Category Archives: Persistence

Why Do Writers, Painters, and Other Artists Bloom Late?

deep pink proteaAlthough talent in the arts most often shows itself early, because it takes so many years to develop their talent and become highly proficient in the arts, people who will become expert musicians, painters, performers, and writers can expect to be late bloomers. Artists who perform at a high level do not demonstrate remarkable talent in short order.  They are not usually in their twenties or thirties, but in their forties, fifties, and sixties. All spend many years developing the knowledge, attitudes, and skills that will eventually enable them to be recognized for their mastery. All arts involve learning form and the art’s devices, and the need for control, craft, revisions, and structure–time consuming efforts.  All begin by imitating existing techniques they have studied.

Harriet Doerr’s first novel was published when she was seventy three, and won the National Book Award.  Playwright George Bernard Shaw and novelists Sherwood Anderson and Joseph Conrad were famous late bloomers. American short story specialist Raymond Carver was too. Painters Henri Matisse, Paul Gauguin, and Grandma Moses bloomed late, as did composer Camille Saint Saens. Gauguin worked for years in the French stock market before quitting and turning to art, and Polish Conrad who would become the quintessential stylist in English, didn’t speak or write a word in English till he was in his twenties.

Gold color rose bloomA survey of 47 outstanding instrumentalists found that their ability was first noticed on average at the age of four years and nine months. Then they began a very long and arduous period of development of their talent. Pianists work for about seventeen years from their first formal lessons to their first international recognition, involving many thousands of hours of intense practice. The fastest in one study was twelve years, and the slowest took twenty-five years. In other fields you may even be an early bloomer, but in the arts if your expertise is to be at a high level of mastery, unless you are a Dylan Thomas, a rarity who was at his peak at nineteen, you had best avoid discouragement and expect to bloom late.

Trouble Getting Started: Two Examples from The Arts

Late Bloomers have trouble getting started, but once they decide what to do with their lives, there is no stopping them. Sometimes the very tardiness of their entering into a field is a powerful motivator to make up for lost time, “catching up” with people of equal age who started years sooner and often surpassing their accomplishments. They think,  “I have no time to waste anymore.” They buckle down, focusing, achieving, feeling surges of vitality which if they are in the arts they turn into paintings, novels, plays, movies, buildings and museums, and so on.

Green and purple flowersNovelist Raymond Chandler was fired from his high-paying executive job (chairman of five corporations at the same time) and found himself without an income. Luckily, he had a talent and became a writer, but not producing a first short story until the age of forty-four and his first novel at fifty-four. That book–The Big Sleep–was a success and spawned quickly many other works–many novels, short stories, essays, articles, and screen plays. Vincent van Gogh, a troubled soul, spent most of his life searching unsuccessfully for a field to work in,  trying this and that, believing that there was an appropriate occupation for everyone, including himself. He turned to a life of serious painting at thirty-three. In the brief five years remaining in his life his energy, which was almost superhuman and beyond belief, was ignited, and he produced three thousand works.

The Life Pattern of Late Bloomers

Pink lotus on purple backgroundWhen the majority of their friends and associates are settled in a career and life style, late bloomers are not. Late bloomers may eventually reach the height of their achievements and fulfillment which I call “their true destiny,” but later in life. Their lives fill us with optimism. They demonstrate that whatever your condition at present, whatever your age, a fulfilled life, even one you may not have  remotely anticipated, may await you.

To bloom is to reach your true destiny, to live intelligently, not stupidly, to come into your own, to find fulfillment. The discovery of your true destiny can come early in life, or in the middle, or late. It’s the bell curve: of those who bloom: a minority bloom early, the great majority bloom in their middle years, and a minority bloom in their sixties, seventies, or later. But some people never bloom because they don’t set their minds to.

The Sense of Constructing Yourself As You Go Along

Pink lotus on dark green backgroundIf you’re a late bloomer, you’ve made false starts. You haven’t peaked yet, haven’t reached your destiny yet, but you may be determined to bloom one day. Late bloomers are more willing than most to persevere and if need be to fail but try again and again until they reach a life they desire. If you are a late bloomer, more than most people you have the sense that you’re constructing yourself as you go along, even rejecting what other people may call golden opportunities if those opportunities don’t appear to lead you in the direction you desire most.

For example, I had published books before with good presses, starting in my mid-twenties, but my first important book with a major publisher (Doubleday) was published when I was forty-two. The next best seller was published three years later. Before I knew it I was making speeches about them to audiences of thousands in auditoriums across North America and in Europe. I have a flair for public speaking and present myself well, and was approached by an agent Red-orange poppy with little blue flowers and green grasswith the goal in mind for me to have a national television talk show. It was an excellent opportunity and would have paid extremely well. But my wife and I talked it over and I decided that what I wanted to do with my life above all else was simply to sit at a computer in my upstairs work room while my four children played noisily downstairs and my wife came up once in a while to say hello, and produce artful paragraphs that reflected my years of hard work and training.  To me that was blooming. I turned the opportunity down.  Late bloomers often make similar very difficult decisions while they are constructing themselves.

Late Blooming Is Problem-Solving

When people try to solve problems, the solutions arrived at toward the end of the solution-generating period are the best. The most effective problem-solvers tend not to accept as the solution the first or the first flurry of solutions that come to mind. Their thinking is, “This is a good-looking solution all right, but there may be better ones,” and they continue to work on solving the problem. They hold out for a better answer. This is called “deferred judgment” and requires that you live in ambiguity, possibly for a long time. But people in the arts have a higher tolerance for ambiguity than the great majority of people. It’s not far -fetched to view late bloomers as people who defer judgment for a period of time–even many years–living  patiently in ambiguity until finding a solution to the problem of living their life and reaching what is, for them, a more highly fulfilling existence that makes full use of their talents. If your life is not fulfilling, you know it. No one need tell you.

The Importance of Missions, Callings, and Occupations

Pink and purple anemoneMost people–possibly all–who find fulfillment later in life find it in a mission, calling, or vocation. You cannot be dissatisfied when you’re doing the work for which you feel you were brought into the world, a thought that consoled Raymond Carver through his alcoholic’s torturous life. Psychologist Charlotte Buhler was concerned with people finding fulfillment in a “task” as artists find in their art. She wrote, “We find our most complete fulfillment if we can be ourselves and do what we like to do while dedicating ourselves to a task we believe in. In this we transcend ourselves, but simultaneously we satisfy ourselves.”  George Bernard Shaw said, “This is the true joy in life, being used for a purpose recognized by yourself as a mighty one.”

