Category Archives: Success

Models for Peak Creative Performance

An important way to reach peak creative performance, the ultimate goal of all creators, or peak performance in riveting or cooking or anything else is by observing models—highly skilled people in the field whose work you admire, for example. For me the model for my writing without doubt is Ernest Hemingway’s writing, as it’s been for many thousands of others. He’s been called the most influential writer across the world with the most influential style in the last hundred years. I’ve read and mulled over his novel The Sun Also Rises and the short story “Indian Camp” (his best story) probably twenty times. And read many biographies and scrutinized studies of his writing.

I’ve a fondness for Hemingway’s writing that goes back to my childhood. He was born and grew up in Oak Park, Illinois, a suburb of Chicago where my parents and their families also lived and where I spent many hours over the years. He was on the school newspaper at Oak Park High. My great uncle was on the paper too and was his best friend. Hemingway once said my uncle was a better writer. I asked my uncle if he was, and he blushed and said, “I don’t know. Ernie was damned good.” When I was in high school I told my friends one day Scribner’s, Hemingway’s publisher, would publish a book by me. I wrote a book that a number of publishers bid on. I picked Scribner’s.

Diana Voyajolu (2)

Sunset Fantasy by Diana Voyajolu

In the past I’ve written about artists’ and writers’ preoccupation with style and technique—a characteristic of most of them. I look at pieces I write and if you were curious and asked I could tell you, “See the minimal use of adjectives and adverbs. I learned that from Hemingway.” “Everything understated, nothing exaggerated, a calm style—that’s Hemingway.” And the attention to detail and my need to tell the truth. (Hemingway’s “A writer must always tell the truth.”) The simple sentences. Language pared down. A serviceable vocabulary. Never showing off. And my emphasis on high productivity. (Hemingway’s “Anyone who says he wants to be a writer and isn’t writing, doesn’t.”)

When you observe a model with high standards like perfectionist Hemingway, you’re more inclined to adopt high standards yourself. It’s contagious. Modeling yourself after a successful writer or artist (pianist, ballet dancer, architect, etc.) enhances your self-confidence, which increases your persistence, which positively affects your achievements. It makes it more likely that the skills they possess will be skills you come to possess and you’ll be surer of yourself. You can see how important models can be, how related to a creator’s success they can be.

Most of what you and I have learned we’ve learned from models– observing them, reading about them, or hearing about them from parents, teachers, or peers. We copy and emulate them. When you feel you can perform a skill you’ll be more motivated to succeed, and an important way to internalize a skill and your approach to writing—the strategies you’ll use–is by observing how models performed tasks you’re interested in and comparing yourself to those models. Making changes, improving, learning.

When you learn how a writer, or painter, or actor succeeded in a difficult situation, you’re more likely to believe you can do the same. Often classes or workshops in the arts are taught by more experienced artists who discuss how they solve problems students are facing. Effective models reveal the strategies they use, provide detail, answer your questions, and clarify issues.

Who would you most like to be influenced by?

Who have you been most influenced by (Who’s your Hemingway?)

Who inspires you most? Whose work do you admire?

Who would you most like to be like?

What qualities do they (did they) have that you would like to have too?

Observing what’s called a mastery model is observing someone who has mastered the skill you’re interested in acquiring, like Hemingway for me, and someone for you. Mastery models demonstrate a high level of both skill and confidence: “I’m good at this. It used to be hard for me, but now it’s easy.” Notice how persistent the model is or was as he or she solves problems. That’ll affect your persistence.

By “observing” a model I don’t necessarily mean sitting in the same room and watching, though a lot can be learned that way. You can “observe” by reading or hearing about how a writer or artist solved a problem you’re facing or learned a skill.

ernest-hemingway-401493_640Mastery models in your life should discuss ways in which their confidence in themselves helped them to achieve their desired goals, and their errors and failures they had before eventually performing at a mastery level, and the work they put in to reach success. Ideally, the mastery model will be a warm, enthusiastic, and encouraging person who is trying to help someone else learn new behaviors after possible years doing things in a different, less productive way.

Observing a peer model is different. It’s watching someone who is at about the same skill level as you and who doesn’t perform the skill as expertly as the mastery model. He has difficulties and makes mistakes and has to correct them while you compare yourself with the model and learn from those difficulties and mistakes. Someone in your artists’ or writers’ group, for example.

