Category Archives: Rituals and Habits

Inspiration and Information for People in the Arts: Parts 2 and 3

PART TWO

Monet painting of man and woman in a boat

THE DIFFERENCE BETWEEN SMALL ART AND GREAT ART

  • “The great art includes much that the small art excludes: humor, pain, and evil.” (Oscar W. Firkins)
  • “Great art is either easy or impossible.” (George Bernard Shaw)
  • Indifference to the response of an audience “is a necessary trait of all artists who have something new to say.” (Art critic Roger Fry)
  • “When a true genius appears in the world, you may know him by this sign: that the dunces are all in confederacy against him.” (Jonathan Swift)
  • “Every great and original writer…must himself create the taste by which he is to be relished.” (Samuel Taylor Coleridge)

 

UNDERSTAND THAT IT IS NOT POSSIBE TO DESCRIBE THE COMPLETE, COMPLEX STRUCTURE OF KNOWLEDGE AND SKILLS AN EXPERT ARTIST HAS ACQUIRED;

  • “Mastering accumulated knowledge, gathering new facts, observing, exploring, experimenting, developing technique and skill, sensibility, and discrimination…The sheer labor of preparing technically for creative work, consciously acquiring the requisite knowledge of a medium and skills in its use, is extensive and enough to repel many from achievement.” (Brewster Ghiselin)
  • “Every artist was first an amateur.” (R.W. Emerson)
  • “When a painting is finished, it is like a new-born child. The artist himself must have time for understanding it.” (Henri Matisse)

 

THE VALUE IN ALL ARTS OF SUCCINCTNESS, INCLUDING ONLY WHAT IS ESSENTIAL

  • “In art economy is always beauty.” (Henry James)
  • “The first and most important thing of all, at least for writers today, is to strip language clean, to lay it bare down to the bone.” (Ernest Hemingway)
  • “A sentence should read as if its author, had he held a plough, could have drawn a furrow deep and straight to the end.” (Henry David Thoreau)

 

ARTISTS ARE BY NATURE INDEPENDENT, RESTLESS, AND CONFIDENT OF THEIR TALENT

  • “The artist must do the launching of his own career. He has to prove what he can do for himself.” (Vladimir Horowitz)
  • “I have never known a poet who did not think himself super-excellent.” (Cicero)
  • “How few writers can prostitute their powers. They are always implying, ‘I am capable of higher things”.” (Edward Morgan Forster)
  • The process of creativity is “characterized…by restlessness, and creative people often move on to other projects just when the world is beginning to catch on to what they have done.” (Jane Piirto)
  • “The experience of most artists is that the quality of their production is in keeping with the intensity of their wish.” (Abbe Dimnet)
  • “Writing is a compulsive and delectable thing.” (Henry Miller)

 

MOST ARTISTS HAVE A SENSE OF HUMOR

  • When a young man approached him and said, “May I kiss the hand that wrote Ulysses?” James Joyce said, “No, it’s done a lot of other things too.” (James Sutherland)

 

HOW ART WORKS: THE ROLE OF THE ARTIST

  • “Art is the imposing of a pattern on experience, and our aesthetic enjoyment in recognition of the pattern.” (Alfred North Whitehead)
  • “Without charm there can be no fine literature, as there can be no perfect flower without fragrance.” (Arthur Symons)
  • “In every work of genius we recognize our own rejected thoughts.” (R.W. Emerson)
  • “The artist, like the God of the creation, remains within or behind or beyond or above his handiwork, invisible, refined out of existence, indifferent, paring his fingernails.” (James Joyce)
  • “The work of art is complete only as it works in the experience of others than the one who created it.” (John Dewey)
  • “The chief stimulus of good style is to possess a full, rich complex matter to deal with.” (Walter Pater)
  • “A man’s (writer’s) works often describe his longings or temptations and almost never his own true story.” (Albert Camus)

 