 

Getting More Education and Training Is a Route Many Late Bloomers Follow

Late bloomers need more time to get settled. My son was a high-powered advertising salesman making a lot of money. He began to dread his work. He was unhappy because he felt he wasn’t doing anything meaningful. He wanted to work in a helping profession. He had been hit by a car and sustained serious injuries and underwent a long, painful recovery.  His friend was killed in that accident and my son was deeply affected. He felt a powerful need to apply himself to serving an important goal that went beyond his own self-interests. In his late thirties he went back to school and acquired a Master’s degree in social work. He now provides therapy to people who survive traumas as did he.

Red chrysanthemumsGoing back to school as a transition to another field is a strategy late bloomers find appealing, in essence ending one career and starting another.

Some Goals and Interests the Late Bloomer Just Does Not Forget

Or, you may set out again in pursuit of goals that were dear to you in the past and you’ve neglected, possibly for a long time. Especially determined people are more likely than most to find success by changing their lives in mid-stream, pursuing abandoned purposes and projects, resuming activities and interests that they have laid aside, sometimes many years earlier, but never stopped thinking about. Herbert guided tours through the North Woods before stopping to assess what he wanted. After asking himself hard questions about where his life was going he returned to his earlier interest in medicine. He went back to school and became an MD. Wally Amos was an unsuccessful Hollywood talent agent who found that he had always enjoyed most baking cookies. So later in life he opened the first store in what would grow into the Famous Amos Chocolate Chip business.

It Is Never Too Late To Become the Person You Are Supposed To Be

No matter your age or position in life– a seventy-three year old grandmother of ten, a middle-aged druggist, or a young clerk, housewife, or college student– you can always become the person you have the wherewithal to be. Because you haven’t bloomed yet doesn’t mean you won’t.  Your heights of satisfaction and accomplishments may be ahead of you. When you bloom isn’t the important thing. Blooming at all is.

Orange DahliaHave you bloomed?  If you haven’t what are you going to do about that? People who aren’t leading satisfactory lives haven’t bloomed at all, and many are trying to, but many   have never started trying, and just as many have given up. Better to start if you haven’t already, whatever your age or condition in life. You can always forget the past and start out again, making no excuses for starting out late.  Experiment, follow your instincts, and assess yourself and your feelings about your life. Are you going right or are you going wrong?

You can either search for fulfillment or flee from it. You can’t trade it for someone else’s fulfillment because theirs seems easier or more profitable or praiseworthy. Yours is yours. It stands in need of you. You are asked to fit yourself to it. It is given just as it is, just as the yellow sun and blue sky are given just as they are.

 

© 2021 David J. Rogers

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

Interview with David J. Rogers

 

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Filed under Artists, Becoming an Artist, Developing Talent, Human Potential and Achievement, Late Blooming, Persistence, The Writer's Path, Writers

The Swing of the Advantage  

I know this much about you: at one time or another your chances for a better life, once very high, changed and seemed dim. Your spirits plummeted because whatever advantage you once held had slipped away. On another day you regained the advantage. Then your spirits instantly soared, and you were the one thing you had always wished to be: happy.

The swing of the advantage–to you or away from you–is something that-occurs in every aspect of your life and mine from childhood through old age. The advantage is like aWoman swinging attennis racket on tennis court ball passing back and forth between you and life. No one ever holds the advantage all the time. The advantage can swing to you or away from you at any time. Sometimes you hold the advantage, and an ideal life and great achievements in your career or personal life seem so near you can touch them with your fingers. Then you suffer a setback, a crisis, or a major problem, and you’re driven down into the dark depths of discouragement. You have lost the advantage, and your need now is to get it back.

Then you shake off discouragement and take decisive action. Once you’re in action, opportunities appear like jewels you pick up off the ground. The advantage is yours once more, and a better life unfolds like the petals of a rose. Your dreams are no longer mere fantasies but facts that you now incorporate into your life You turn directions, changing into a new being. For example, the success you wanted was to publish a book. You work hard. Your book is published, and now the identity that will never leave you is yours: “published author.

swinging pendulum“The Swing of the Advantage” is a concept from my print best seller Fighting to Win: Samurai Techniques for Your Work and Life (now available as an eBook). From the twelfth through the nineteenth centuries Japanese samurai (bushi) were fighting men and women in service of a lord, a “daimyo.” They were the greatest warriors who ever lived, and based their expertise on physical, psychological, and Zen spiritual insights and techniques that they acquired through as demanding training as there has ever been in any discipline. Their skills were legendary. Fighting To Win prescribes their spiritual/psychological insights and adaptations of their techniques for overcoming obstacles to a productive and fulfilling life.

Samurai tactics never changed. They are a philosophy and life style–a “kamae,” a battle stance or posture,” a “Way.” They are “zan totsu“–which means “rushing straight ahead into action”  and “mo chih ch’u,” which is “going ahead confidently without hesitation.” The samurai were conditioned to confront, not avoid, difficulties, to embrace them, to race directly and swiftly to what you fear most. Were we to rush into our fear without hesitations many of our problems would be dispensed with quickly. When you approach your life and your work mo chih ch’u, fearlessly, your strength increases fourfold and you go straight to your goal.

Samurai were taught “Trust only movement” and “Test your armor, but only test the front” because you are not in action–in your everyday life, in your occupation and other pursuits–to run away and hide from “inner dragons.” Dragons are the sum total of all your fears, anxieties, and inhibitions. Seeking freedom from dragons, samurai “strike through the black silhouette of a dragon head with open mouthdragon’s mask.”

You can use this samurai concept of the swing of the advantage to gain victories. Like samurai you can face up to difficulties and rush to the attack—confronting and overcoming obstacles, not hesitating, not hanging back, but solving problems–dispensing with useless patterns  of thought and action that have led you from your goals rather than to them. Then you will be filled with the exhilarating surge of the powerful energy (“ki’) of a man or woman on the attack. You are not looking back, not fearful of facing up to what lies ahead in the fog of life, but committed in spirit and mind to the  action in front of you not tomorrow, but in this single fleeting moment of time, gaining back the swing of the advantage before this moment ends.

Let’s say you’re afraid to take a chance and the opportunity slips away. You’ve given up the advantage. But then you take the chance and succeed. You’ve seized the advantage back. Sometimes your diet is going well. But at other times you ravenously raid the cookie jar Once again fattening food has gained the advantage and your self-esteem and health are in jeopardy. But then you get a little angry and recommit yourself, and achieve your target weight. You have regained the advantage.

