dhammapada: All you are is the result of what you’ve thought. And it was the cornerstone of Stoic philosophy of classical Greece of 2,500 years ago.

There were two great Stoic philosophers, Marcus Aurelius, an emperor, and Epictetus, a slave. Epictetus wrote, “Men are disturbed not by things that happen, but by their opinions of the things that happen.” In his Meditations Aurelius wrote, “It is in our power to refrain from any opinion about things and not to be disturbed in our souls; for things in themselves have no natural power to force our judgments;” and “Today I have got out of all trouble, or rather I have cast out all trouble, for it is not outside, but within, in my opinions,” and, “Consider that everything is opinion, and opinion is in your power.” Philosopher/ theologian Martin Buber wrote, “Whatever one thinks, therein one is, one’s soul is wholly and utterly in what one thinks.”

What you think is both a source of inner psychological blocks and a way of pensive-female-580611_640conquering them. We are sometimes victims and sometimes beneficiaries of our thoughts. They can be our jailers or our liberators. You have the ability to completely change the contents of your mind.

It’s one short step from “I feel what I think” to, “Since what I think determines how I feel, I can change how I feel by changing what I think.” When you consciously change what you think in order to change what you feel, you aren’t denying reality as it is–you’ve still been cut off in traffic, or you still have an essay to write. No, you simply reinterpret reality. You make the choice to evaluate it differently than you normally do so that you feel differently than you normally do.

The only way to drive out an undesirable thought is by substituting a powerful desirable thought. By thinking differently, you can replace self-doubt and discouragement with self-confidence, fear with courage, boredom with interest, pessimism with optimism. You’re able to rid yourself of the thoughts that are creating inner blocks and substitute opposite thoughts that conquer them.

You can manufacture emotions at will. If you want to see how easy it is to create an emotion like fear, some time when you’re not afraid repeat fear-producing thoughts–“What if something terrible happens to me,” “What if I die,” or “What if my book is rejected by the publisher” or “He seemed cold; maybe he’s stopped loving me,” or “What if I’m never able to solve this problem?” Now dispel them by thinking courage-producing thoughts: “There’s absolutely nothing to be afraid of. I can deal with this” and keep repeating such thoughts.

Create Your Happiness by What You Choose to Think

What is happiness but a state of mind?  It doesn’t lie in situations. Situations are evaluated differently by different people. Parties make some people happy, but other people hate them. Some people find happiness working hard at their goals. But others don’t. Surely happiness isn’t in things, not even in great achievements. We can be accomplished and famous, and rich, beautiful, and gifted—and very unhappy. Or we can go about our everyday lives not particularly famous, not rich, nor beautiful, nor especially gifted, and find happiness every day.

That happiness can be cultivated by deliberately controlling what we think strikes some people as incredible. But not only can it be done; it’s one of the girl-358770_640only ways it can be. When you think happily your senses sharpen. You see, smell, taste, and hear better. And your memory improves. When we think happily and optimistically we are happy. We’re at liberty to choose to think happily any time we want, and whatever is happening outside us, at times in spite of what’s happening outside us. That’s what happy people do

A Crucial Strategy

  1. List the three inner blocks that trouble you most.
  2. Write out your thoughts that create the blocks. People who are trying to create something original are often discouraged. For the discouragement block you might write down–“I’ve tried so many times, and every time I couldn’t make it and I feel miserable about it. I’d be better off if I just stopped trying. I’m giving up.”
  3. Choose how you would like to feel, such as happy instead of unhappy, bold rather than cowardly; absorbed instead of bored, confident and not shy, etc. Write it down in sentence form.
  4. Write out more useful thoughts you will choose to think to defeat the blocks and create emotions you want: “When I face a problem, instead of thinking, ‘I’ll never be able to solve this,’ I’ll think, ‘I’m not going to let it get the better of me. I’ll just find a way to solve the problem that I haven’t thought of before.” Discouraged? Think, “I’ve found that no matter what it is, there is hardly anything I cannot do if I apply myself.” Afraid of failing? Write, “There’s no way I can’t succeed.”
  5. Rehearse using the thoughts you’ve written until they’re second nature. Say to yourself, “Whenever I’m running up against X block I’ll think…” Then practice thinking it.
  6. When the block appears think what you’ve written and create the emotions you want. The block will appear. But you’ll be prepared. You’ll think what you’ve written out and rehearsed.
  7. Be consistent. Make certain you think in the way you want every time the inner block appears. Selecting what you will think in order to conquer your blocks is one of the easiest things in the world NOT to do.

runner-802912_640It takes discipline to train yourself to run a marathon. It takes discipline to paint expertly or write expertly or act expertly. It takes discipline to train yourself to think a new way. What you need if you are to conquer a deeply entrenched inner block is the repetition of new thoughts. Mastery of anything takes repetition upon repetition upon repetition. If you do something a hundred times you should be good at it. Do it a thousand times and you’ll be better.

Four Reminders

  1. Remember that you have to change your opinions if you are to overcome inner blocks. You can always change your mind; can always change your opinions. And doing that, can always change your life.
  2. Think differently. If you’re accustomed to thinking in a way that creates inner blocks, develop new opposite thought habits. Inner blocks originate in your mind. They’re caused by thinking incorrectly. To conquer a self-doubt block repeat the thought, “I can do this thing. I will do it. I can do this thing. I will do it, “and take action. There’s a stubborn block standing in your way. To defeat it think over and over, “The best way out is always through.” Adversity strikes. Instead of letting it stop you, change your opinion. Think, “It’s only a temporary setback. I can overcome it if I keep moving forward in spite of it. Be strong.”
  3. Clarify what you really mean. Instead of blaming yourself with, “I didn’t get the commission for the painting. I’m a failure,” think, “What I really mean is that I wish I’d gotten the commission. But in no way does that make me a failure.” You’re giving a speech. You stumble over your words. Instead of, “I’m a lousy speaker” and losing confidence, stop yourself and say, “No, I’m not saying I’m a bad speaker or that I could never be a great speaker. All I’m saying is I’m human and like any human might do, I made a mistake. Big deal.”
  4. Be a fish. When your mind drifts back to your old blocks-producing ways of thinking, be a fish. Swish your tail, flick your fins, and change directions.

fish-582695_640

 

© 2016 David J. Rogers

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

www.mentorcoach.com/rogers

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

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15 Ways to Overcome Fear of Failure

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

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

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

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

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

 

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

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

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

 

© 2016 David J. Rogers

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

www.mentorcoach.com/rogers

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

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