PART THREE


Van Gogh Cedar trees

ART WHOLLY TAKES OVER THE DEVOTED ARTIST

  • The painter’s brush consumes his dreams.” (W.B. Yeats)
  • “What artists call posterity is the posterity of the work of art.” (Marcel Proust)
  • “Many excellent writers, very many painters, and most musicians are so tedious on any subject but their own.” (Arthur Symons)
  • “I do not believe there lives the Southern writer who can say without lying that writing is any fun to him.” (William Faulkner)
  • “When love and skill work together, expect a masterpiece.” (John Ruskin)

 

OFTEN ARTISTS DON’T THINK HIGHLY OF THEIR CRITICS

  • “You know who the critics are? The men who have failed in literature and art.” (Benjamin Disraeli) But when T.S. Eliot, an editor himself for a time, was asked if he agreed that most editors are failed writers he said, “Perhaps, but so are most writers.” (I.A. Richards)
  • “Some critics haven’t had a new idea since they were undergraduates.”(Saul Bellow)
  • “I am convinced that the spontaneous judgment of the public is always more authentic than the opinion of those who set themselves up to be judges of works of art.” (Igor Stravinsky)
  • “A true critic ought to dwell rather upon excellencies than imperfections, to discover the concealed beauties of a writer, and communicate it to the world.” (Joseph Addison)

 

THE ARTIST WORKS HARD, BUT COULD WORK HARDER

  • “Genius has been defined as a supreme capacity for taking trouble.” (Samuel Butler)
  • “If you wish to be a writer, write.” (Epictetus)
  • “Nine out of ten writers, I am sure, could write more. I think they should and, if they did, they would find their work improving even beyond their own, their agent’s, and their editor’s highest hopes.” (John Creasey)

 

ARTISTS ARE SENSITIVE ABOUT EVEN THE SMALLEST THINGS

  • “A poet can survive everything but a misprint.” (Oscar Wilde)
  • At tea once, novelist Ronald Firbank said to poet Siegfried Sassoon, “I adore italics, don’t you?”

 

ARTISTS ARE INDEBTED TO THE WORK OF OTHER ARTISTS

  • “Every novel which is truly written contributes to the total of knowledge which is there at the disposal of the next writer who comes, but the next writer must pay, always, a certain nominal percentage in experience to be able to understand and assimilate what is available to his birthright and what he must, in turn, take his departure from.” (Ernest Hemingway)
  • “Creativity is contagious, pass it on.” (Albert Einstein)

 

AMONG THE INSPIRATION AND INFORMATION FOR PEOPLE IN THE ARTS IS THE UNVERSAL TRUTH THAT CRAFT SHOULD BE SUBTLE AND NEVER DRAW ATTENTION TO ITSELF IN A WORK

  • “Art lies in concealing art.” (Ovid)

 

ARTISTS MUST SACRIFICE

  • “To follow an art you’ve got to give something up.” (Katherine Anne Porter)
  • “Tolerate nothing around you which is not useful to you or which you do not find beautiful.” (John Ruskin)

 

ARTISTIC LICENSE

  • “Poets have a license to lie.” (Pliny the Younger)

 

ART BENEFITS FROM PATIENCE:  DON’T BE IN SUCH A HURRY

  • “Art done least rapidly, art most cherishes.” (Robert Browning)

 

WRITING IS NO GOOD WITHOUT KNOWLEDGE

  • “The reason that so few good books are written is that so few people who can write know anything.” (Walter Bagehot)
  • “The difference between literature and journalism is that journalism is unreadable and literature is unread.” (Oscar Wilde)
  • “All our words from loose using have lost theirs edge.” (Ernest Hemingway)
  • “The literary artist is of necessity a scholar.” (Walter Pater)

 

STAY AN ARTIST AS LONG AS YOU LIVE

  • “Every child is an artist. The problem is staying an artist when you grow up.” (Pablo Picasso)

© 2017 David J. Rogers

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

www.mentorcoach.com/rogers

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

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Total Concentration: The Heart and Soul of Creative Work

Part 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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Why Do Creative People Write Blogs?