Prescriptionsseesaw with red seats

  • Recognize and be prepared for swings of the advantage–sometimes to you and other times away from you. Because you and I are alive, neither of us is a stranger to the swing of the advantage.
  • Make the loss of the advantage only a temporary impediment. Say to yourself, “Oops, there goes the advantage.” Then quickly, without stopping to bemoan your plight, use your determination, spirit, and decisive action to get it back. And when it swings back over to you–when you have solved a longstanding problem, for example, or overcome an obstacle that has stopped you for as long as you can remember–don’t stop to congratulate yourself. Don’t stop at all. When you’re gaining ground on a better life say, “You can’t escape me. I’m on your trail.” Just keep moving in the only direction that matters–forward toward your goals.
  • Don’t delude yourself into believing you have the advantage when you don’t. Life is to be looked at in one way–squarely in the eye–and a fool’s paradise is hell in disguise.
  • Maintain a powerful spirit–confident and daring–that cannot be stopped however far away from you the advantage has swung. It couldn’t matter less how often you’ve lost the advantage or how far away from you it swings, only that you have it when it matters most.

Application

wooden swing on a background of green grassIs there any area in your personal or professional life right now in which the advantage has swung away from you? What will you do to get the advantage back? Whatever it is, don’t delay. Run straight toward it zan totsu–boldly.

 

© 2020 David J. Rogers

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

Interview with David J. Rogers

 

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

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Filed under Confidence, Eastern Philosophy, Fighting to Win, Inner Skills, Overcoming Misfortune, Persistence, Psycho-Techniques

13 Questions to Ask When Your Artistic Career Is in a Rut

What could be more discouraging to a writer, painter, ballet dancer, actor, or composer who is striving to survive and wishes to excel in their craft than to realize that she’s not nearly as successful as she would like and may never be more successful than she has been in the past?  This post looks at the situation of a writer. But the ideas and approaches are just as useful for people in other arts.

Face of woman thhinkingAndrea, a friend—“Andy”–seemed to reach her peak when she had two short stories published in prestigious literary journals at twenty-four and a novel that sold moderately well at twenty-eight. She didn’t think then it would be her peak, but assumed it was a preview of other successes soon to come. But they haven’t come and she’s been wondering what’s wrong with her.

She’s frustrated and anxious because she knows—she can feel—that she has potentials in her that are waiting to be expressed. But there she is, at a standstill at the age of thirty-three  She asks herself privately what she won’t ask in public: “Is this as good as I’ll ever be, experiencing only those three successes?”

But she is not beaten. She hasn’t quit writing as she’s seen so many other once-hopeful writers do. She’ll try to find out what’s wrong and correct the problems she identifies. She’s already on the Car stuck in the snowpath to solving the problem by admitting she’s found herself on a performance plateau—in a performance rut.

She realizes that what she needs now are new ideas, new approaches. Being an intelligent woman, she begins problem-solving by trying to understand the problem. She’s a believer in cause-and-effect and starts with the effect: she’s stuck in the mud. She is not giving up trying to improve and achieve greater success as many writers would in her position. But she is not as successful as she would like to be.

She noodles the problem and takes a frank look at herself. She asks:

  1. Do I have the skills I’ll need to be the writer I want to be? If not, what specific skills should I develop and refine, and how can I acquire them? In each art there is a finite number of basic skills that the person MUST possess if they are to excel.
  2. Do I have sufficient knowledge of my art–making it, sustaining it, and marketing it? Over the long run, superior achievement depends on superior knowledge.
  3. Do I have enough talent, that recognizable flair that underlies a good creatives’ life and their every quality work?
  4. Am I working hard enough? If you study successful people in the arts you will almost always find that they were prodigious workers from the beginning of their careers to the end. Or am I working too hard and burning out (not getting enough sleep and relaxation)?
  5. What are the main goals I’m trying to reach? Are they the right goals and are they difficult as goals are supposed to be, or are they too difficult for me? Goals should be “moderately” difficult–not too easy and not impossibly hard. What exactly are my goals? Andy decides her main goal is not necessarily to “excel” and it is not to be “successful,” but to write as well as she’s able. She feels that if she does that, success will follow. A basic question she asks is: am I pursuing goals at all or am I feeling nervous and drifting?
  6. Am I powerfully motivated to succeed as an artist? Or have I lost my zest? If so, how can I get it back?
  7. Am I able to focus my attention on my work like a narrow beam of bright light or do I have too many irons in the fire? What can I eliminate?
  8. Am I one of the 15% action-oriented, decisive creatives who make up their mind, take the initiative, and make things happen, or one of the other 85% who delay, postpone, and wait for things to happen?
  9. How confident an artist am I, ranging from “not very confident” to ‘”exceptionally confident?” These are the indicators of success in the arts: a desire to succeed, skill, resilience, and confidence. Artists fail more because they lack confidence than because they lack skill.
  10. Am I getting specific, helpful, and honest feedback regularly? Have I made arrangements to do that?
  11. When I meet setbacks and disappointments, am I discouraged, or do I persevere? Do I sink my teeth into my objectives and never let go?
  12. Do I know how to overcome creative obstacles–am I good at analyzing problem and impediments in my way and finding solutions?
  13. Everyone needs encouragement, particularly when their career is dead in the water. Andy asks, whom will I turn to when I need encouragement?

Answering those questions helps Andy dig out of creative ruts she finds herself in from time to time. First thing, she sits down and compares her successful works with her current work and Pink shovel in grey dirtdecides they are different. The earlier work was simpler and more heart-felt and sincere. She  realizes that she has fallen into a trap of “showing off”–of trying to impress readers with what a good writer she is and how brilliant she is rather than in telling a story in a simple, direct, “Here’s my work, take it or leave it”  style.

Andy decides that a big problem usually in recent years has been poor motivation and a lack of confidence because she is so discouraged. She feels that she hasn’t lost her talent and that she is still a good writer and realizes that one or more successes will increase her confidence immensely.  Also, she’s not good at concentrating on work. She wastes a lot of time, including moping. She remembers reading a post I wrote about “programming” to increase productivity. She liked it and plans to re-read it and take steps to become a more efficient writer.

Andy feels that if her concentration improves and she absorbs herself in her work, she will become more excited about it, her motivation will climb, and she will complete more works. Her mother is Andy’s biggest supporter in times of disappointment and discouragement.  Her mother inspires her. Andy plans to talk to her more often.

Woman in aqua sweater writing in a bookShe also plans to read biographies and autobiographies of writers living and dead who will inspire her.

She is aware that one reason she hasn’t had successes recently is that she doesn’t submit enough of her work to magazines and publishers. She has become afraid of failure. Overcoming her fear and submitting more will increase her chances of being published, so she will do that too.

Thinking carefully about the answers to these 13 questions sets Andy on a path out of her rut and on to future successes. Perhaps these questions can be useful to you as well.

 

© 2020 David J. Rogers

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

Interview with David J. Rogers

 

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

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15 Strategies for Breaking the Bad Habit of Avoiding Work or Quitting Too Soon

Creative people begin projects with the goal of finishing them. No writer or artist has ever thought, “My goal is to quit this project when I’m halfway through.”  If you find you’re consistently not Jigsaw puzzle piecesfinishing, you’ve developed a bad habit and you’d better do something about it.