“Think aloud” strategies involve the model describing thoughts and thought processes aloud while performing a task you’re interested in: “The reason I did that is because I think you should start everything with a strong, simple declarative sentence.” Ask the model about particular problems: “How did you handle that? What did you do first; then what did you do? What were you thinking? What decisions were you making?”

To get best results tell the model you’re asking for help:

“Say whatever’s on your mind. Don’t hold back hunches, guesses, images, and wild ideas.”

“Speak as continuously as possible.”

“Don’t worry about complete sentences and being eloquent.”

“Just say what you’re thinking and don’t think for a while and then describe your thoughts.” (D.N. Perkins, The Mind’s Best Work, p 33)

Using models will pay dividends. Simply put: people who study models perform better than “no-model” people.

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

 

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Filed under Artistic Perfection, Artists, Creativity Self-Improvement, Developing Talent, Human Potential and Achievement, Ernest Hemingway, Literature, Motivation, Personal Stories, Self-Confidence, Self-Direction, Success, The Writer's Path, Work Production, Writers

Two Success Stories for Creative People

Why are so many writers and artists so scared? This morning I started reading the Weekly Digests of some of the blogs I subscribe to and decided this post I’m about to laptop-820274_640write needed to be written–and fast– because so many writers and artists seem to be living in fear and intimidation, and they needn’t. There is no reason that the processes that come after the exhilarating execution of the work—dealing with “gatekeepers”– agents and publishers, clients and galleries—need be dreadful.

The gist of many of the posts written by the more experienced writers in particular to less experienced writers is: “Here’s how to get your book published. I will be your wise guide.” I will not give you any advice like that today, but only tell you about my experiences and that of a friend in breaking into “big time” publishing. My experiences were quite different from what you find described in many intimidating blogs. I hope my experiences make you confident and sure of yourself, less fearful, and less intimidated. And bolder.

I’ll be talking about writing professionally in this post because writing professionally is what I’ve been doing—and thinking about– for the last few decades. But I’m sure there are painters, sculptors, actors, dancers—artists generally—who could tell the same story of how breaking into their field wasn’t as awful as they were told it would be, and in fact found it painless, exciting fun.

I had an idea for what I thought could be a really successful nonfiction book, just as you think your idea would make a successful book. Nothing like my book had ever been written before and it had potential, so I was confident that I had something. But I knew nothing about publishing. Oh, of course I’d heard the horror stories about the tremendous odds against getting any book published. Everybody on earth knows that—especially a first book, odds of five thousand to one and so forth.

But my exact thinking went like this: “Thousands of books are being published every year and I’m betting I’m more books-535352_640skilled than most authors of them (after all, in college a famous creative writing teacher had said teachers like her wait their “entire career for someone who can write like you.” And hadn’t I had a story published in a prestigious literary journal while just a student?) So why shouldn’t my book be published?”

Then I learned that you had to write a persuasive book proposal and get an agent who would contact editors on your behalf. I had written many, many proposals in business and so I wrote a six page double-spaced book proposal—a short proposal, not a long one, a plain, simple one, not a complex, elaborate, fancy one: short and I hoped, sweet.

I hadn’t written a sample of my writing other than the proposal itself and a cover letter that talked about my unique qualifications to write the book or a refined table of contents because I hadn’t completely fleshed out the book in my mind. (In fact, I wouldn’t know what I was really trying to write until I had been working on the book for 1300 hours. Then it hit me!) I just had this good idea for what I thought would be an exciting, profitable book someone would want to publish.

Now I needed an agent to send the proposal to. I looked at a directory of agents and sent the proposal to the first name on the agent’s list. Then if he didn’t pan out I would send the proposal to the second name on the list and work my way down. I wasn’t experienced enough to know then that some writers send their proposals out in batches to twenty or thirty agents at a time. I would send off my stuff to one agent at a time and wait to see what happened. I had no idea then that the agent I sent my little proposal to was one of the most highly regarded agents in the literary world—serendipity at work. (A reminder that a good amount of luck is involved in a writer’s life and you don’t want just any agent working for you, but a good one with a reputation above reproach whose tastes and judgment of talent editors respect very highly.)