Until I started writing a blog I’d never read one. And one thing that surprised me right away was how so many talented, creative people writing them were woman-865111_640talking so freely, so honestly, and so candidly—so confidentially–about their work in progress. And knowing that hardly anyone does anything without expecting something in return, I wondered why they were doing that. What were they gaining? And were they losing something by doing it as I had been led to believe a creator who did that would? Now I can see that they are gaining something of immeasurable benefit.

I cannot imagine myself showing work in progress I’m serious about or discussing it with anyone until I think it’s finished and that I’ve done the best I can. To get that feeling about the work I’m serious about such as a book or a literary sketch, I might make major changes in it 70 or 75 times before anyone else knows about it. When I was writing what was to become my most popular book, an award-winning poet/professor of literature friend and I would get together every two or three weeks and talk  intensely for hours about writers and writing (and jazz, and the price of apples—that kind of thing–etc.).

And for two years I never once mentioned the book I was spending 18 or 20 hours a day writing. I told him about it when I gave him the date it would be typing-849807_640hitting the book stores.  He said “What the hell?” I didn’t show him. I didn’t show my wife. I didn’t show other friends. I didn’t show anyone because I didn’t want to hear anything that might affect my vision of the work, my plans for it, or my enthusiasm for it. And I believed that if you talked about your work in progress you’d dissipate the drive and energy you should be using to write it. I was very happy with my editor who didn’t give me a word of advice except to say, “An introduction would be a good idea,” and then as I turned chapters in said simply, “It’s really very good.”

But once the work in my mind is done I want to hear the frankest and most direct criticism, the kind a creator gains the most from—if it’s from someone who knows what they’re talking about.  A teacher in college said to me, “A good friend is one who’ll kick you in the teeth constructively” and that has always stayed with me. Without adequate feedback, effective learning is impossible and performance improvements only minimal, even for the most highly gifted artists or writers.

You need to have a good sense of your strengths and weaknesses as a creator. Often the best route to that kind of self-understanding is via constructive feedback and help from other people who won’t know about you unless you tell them the way bloggers tell you, “Here I am in England, Russia, Paraguay, Australia, Oman, etc., and I’m working hard.”

Getting help, support, and feedback is a major strategy for reaching creative excellence.  Without any doubt at all, performance feedback, support, high blogging-15968_640motivation, and writing success go hand in hand despite what anyone says to the contrary. Being deprived of support and positive feedback is a big reason why so many thousands of creators give up their craft altogether and   turn to other pursuits, hoping to find fulfillment there. And maybe finding it, maybe not.

I suppose I was thinking along the lines of William Faulkner who said, “The good artist believes that nobody is good enough to give him advice. He has supreme vanity.”  Or Truman Capote who said, “I never show anybody a single thing I write…I write it and finish it and this is the way it’s going to be.” Or Hans Koning, author of 40 books who wrote, “You don’t worry about what editors or reviewers may like or not like. (That comes afterward.) You don’t write…in order to get an independent judgment. Your own judgment is independent. You don’t accept any suggested changes except where you made a factual or grammatical mistake. My motto has been through all these years: Not a comma.” (And I once had an editor who told me she was so depressed because she’d argued for an hour with a writer about a comma.)

Ernest Hemingway believed talking about your work was bad luck and that writers should work in disciplined isolation, and “should see each other only after their work is done, and not too often then.” Otherwise they become “like writers in New York.” He thought that giving a public reading of your work in progress was “the lowest thing a writer can do” and was “dangerous” for the writer. If people liked the writing and said, “It’s great Ernest,” he would think, “If these bastards like it what is wrong with it?” “It made me feel sick for people to talk about my writing to my face.”

When I ask myself why I’m so private about my work until in my mind it’s finished (at that point I’d like every person on earth to read it) my theory is it’s because growing up we did not talk openly about personal things that were important to us and were taught not to blow our own horn, not to be showy in any way, and that has had a lasting effect on me. Not showing off is a value I think of all born and bred bona fide American Middle Westerners. Even now when I find myself showing off in my writing I say to myself, “Cut it out.”