Creative work may be joyous. Yet it is sometimes tedious and unenjoyable.  It’s natural to prefer what’s easier. The easiest choice is not to work at all today.  But that usually results in feeling guilty and irresponsible. The works you may be devoting a good part of your life to never gets done.

Productivity is the creative’s main purpose—bringing all the training and talents into the act of producing finished works of the highest quality the artist is capable of at this time.

High-achieving creatives exert more energy from the start of a project and work steadily without long interruptions for a much longer period than the majority of creatives, often producing staggering amounts of their best work.

How do you break a habit like avoiding writing or painting or quitting before you should? There is only one way, as pointed out by the foremost American psychologist Willian James, and that is to Woman working at an easelstart another contrary, more fruitful habit. To break the habit of consistently not writing, you develop the habit of writing regularly. To combat the habit of quitting too soon, you make yourself not quit.

No one is saying it will be easy and that you will not encounter resistance. But you are not helpless. You’re an adult, and what is needed is a mature, adult, rational approach to production. Production is a necessity not only to increase artists’ volume of work, but to enhance their talent. The more work artists generate the better their skills become.

Here are 15 strategies to help you break the habit of avoiding work or quitting too soon:

  1. Keep your production goal in mind. If your goal is to work for an hour or to produce X number of words before you quit for the day, make yourself accountable. Don’t be satisfied with less. As you become accustomed to reaching your performance goals, your motivation will climb. It’s exciting to set a goal of writing 200 words a day and to write 250. And more exciting to write 275 or 300.
  2. Take regular breaks. Relax. Get up and stretch. Walk around. Artistic performance improves after rest periods. Even if you’re tempted to work straight through without a break, take one anyway. Even if you’re working for a long, sustained stretch of time (say four or more hours) work in short, intense, concentrated half-hour spurts, with short rest periods between spurts. That is the most efficient, healthiest, and most productive way to work.
  3. Set reasonable goals–moderately difficult–not too high or too low. And no goal you set should be beyond your current capabilities to achieve it.
  4. Get in the habit of saying, “Work is my friend. Idleness, lethargy, and avoiding work are not my friends. Work is my friend.”
  5. Ignore your past reactions. In the past you may have let yourself off the hook if you weren’t in the exact mood to stay with your work session’s goal. And maybe you were in the habit of not setting work goals at all. Don’t be a slave driver, but don’t let yourself off the hook so easily.

computer keyboardYou’re not a child or hedonist, a worshipper of permissiveness and pleasure who doesn’t have any will power. There are many writers who write not the traditional four or fewer hours daily, but put in eight hours a day, much longer than the majority, considering themselves no different than their parents who worked eight hours a day and the majority of the work force who work eight hours daily.

  1. Seize the first opportunity to break the old habit of avoiding/quitting and start the new. When you feel that first urge to lose your focus, that first, “I’ll put this off till tomorrow,” DON’T DO IT. Continue working. Be strong.
  2. Set aside time to be alone. For high quality uninterrupted work to happen, most creatives need isolation and solitude.

Texting, emails, and phone calls are subversive and can destroy creatives’ best work intentions. Whether you let yourself be delayed by interruptions or not is a reflection of your motivation and drive. Interruptions are one of the biggest enemies of creative thinking. Creatives with strong drive are able to persist steadily without interruption whereas poorly motivated creatives will interrupt their work more often and avoid working on it for long periods.

distorted clock facesIt takes longer to completely absorb yourself in an ambitious project than in an easier, less complicated one. And during that period, distractions seem to come up out of the ground. Any intrusion on the delicate world of a creative mind can make that world disappear. Every intrusion not only robs you of time, but also of the time it takes you to recover. If you set a goal of working a three-hour session and have three interruptions you may be busy for three hours but only do fifteen minutes of actual work. If you try to do four things simultaneously, you’ll probably only finish one, at most two.

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?

  1. Commit yourself totally. Artists will exert themselves and overcome impediments when they are on fire with the incomparable excitement of creating. It’s excitement or necessity or both, excitement over the production of a work or the necessity of overcoming obstacles to produce it—and the habit you’ve developed of working through impediments such as tiredness. Either you’re committed to writing or painting regularly or you’re not.
  2. woman sitting at the edge of waterDon’t let a lousy mood prevent you from working. When I’ve written about the effects of moods on your writing, I’ve shown that no matter how you feel before you start writing, once you get started your mood almost always improves and you feel good. You may begin with depression or sadness and end feeling elated.
  3. Start with success. Failure the first time you attempt to break an old habit of avoiding work or quitting too soon makes your commitment weaker. But success on the first attempt makes it more likely that you’ll try again. Be sure that the first day and first week you’re starting the new habits of working and not quitting you stay with it. If your goal is to work forty-five minutes do not work fewer than forty-five.
  4. Be consistent. Bad habits are incorrigible and don’t disappear without a fight. They have strength. They may have been a part of you for years. If you don’t win the battle with avoiding work or quitting too soon, your ability to replace the bad habit will soon disappear. You must not flinch from making the consistent effort.  But when you make no exceptions, the new habit settles into your personality and you become a highly efficient creative person.
  5. Motivate yourself to finish a project by having something better and very appealing to go on to after you finish this project. Don’t let yourself do B unless you finish A.
  6. Use positive affirmations and helpful self-talk: “I’m doing well. It’s taking shape. It’s becoming easier for me to begin difficult projects and to stick with them.”
  7. Make the act of not only starting work (which is easy) but finishing it (which is harder), become second nature. Pick the unfinished project or activity you find the most important to finish. Then when you finish that one project, pick the next one and finish it, paying no attention to anything else.
  8. Don’t quit. It’s very easy to quit. The majority of writers and artists eventually quit completely, but the artists you remember and talk about did not quit.

Over the course of your life you’ve learned to manage yourself and to do what is in your best self-interests. And if you are an artist, what is in your best self-interest is to choose work over idleness, Sculptor at work in studiowork that leads to the fulfillment of your gifts over the avoidance of work.

You can be strong. Our commitments falter when we are weak and self-indulgent. You are aiming to create art. If you’re working, you’re doing the right thing.  Most artists love to work.

© 2020 David J. Rogers

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

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Guidance for Reaching Success and Fulfillment in the Arts

If you are a regular reader of this blog, you know a primary interest of mine is in the inner skills needed to achieve success, especially for those in the arts. Even the most superb techniques of craft will take you only so far without additional skills. I’m talking about inner skills of the heart and spirit, including persistence, confidence, durability, patience, courage, vitality, intensity, flexibility, and so on. What follows are some insights into those inner skills.