Within three days he called me on the phone to tell me he would like to handle the book—he thought it was incredibly timely and he liked the way I wrote. And he liked short, sweet proposals. So now I had an agent. He pitched the book right away (a man of action; my kind of guy) to an editor he thought could very well be interested. And in a week and a half I had a publisher who was eager to put out the book—a top quality publisher. The advance I received was a good one, much better than I’d expected. I wrote the book in twelve grueling months as I was contracted for (be sure to establish a reputation for never exceeding a deadline) and then months passed while the book was being edited and published.

The pub date came and the book was given a promotional budget but not a big one—I was “unproven.” I appeared on a newspapers-33946_640few radio and TV shows, and then two important things happened: a freelance journalist fell in love with the book—Fighting to Win— and wrote a superb and flattering full page, multi-column piece on it in The Washington Post that drew a lot of attention, and the publisher’s sales rep in Chicago fell in love with it too and promoted it with book stores in Chicago’s large, good book-buying market and with the publisher’s other sales people working in other cities and marketing staff decision-makers. And the book became a best seller in Chicago and Washington. Then in San Francisco and Las Angeles and other cities.

Other syndicated journalists liked the book and started writing about it—articles appeared everywhere. It began popping up on college reading lists, and now there were foreign editions that were doing very well. There was a buzz about the book and I was sent off to other major cities for more interviews on bigger shows. I got to enjoying publicizing the book so much that I decided I would rather promote books than write them. In fact, the publisher asked me jokingly if I would go on shows and promote other of their books too.

I had a hit that went through ten printings. With each new printing the book’s cover price rose one dollar, so my royalties were climbing. Now I was no longer unproven and had a track record, and my proposal for my next book consisted of a total of four sentences spoken over coffee to the publisher. The advance for it was substantial. When that book was published the publisher said they would like another book from me. I asked what they wanted me to write about and they said, “Whatever you want.”

I know a man who wrote a book he thought had the potential to be published and be popular. His expectations high, he contacted a great number of agents and no one was interested in handling his book, telling him that in their judgment unfortunately it would be impossible for it to find a public. The agents’ tastes ran in other directions and based on their professional experiences over many years with many books they felt that this one just didn’t have that—that whatever it takes for people to want to buy a book.

He didn’t give up after he had exhausted his long list of agents, but contacted publisher after publisher himself, writing them, sending his manuscript, calling them up, making appointments, pitching the book on the phone and in their Being courageousoffices, expecting all the time that eventually he would succeed. He met nothing but failure—no one thought anything of the book—but he still believed in it and in himself. He still expected the book to be published and be successful. He had faith that one day he would see it in book store display windows.

Then an editor of a small specialty publisher he had contacted called him to come down and talk. When my friend entered the office his manuscript was spread out on the editor’s desk and the editor was bent over it, reading. The editor looked up and said, “Oh, good, you’re here” and with a smile on his face added, “I think your book will be the number one best seller in the country.”

That book became a publishing phenomenon—a cultural phenomenon–and sold an astonishing 25,000,000 copies in paperback alone. It became America’s—and the world’s–number one best seller. Within two months the author was famous and pretty soon he was rich. The book was When Bad Things Happen to Good People and the author was Harold Kushner.

Writers and artists who harbor deep and prolonged doubts about their capabilities are easily set back by obstacles and failures. But when confident self-directed  writers and artists encounter daunting obstacles, disappointments, and failures, they show courage, rally, and make a comeback, intensifying their efforts and persisting until they succeed.

So I’m saying what all my blogs say—be supremely confident, be non-attached and fearless. Don’t be scared. Persevere. Be indefatigable. Be committed to your work every moment of the day. Never let discouragement and negativity penetrate to your depths. No matter what happens, good fortune, bad fortune, keep your spirit light as a feather. Develop your skills to the highest possible level and become what I admire most—not just a writer, but a REAL writer; not just an artist, but a REAL artist.

© 2015 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/rogershttp://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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Programming Success in Writing and Art

Theresa

I was in a Target store café where my wife had parked me so I wouldn’t get in her way while she shopped, and the pen-994464_640woman who waited on me said, “I see you come in here and write at one of our tables. Are you a writer?” I said I was and she said, “I thought so.” She then said, “I’ve got a book in me, but I just can’t find the time to write it.” She said, “Do you ever have that problem?” And I said, “No I don’t because writing is second nature to me, but it wasn’t always.” She said, “Oh, what do you think I should do?”