I’ve often thought about there being so many women artist and writer bloggers and so few men and such strong relationships between the women. It’s kind of woman-69531_640lonely for me. But I sit back and read what creative women say to each other and just as often have thought, “There’s something very special, very wonderful going on. Look how they understand each other, how they comprehend each other’s meanings, the nuances and subtleties. And how they raise each others’ confidence.”

When I look at the comments such forthright writer and artist bloggers receive about their experiences with their works in progress, what strikes me is that what they receive mainly is not technical information. There’s very little discussion of that at all, or it’s superficial—a few positive words. No, they talk about what they’re going through—their difficulties, successes, failures, setbacks, fears, and hopes, the balance they’re trying so hard to strike between their creative life and their family and work lives. And that’s exactly what readers want more than anything to hear about and what they respond to.

Before I’d thought of writing a blog and I don’t think knew what a blog was, my son Eli, a writer himself, told me I should write one.  “Me?” I said. And he said, “Yes.” He said I was writing every day for hours and producing volumes of work, and that I should share it with other people and receive feedback from them.

How I love now to wake in the morning and still drowsy-eyed go upstairs to my work room, and there on the screen see that I’d been visited overnight by viewers from the world’s capitals and desert villages, remote South Sea and map-221210_640Atlantic islands, and African mountain kingdoms accessible only by horseback–Lesotho, Sri Lanka, Somalia–and to hear from them that they like what I’m doing and look forward to it. What a joy to hear from bloggers from everywhere who’ve become my friends, whose work I admire, to hear the stories of the lives they’re leading and to care about them and about hard they’re trying and  to think about them.

What honest bloggers receive in return for their blogging is what every creative person hungers for—companionship, friendship, kindness, generosity, and words of blessed encouragement.  To “discourage” someone is to steal their courage away from them, but to “encourage” them is to give them courage. When we’re deeply discouraged –and that is so often in the arts–our courage abandons us and one way or another we must retrieve it or we will perish creatively. The main thing a writer or artist–or actor or dancer–has to overcome is getting discouraged.

Even the smallest encouragement during difficult times bolsters a person’s spirits. Someone, anyone, saying, “Just hang in there, my friend, a little longer.”

 

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

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Writing Routines and Rituals

The main goal of all creative people is to be productive: to produce works. Their work schedule and environment are artist workingdesigned to facilitate production because production is their reason for being. Everything—all your education and training, habits, dreams and hopes, and all your routines and rituals are aimed at that one central goal: getting good work out; being able to produce. If a writer or artist is being productive she’s happy. If she’s not, she’s unhappy.

I rise fully awake, my mind sharp, at 4:00 A.M. Then I turn on music and putter around in the kitchen. I’m purposely delaying starting to work so ideas will start germinating, straightening themselves out, and working themselves to my consciousness. Waking or sleeping, night or day, conscious or unconscious, writers’ and artists’ minds continue without stop to produce ideas relevant to their work.

I have a bowl of Cheerios and make my wife’s breakfast. In the winter I go out and shovel snow. (This is, after all, Chicago.) I may throw a snowball at my wife and I may load or empty the dishwasher and put in a load of laundry in the basement. I avoid knowing anything about the news, bills, problems, troubles, and other practical matters that are Cerealunrelated to my work. I kiss my wife good-bye as she goes off to work or wherever she’s going.

In my mid-twenties I was hired by a university think tank of psychologists and economists to rewrite for publication a book from a draft they had written. My main job was to translate all the pretentious academic mumbo-jumbo of their version into clear concepts and language the general reader would have no problem understanding. One day I was at the institute in Ann Arbor, Michigan, my feet up on a window sill, gazing out at ducks on a pond. I was paying no attention to the stacks of books, research periodicals, and reams of data surrounding me. The director of the institute poked his head in and said, nervously, “When are you going to get started, Dave? We’ve got to get the thing to the printer.” And I said, “I’ve already started. I’m working right now.” What I meant was that I was deep in what I call “Pre-Compositional Lilt.” It’s a very pleasant mental aimlessness—a lilting–that most creative people need to engage in before they tackle a project—a ritualistic, nebulous, uncertain, dream state.