Run Through the Tape

Why what I’m going to say now is true, no one has been able to figure out, but almost all people relax their efforts when they get close to achieving even their most important goals. They struggle and struggle and then seem to get lazy and disinterested. They are like a sprinter who runs fast to the tape and slows down or stops. But good coaches advise runners to “run through the tape.” Whatever you do, don’t relax just when you’re getting close to success, but persist in applying your utmost energy

Talk to Yourself: Increase Your Drive

When you’re facing difficulties or your motivation is faltering and you’re losing interest, talk to yourself about your need to work on and reach the goal. Whether you are an amateur or professional, a novice or expert, tell yourself that it’s important that you complete the tasks and get to the goals: “I’m feeling a little tired and want to quit for the day, but it’s important to me that I finish writing this article, so I will just continue working.”

Value Failure: Don’t Be Afraid of It

Why are you and I so afraid of failure? Many people live in terror of it and feel they must never fail, but always succeed, trailing clouds of glory. Yet failure can be a blessed life-changing event. If you experience only successes, you come to expect quick and easy results, and your sense of confidence is easily undermined if you suffer a setback. Setbacks and failures serve two useful purposes: Not only do they show us that we need to make changes and adjustments in order to gain the success we are seeking, but also they teach us that success usually requires confident, persistent, skilled, focused effort sustained over time. Once you set failures aside and become convinced that you have what it takes to succeed, you quickly rebound from failures. By having courage and sticking it out through tough times, you come out on the far side of failures with even greater confidence and commitment.

Seek Feedback, Not Crticism

The effect of feedback depends both on its source and on the way the creative person interprets it. If an expert judges the value of a beginner’s work based on the expert’s standards or tells the beginner what he or she should be doing, the feedback may be seen as controlling. That kind of feedback negatively affects creative performance. Useful feedback is empowering rather than controlling and doesn’t have a negative effect because it is viewed as useful information–not criticism. Feedback designed to evaluate reduces creativity and motivation, but informative feedback increases them. Both the person giving the feedback and the person receiving and interpreting it play a role in making it informative, and thus useful.

Get Feedback Addressed to Your Needs

Tell the person whose feedback you are seeking what you’re trying to accomplish and what kind of help you need from them. For example, an artist might ask what she can do to make a figure look more three-dimensional; a writer might ask for advice on making a dialog more natural. Feedback should always focus on the work–never on the artist.

Persist, Persist, and Persist

Persist until you finish your novel, sculpture or symphony. The work that matters to creative people is finished work. Persistence is an extraordinary attribute that the majority of people do not possess. It separates writers, painters, actors, ballerinas, composers, and performers who have long, successful careers from those who disappear. Potential combined with a focused and tenacious pursuit of important goals is the hallmark of high achievement in the arts.

What it takes to persist is simply to persist, “staying with it longer than you might.” If you persist, most other success factors will automatically fall into place. Persistence is that important.

Have Confidence

Confidence is needed if you are to be successful as an artist. Make it a point to never lose confidence. If you find yourself losing it, use affirming statements, such as “I can do this; I believe in myself.’

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 ones–that lead to worthwhile creative achievements. You’ll feel serene, for now you can make full, free use of all your talents. You won’t be tentative because you’ll have faith in your problem-solving abilities. You’ll rework problems or you’ll be decisive in abandoning what isn’t working.

Confidence touches every aspect of your being—whether you think about your prospects positively or in a self-defeating way, how strongly you motivate yourself, and whether you persist in the face of adversity and setbacks. It also reduces your susceptibility to discouragement, and enables you to make positive changes in your life.

Gertrude Stein was a writer with supreme confidence. She said to cubist sculptor Jacques Lipchitz, “Jacques, of course you don’t know too much about English literature, but beside Shakespeare and me, who do you think there is?” She said to her friend Pablo Picasso, “There are two geniuses in art today, you in painting and I in literature.

You’ll be very reluctant to give up if you are confident. You’ll make better use of your time because confidence and energy go together: one feeds the other. You will be electric with that rarest of human qualities—INTENSITY. When you face difficult tasks, if you are confident, the challenges will excite you rather than intimidate you. You’ll be more likely to seek help and assistance to improve your performance than the less confident artists or writers who are afraid that asking for help will expose their limitations.

Make Effort a High Value

The most successful people have high career aspirations, are confident, and generally attribute their success to high effort and failure to lack of effort.

They believe that creative success comes mainly from ability combined with hard work, probably over a long period of time. If they fail, the goal becomes even more attractive to them. They get hungrier to succeed. If things don’t turn out well, they don’t believe it’s because they aren’t capable, intelligent, or gifted. It is because they didn’t work hard enough. That brings them hope. Optimism is kept high because effort is a virtually limitless resource. You can always work harder.

Work Harder, Not Less Hard

How expertise is developed in a field is a hot subject these days, including expertise in the various arts. A number of scientific studies comparing novices with experts in most fields support the common sense notion that because of their great knowledge and skill, experts are able to accomplish with almost no effort what non-experts can accomplish only with difficulty or can’t accomplish at all. But don’t be deceived: experts work harder, not less hard than non-experts.

Think the World of Yourself, but Don’t Be Above Asking for Help

Creative people who are the most likely to ask for help are those with a high opinion of themselves, while those with a low opinion of themselves are the least likely, although they may be the most in need of it and would profit from it. Asking for help shows that you’re serious about reaching your goals. Useful feedback can help you evolve and reach high levels of satisfaction and achievement.

The helper may encourage and inspire you, and that may be what you need to push you toward the goal, or they may provide material support. T.S Eliot’s friends subsidized him till he established himself.  Vincent van Gogh’s brother Theo bankrolled him. So without reluctance say, “I would appreciate your help…” I have no problems asking for help, and all my life, I have almost always received the help I asked for and have tried never to deny it to someone who asked me for it.

Focus on Perfecting the Most Crucial Skills of Your Art

It is not possible to describe the complete, complex structure of knowledge and skills the experienced artist has acquired. It is a mistake to think that success in a creative field is attributable to one blessed aptitude such as awesome natural talent, or to three or four aptitudes. Success in the arts is attributable to a combination of many capabilities.  The most prominent creatives focus harder on developing to a high level the most needed skills of their field.  The best predictor of creative success isn’t just time spent working, but the kind of time–the amount of time devoted specifically to improving writing , painting, acting, etc. skills. And not just this skill or that skill, but the five or six specific skills which are the most essential if a person is to become excellent in that field.

For some artists the development time is short–almost immediate. Poets in particular, such as Dylan Thomas at nineteen, may reach high excellence with blinding speed.  For others success occurs only after years of perfecting their craft. Like athletes, artists develop at different rates.

Make Sure Your Skills Match Your Goals

Of special importance to writing, painting, composing and performing success is the state in which your skills perfectly match the goals you’re aiming to achieve. The skills are exactly what’s needed to reach the goals. That’s what you should aim for—a perfect match. It’s foolish to ask yourself to try accomplish objectives you don’t have the skills to achieve, and there’s no thrill accomplishing goals that don’t challenge you. So you must focus on identifying and developing the specific skills you need to accomplish the ends and the fulfillment you aspire to.

 

© 2019 David J. Rogers

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How Innovators Transform Art

Major new ideas, styles, or other innovations in the arts are not met with open arms, but with hostility.

Example of painting by Jackson Pollock

Jackson Pollock, Bluepoles

They are intended to transform an art which the innovator believes needs improvement, but these unprecedented innovations upset the status quo.

When Jackson Pollock splashed paint from cans onto a canvas and called that art, revolutionizing twentieth century fine arts with Action Painting, he was told cruelly, “You haven’t an ounce of talent and that’s not art. Why you’re the man who can’t even paint the human figure.  You were the worst in your class in art school. How can you call yourself an artist?”

Photo portrait of Ernest Hemingway

Ernest Hemingway

The clipped, adjective and adverb-free, dialogue-rich writing style Ernest Hemingway introduced in the mid-1920s was ridiculed as anti-literary by critics when it first appeared.  Igor Stravinsky’s compositions were written in the “Modern” mode featuring a new style of dissonance and discontinuity rather than neat formal structures and appealing tone qualities. His The Rite of Spring was so unconventional that it provoked a riot in the Paris concert hall when it was premiered.

Innovative artists merely want to be allowed what is (in the free world) a fundamental freedom of all the arts–the liberty to follow their imaginations into whatever nooks and crannies of the human mind and spirit they lead, and to express whatever they find there–which does not in itself seem dangerous or subversive or deserving of punishment. Yet like Pollock, Hemingway, and Stravinsky, artists that break away from the familiar-and widely-accepted are harassed and ridiculed. Poet and commentator on the creative process Brewster Ghiselin observed that “Every creative act overpasses the established order in some way.”

Painting by Manet of a woman with a parasol

Jeanne_(Spring) by Édouard Manet

Edouard Manet was vilified by critics and the public when he introduced Impressionism to the art world in 1863. This art, revolutionary at the time, was eventually to become the most popular and conventional style of all. Author Jonathan Swift whose work too was mocked said, “When a true genius appears in the world, you may know him by this sign: that the dunces are all in confederacy against him.”

 

 

 

Great Innovators May Shake the Art at Its Foundations.

In the Italian Renaissance Giotto di Bondone turned the art world inside out by showing that the subject of painting could be realistic and secular life. Figures in paintings could look like real people and not be angels and saints. Art was never the same after Giotto.

Cezanne Still Life with Apples

Still life with Apples by Cezanne

In the nineteenth century Paul Cezanne became the most important name since Giotto by changing the direction art had been following for seven hundred years into abstraction. Abstraction is the essence of Modern Art. Cezanne’s innovations made Pablo Picasso and Georges Braque feel free and led quickly to their innovations in creating Cubism, and also led then to numerous other abstract innovative schools and movements in modern art one after another. Art was never the same after Cezanne.

 

The Innovator’s Need for Confidence

Original, non-traditional artists must have confidence in themselves and their work to bolster themselves against the negativity they will meet.  Confidence touches every aspect of a person’s being–whether artists think about their prospects positively or in a  self-defeating way, how strongly they motivate themselves, whether they will persist in response to adversity and setbacks, their susceptibility to discouragement and other impediments, and whether they will be able to make necessary changes in their lives. They must be steadfast and not let criticism against  them and their work stop up the flow of their creativity which should always, under all Water flowing in a riverconditions, flow freely, river-like,  unstopped, unaffected by any attack.  Innovator’s confidence, like their imaginations, must be supreme.

If you are a creative in the arts, judgments are being made about the quality of your work and your skills at every turn: Do you have what it takes? Are you any good? Should I care about your work, or should I ignore it?  You must be prepared for criticism that makes you uncomfortable and perhaps makes you doubt yourself and your talent.

English writer Rudyard Kipling would go on to establish himself as a master stylist 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.”  But neither Kipling nor Nabokov was deterred.

If there’s one thing famous artists, writers, actors, and other creatives will tell you, it is that you work best and are most powerfully motivated to create and will overcome almost impossible obstacles when you’re not thinking of anyone’s approval but your own. Such a confident attitude gives you backbone and courage. Pugnacious Patti McNair warned editors, “Get your mitts offa my story.” English novelist Graham Greene put a note on the title page of a manuscript, “Please do not change any of Mr. Greene’s punctuation or spelling.” When Greene’s publisher expressed doubt about a book’s title, Greene sent a cable that read: EASIER TO CHANGE PUBLSIHER THAN TITLE. GREENE.”

 

The Art’s Absorption of the Innovation

Girl With a Watering Can by Renoir

The process of the art’s absorption of the innovation begins with experimentation by artists of a new technique. The public and critics don’t like the technique and condemn it. If it has promise there is a period of adjustment and the new technique is then absorbed into the field. The public changes its opinion and finds the technique appealing. The new technique becomes prestigious and is widely imitated.

The most useful and appealing new styles, techniques, and innovations catch on and the once-abused innovator is now celebrated: has genius, has something new to say, is worth looking at.  The popularity of the new style sets the fashion for plays, novels, songs, movies, etc. If a new style or school transforms an art and skill in a major way, it is likely to be incorporated in the field almost immediately.

Pollock’s Action Painting, the works of Stravinsky, “The Hemingway style,” and philosophies of Giotto and Cezanne overwhelmed the art scene because artists could see the value of these new approaches and the public began to appreciate them. The techniques of writing Hemingway invented became the most popular way to write in the world. The citation of the 1950 Nobel Prize Hemingway received singled out his powerful, style-forming mastery of the art of modern narration.” There is hardly a writer even almost one hundred years later who hasn’t studied it and knowingly or unknowingly been influenced by it.

Impressionism is the best loved painting still today. Within a few years the Impressionism Manet started came to enrich not only the painting of artists such as August  Renoir,  Claude Monet, Mary Cassatt, and others, but also took shape in other artistic fields–in literature in the impressionism of Stephen Crane and

Painting of a woman and child by Mary Cassatt

Painting by Mary Cassatt

Joseph Conrad, in music by impressionistic composers Claude Debussy and Maurice Ravel, in film, acting, and other arts.