In the article “Write Before Writing” Pulitzer Prize author Donald M. Murray is really talking about my lilt, and my lilt affects artists and writers as well as inventors and scientists—creators generally. He says that resistance to writing is not something to be avoided, but “is one of the great natural forces of nature. It may be called The Law of Delay: that writing which may be delayed, will be. Dawdling, going on errands, sharpening well-pointed pencils, rearranging the writing space, wandering to libraries and book stores, going for walks, and driving around serve a purpose.” Murray adds, “Teachers and writers too often consider resistance to writing evil when in fact it is necessary…There must be time for the seed of an idea to be nurtured in the mind.” Murray says writers who delay starting are trying not to think about what they are going to write so they can think subconsciously about it first. Most writers are strong believers in putting their subconscious to work.

I go upstairs to my work room and listen to You Tube for a few songs—always the same songs, same performers—while shuffling mindlessly through my piles of notes, and checking the ten-day weather forecast, and last night’s scores, also drinking a large mug of coffee that isn’t too strong. I try never to write for an hour after eating. I don’t want brain oxygen that I save for writing to be worried about digestion.

It’s commonplace for creative people to nap at least once during the day, sometimes more, and that’s highly cat-17772_640recommended by psychologists who study creative achievement. Who was more creative than Thomas Edison (1,093 patents)? And he alternated work and naps throughout the day. He napped under a table in his lab. I take a short nap on the living room couch. All the while everything else is going on I know my mind is busy toying with a problem I set for it the night before, or a minutes before, such as, “How will I organize the section on…” or “Should I cut the last paragraph as so-and-so suggests?” Ideally writers and artists work in the same place every day, a place that is exclusively for work.

I’m now in my element, fully confident, contented, primed and ready to write. Then I plunge into work and follow Ernest Hemingway’s advice and review what I wrote the day before, editing a little, expanding, embellishing a little—a word here, a phrase there–till I get a feel for the rhythms of written words, am able to fit myself into the narrative flow, and stimulate the right vocabulary. I’ve transitioned and am now in a goal-focused state. This is when—when the actual work begins—that you mustn’t allow the Law of Delay to be in effect any longer. What do you have when the Law of Delay becomes a habit? Writers who make a career of delay, whose promise will not be fulfilled, whose talent goes to waste, whose books go unwritten.

I take no phone calls during the day unless from a member of my immediate family, make only essential calls (as to my wife at noon), and generally skip lunch or have a small container of yogurt. If I’m being very productive—“making good progress” in my lingo–I can easily feel an excitement which can get out of control and make me lose focus and write sloppily. I try never to be so relaxed that my writing isn’t crisp, but aim for a degree of alert tension.

To “settle down” from an excited state I may take time out to whip up a salad for dinner later and tell myself, “No more coffee today.” And I may do deep abdominal relaxation breathing. Broadway composer Cole Porter had an alarm clock rigged to ring every fifty minutes when he was composing. Then he took a ten minute break. William Faulkner wrote rapidly at top speed as fast as he could type for a half hour or so and then would relax for perhaps another half hour, talking or reading, and return again and type at the same breakneck speed, sometimes picking up in mid-sentence and continuing without any hesitation. I may work the entire day without a break except the bathroom.

I try never, never to do any writing after 4:00 p.m., and certainly don’t do any after six, unless a deadline tells me I have clock-611619_640to, for if I did, words, ideas, and plans would fly through my mind like missiles and I would not—would not, absolutely would not—would not be able to sleep that night. Tell me, is it possible to be a writer without also being an insomniac?

Between four and five is “reading time,” which is essential—a hunger. The kind of reading depends on the reason for my reading: non-fiction research reading involves close concentration and taking extensive notes. For best results I must sit at the dining room table (in a particular place at the table) with notebooks and black ink Pilot G-2 07 pens. Fiction reading can be done in an easy chair or on the couch while a baseball or hockey game is played on the television screen. I read fiction more for its style than its content.

Then my wife appears and asks, “How was your day? Were you productive?”

 

© 2015 David J. Rogers

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