Jackson Pollock is considered one of the twentieth century’s luminary painters, Stravinsky one of the greatest composers, and Giotto, Cezanne, Manet, Picasso, and Braque innovative pioneers who are owed a great deal by artists today, many of whom are producing beautiful works of art that would not have been possible had innovators not had the notion of attempting a kind of work that was new and unprecedented that they found alluring and could not resist.

 

© 2019 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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Artists and Their Love of Work

To the Artist Work Is Not an Obstacle, but a Gift

Artists have about fifty qualities that fit perfectly together to make them best suited to be artists rather than engaging in other occupations. One of those qualities is their love of and attachment to work. The majority of people do not like to work, consider work a burden, and would rather not work, but seek leisure and rest.  But most writers, painters, actors, and ballet dancers who will become known vary from that norm.

Creative people do not avoid work, but absorb themselves in it, even though the work of a recognizably accomplished artist is difficult, extremely hard to master, and taxing.  What drives them to the easel or keyboard every possible day is the joy of working and a desire for creative fulfillment, a special state of being that lies at the far end of hard work that evades most people.

Painting of human figures in shades of brown

The Turning of Backs by Janet Weight Reed (Circa 1984)

In The Creative Process Brewster Ghiselin states that artists and thinkers create the structure of their mental lives by means of their works. C. G. Jung said, “The work in process becomes the poet’s fate.” The work–the painting, novel, or musical composition–must be finished [half-finished doesn’t count] if the artist is to be satisfied because “it is only as the creative work is done that the meaning of the creative effort can appear and the development of the artist brought about by it is attained.”

William Faulkner, author of thirteen novels and scores of short stories, said that “the only thing a man can do for eight hours a day is work. He can’t eat for eight hours; he can’t drink for eight hours; he can’t make love for eight hours. The only thing a man can do for eight hours is work. ” To the artist work isn’t an obstacle, but a gift, a challenge not to be avoided, but to be embraced happily.

Faulkner’s secret was to stop looking at the clock. He wrote, “Clocks slay time… time is dead as long as it is being clicked off by little wheels; only when the clock stops does time come to life.” Staring at the clock never gets the artist’s work done.

Vincent van Gogh talks about the agonies artists feel when they are unable to perform artists’ work, his feelings then of being imprisoned in “an …utterly horrible, horrible cage.” Work is so essential to artists’ sense of wholeness that not being able to work at an artist’s role in van Gogh’s judgment reduces artists to a state of “nothingness” and uselessness.

Oil on canvas with symbolic images

Symbolic Self Portrait by Janet Weight Reed (Circa 1990)

When men and women commit to a serious artist’s life they introduce into their existence the most demanding effort and emotional upheavals generally they will have ever known. They might have been stevedore longshoremen on the docks of New York, but will never know days of exhaustion like this: “Work every day till your [sic] so pooped about all the exercise you can face is reading the papers” (Ernest Hemingway). Poet Emily Dickinson said that if she felt physically as if the top of her head was taken off, she knew that was poetry

Artists begin each day with the goal of working hard. I have been laid up with bad colds for weeks, unable to work, and it has been frustrating and truly painful for me when all I want is to get back to writing my book.

Artists are almost always bent on working hard: “Work is the law. Like iron that lying idle degenerates into a mass of useless rust, like water that in an unruffled pool sickens stagnates into a stagnant and corrupt state, so without action the spirit of men turns to a dead thing, loses its force, ceases prompting us to leave some trace of ourselves on this earth” (Leonardo da Vinci).

Photograph of the installation of three 18ft hanging mobiles

Photographed during the installation of three 18ft hanging mobiles commissioned for an architects building in Pa. USA Janet Weight Reed

Even striving to sew together an artist’s life is daunting: “The sheer labor of preparing technically for creative work, consciously acquiring the requisite knowledge of medium and skill in its use is extensive and arduous enough to repel many from achievement” (Brewster Ghiselin).  “From the hard work of men are born…the fidelity to right practice which makes great craftsmen…[and] the devotion to a calling” (Joseph Conrad).

Every serious writer can identify with Flaubert’s “I have written no more than 25 pages in all in six weeks…I have gone over them so much, recopied them, changed them, handled them, that for the time being I can’t make head or tail of them.”

To persist like that takes drive and commitment that’s extraordinary. While you might be able to do that because you’re a writer and you know what’s needed, almost no one you know, from your brother-in-law to your auto mechanic, can imagine doing it voluntarily because they’re not artists–those individuals who think nothing of it.

 

The “Big Two” of Focus and Energy Lead to Artistic Success

Artists are exceptionally complex thinking and feeling beings who by the grace of nature possess the two main qualities leading to success whatever the field: intense focus and accompanying extraordinary quantities of physical and spiritual energy–Focus and Energy.

Many of the greatest artists and writers have an overpowering urge to produce specific works and have labored astronomically long hours for many years, frequently with no vacations to speak of because there was nothing they would rather do than their work—an unheard of 60 hours, 70 hours, 80 hours every week.

Watercolor of three water birds taking flight

Rapid watercolour capturing movement. Janet Weight Reed (recent work)

Twentieth century inventor and visionary Buckminster Fuller worked in a frenzy, concluding his work days only when overwhelmed by exhaustion. Honore de Balzac wrote fifteen hours a day for twenty years, and to fuel his energy was in the habit of drinking at least fifty cups of strong coffee every day—so much so that coffee poisoning was one of the causes of his death.  Focus and energy are why artists can produce tremendous amounts of work, often four, six, ten times what less focused and energetic people produce.

Poet John Milton said that some people “scorn delights for more laborious lives” and asked, “What hath night to do with sleep?” The tremendous number of hours high achieving writers, sculptors, and ballet dancers are able to work may account for their ability to produce work after work at breakneck speed.

Another reason for such speed is because after a certain number of years of constant practice, producing works becomes automatic for artists. All the skills they need are intact and functioning at extremely high levels, and inspiration comes to them spontaneously and involuntarily immediately and without strain, like wine flowing out of a cask, when they sit down to type at their computer or stand facing an easel with brush in hand,

The pace you work at is as individual as DNA.  John Irving says, “I write all my drafts by hand. It’s the right speed for me—slow.” Erle Stanley Gardner was different. He once worked on seven novels simultaneously, dictating 10,000 words in a day, and was the world’s fastest writer. And he was also a lawyer.

Artist painting a portrait while another artist paints her

Portrait demonstration in Paris. Janet Weight Reed

Why is it that producing a creative work is often so much more painful than the envious non-creator can imagine? French novelist Gustave Flaubert wrote a friend, “You have no notion what it is to sit out an entire day with your head between your hands beating your unfortunate brains for a word.”

At times the novelist, essayist, poet, or dramatist writes night and day, then executes revision upon revision. Kurt Vonnegut said that writing allows even a stupid person to seem halfway intelligent if only they write the same thought over and over again, improving it just a little each time. Although writing is sometimes grueling, tedious, boring, and very difficult, few other things matter as much to writers.

The act of producing art–so liberating to the artist–may also involve emotional suffering.  Julian Green wrote, “if only people knew what lies at the heart of my novels. What a tumult of desires these carefully written pages conceal! I sometimes have a loathing for the furious cravings that give me no peace except when I am writing.”

If you are to succeed in a noteworthy way as an artist you must have the ability to focus intensely for extended periods of time.  Creative people often learn at an early age that they will achieve more if they focus their efforts on one area rather than dividing them among a variety of pursuits. They may not be good at math, may not care for games, may never go dancing.   As a child all Pablo Picasso wanted was to draw or paint and was such extremely poor student in every other subject that people thought him stupid.

 

The Most Distinguishing Quality of Creatives

Persistent and enthusiastic absorption in their work is the most distinguishing quality of creatives in spite of Flaubert’s and Green’s kind of suffering, or your own very real suffering.  Creative talent is indistinguishable from passion and intensity. You can hardly call yourself creative if you lack them.

Landscape of trees, road and sky in blue, green and yellow

Landscape – Brecon Beacons Wales by Janet Weight Reed

One reason writers and painters who are experts are more accomplished than writers and painters who are very good but not experts is that experts are more passionate about their work and spend more hours at it. The only way you could keep some artists from writing or painting would be to dislocate their fingers. Even before their fingers were fully mended, the artists would be back at work.

What makes writers and painters, actors and composers so persistent? It is their thrilling, hard-to-contain joy in the act of creation itself: “It is worth mentioning, for future reference,  that the creative power which bubbles so pleasantly in beginning [of a new work] quiets down after a time, and one goes on more steadily. Doubts creep in. Then one becomes resigned. Determination not to give in, and the sense of an impending shape keep one at it more than anything” (Virginia Woolf).

 

Flow

When they are creating, artists are capable of losing all sense of time and place, conscious only of the work before them. They will let nothing divert them from accomplishing their creative goals, working night and day if need be.  Flaubert said that only writing mattered to him, and that he kept all his other passions locked up in a cage, visiting them now and then for diversion.

Egrets taking flight purple and blue watercolor on white

Egrets in Flight by Janet Weight Reed ( recent)

The artist’s sometimes astonishing work production is aided by flow, a state described by Mihaly Csikszentmihalyi. In flow you’re fully absorbed in the act of writing, painting, acting, composing–more fully absorbed than you have been in anything else. Your concentration and positive emotions are strong and alert, and you know exactly what needs to be done. You put aside personal problems. You lose your sense of being in time and of having a body or a mind. Art comes out of you effortlessly.

You’re relaxed, “psyched,” focused, and yet detached at the same time—in a state of harmony with your surroundings. You’re as confident and feel as competent as you’ll ever be. When artists are in flow they are functioning at their most potent ability.

The main qualities of flow are the following ten:

  1. Your goals are clear and not muddled. (When you work at your craft, your goals must be so clear that you can state them in a single sentence.)
  2. There’s unambiguous, immediate feedback on performance so that adjustments can be made. It’s hard to become immersed in your art if you’re not certain about how well you’re doing, what’s feasible and what isn’t, and whether you’re wasting your time or are accomplishing something that’s worth accomplishing.
  3. Your skills are well-matched with the goal you’re trying to achieve: whatever the skill the art calls for, you possess. You’re very confident that you have every skill you’ll need to reach the goals of the project at hand. To attempt something you lack the skills for will only frustrate you.
  4. Your concentration is highly focused.
  5. You’re not worried about failing.
  6. There’s no sense of “self” separated from the work at hand. You do the work, but don’t think, “I am doing this work.” There is no “I” involved. You are non-attached.
  7. Your sense of time is distorted. An hour seems like a minute or a minute seems like an hour.
  8. The activity is so enjoyable in itself that you need no external reward. But pay and other external motivations can also lead to you being in the zone such as when after years of trying unsuccessfully, you have a great financial success and public recognition.
  9. You don’t feel tiredness.
  10. You lose your appetite or don’t notice it and you skip meals.

 

Being In the Groove

Very much like being in flow is being in the groove. In The Creative Habit dancer/choreographer Twyla Tharp talks about “finding your groove.” Grooves can last minutes, hours, or weeks or months, and are usually preceded by a breakthrough idea. What does it feel like when you’re in a groove?

“When you’re in a groove, you’re not spinning your wheels, you’re moving forward in a straight and narrow path without pauses or hitches. You’re unwavering, undeviating, unparalleled in your purpose. A GROOVE IS THE BEST PLACE IN THE WORLD. It’s where I strive to be, because when you’re in it you have the freedom to explore, where everything you question leads you to new avenues and new routes as everything you touch miraculously touches something else and transforms it for the better…And then it’s over…There’s no point in analyzing it. If you could figure out how you get into a groove you could figure out how to maintain it. That’s not going to happen. The best you can hope for is the wisdom and good fortune to occasionally fall into a groove.”

 

Hummingbird in green white and Aqua on yellow and pink background

Hummingbird by Janet Weight Reed

The beautiful paintings included in this post are by one of my favorite artists, Janet Weight Reed. The images shown here are a tiny example of some of the work she has completed during a career which has spanned 45 years.The hummingbird, symbolizing the “unseen magic” of the world is her signature image.

Janet says, “Waking each day filled with anticipation, excitement and sometimes trepidation is I believe one of the many reasons that keeps an artist/creative going.  To be in the flow and rhythm of creative work is a wonderful state of being.  No matter what else is going on in one’s life a deep sense of fulfilment takes over.”

 

I won’t ask if you have ever been in flow or in the groove or have known the bliss of creation because if you are an artist working every day with seriousness, living the life of a creator, I know you have, possibly many times.

Instead, I’ll ask, “Were you in the groove today? How did your work go?”

 

© 2019 David J. Rogers

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

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

 

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

Painting of red trees on blue and green background

Above Vinci by Karin Goeppert

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

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

Persistence

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

Painting in blue shades

Waterborn by Karin Goeppert

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

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

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

Intensity

Orange flowers on green background

Floris Mit Rahmen by Karin Goeppert

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

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

Risk-Taking

Purple flowers on white background

Nothing Ever Stops by Karin Goeppert

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

Identifying Creativity

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

Life of Creators

Ferns and leaves on white on green background

Hasenheide by Karin Goeppert

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

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

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

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

Influences on Creative Output

Red buds on branches on blue background

Harbinger by Karin Goeppert

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

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

Creative Vision

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

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

leaves and flowers reflected on aqua water

Beneath the Surface by Karin Goeppert

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

 

© 2018 David J. Rogers

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

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

 

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

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