Her name is Theresa, and she is an exuberant woman who bristles with energy and has dark curious eyes that are always moving. There is a sweetness about her, a kind of goodwill, innocence, openness, and charm. Her body is thin and strong, her gestures lively. She is one of those brave people who are not afraid of saying, “I need help. Will you help me?” I like her.

I want Theresa to be a writer who’s confident and strong and not to doubt herself. I want that because in writing, as in any other field, the constant, never-tiring, never-ending desire to succeed and the confidence that you will—if not now, eventually–along with skill, is the most important indicator of future success. If you have confidence and faith in yourself, you’ll reach higher levels of achievement than other writers, painters, dancers, and actors of equal ability who lack them. Confidence precedes success.

I said to her. “Do you like sentences?” and she said she did, so I knew she had something.

Programmed Activities Force Out Un-Programmed Activities

I ran into a man in a Costco dining area where my wife had parked me who also had a book in him and asked me the laptop-820274_640same thing. I’ve run into writers and artists who tell me they wish they could get themselves to work more regularly. I’ve run into so many people who tell me things like that that I can almost give my remedy in my sleep, my saying, “The main goal of all creative people is to be productive—to produce works–and if they want to produce a continuous flow of works what they need to know is that programmed activities force out un-programmed activities.” That’s the principle they need to repeat to themselves and take to heart: “Programmed activities force out un-programmed activities.” Something extremely good happens to you when that insight lodges itself in your brain. Some writers and artists are 10, 15, 25 times more productive than others. The entire existence of some creative people is organized completely around their work, and their ability to produce it is staggering.

Two and A Half Million Artists

It appears to me the “I have a book I really should write but somehow don’t seem able to get myself to write it” syndrome is a widespread major writers’ problem. Or, “One day I swear I’ll become a painter.” Your aunt is dying to write a novel and your butcher wants to paint landscapes. Ask people on a crowded city bus how many would like to be a writer or painter and 30 % will thrust their hand in the air.

Paul Pulszartti 3 (4)

Painting by Paul Pulszartti

There are 2,500, 000 people in the U.S who consider themselves some sort of artist. And probably another 3,000,000 who’d like to be one. I’d bet that not many of those who would like to be are doing a single thing to make that happen. And many of those doing nothing statistically have to be more talented and potentially more successful than many writers who write for hours every day and painters who paint every day. There may be two or three Jackson Pollocks or Ernest Hemingways in Idaho or Maine who can’t get started.

It isn’t enough to say you’ll go running to improve your health. If you’re really serious you’ll intelligently plan and program your running. You’ll decide how often you’ll run, when you will, where you will, with whom you will, and how far you will. Then you’ll run according to your plan, and your health will improve.

If you’re serious about achieving greater artistic success, you’ll program that too. You’ll say, “I am a person bursting with unrealized potential,” and then you will intelligently develop an improvement plan and plan step 1, then step 2, and then 3, and so on—the steps being rungs of a creative ladder leading you to high skill, success, and satisfaction. Then you’ll stick to your plan and work hard as all real creative people do, and if everything goes according to the plan—and there’s no reason it shouldn’t–you’ll become more skilled, more successful, and more content.

Learning How To Excel and Plateauing

Another problem is learning how to excel. How many writers or artists would ever say, “My goal is to be mediocre” but yet are satisfied to be mediocre. Your climb to excellence has to be attended to. After looking for a long time into what runner-942109_640brings creative success I’ve come to the conclusion that to excel as a writer or artist or to excel in any occupation of any kind and have a long and fulfilling career, you must be pursuing intelligently a small number of certain types of goals. And each goal must be ambitious and each must be concrete because most artists and writers aim much too low and their goals are vague, and vague goals are useless.

Another major problem you see everywhere is plateauing—never getting better but staying at the same skill level and not having increasingly greater success, which you would think would not happen if you’re really learning. So possibly you’re not learning and don’t know any more about how to write or paint and how to motivate yourself and have self-confidence than you did five years ago. You’re working extremely hard, but you’re not progressing. You might be making the same mistakes over and over. You’ve stopped growing.

Something must be done—you need new inputs, new information, new insights, and new work habits. So you must become an athlete of the arts, a champion of writing or painting, and train yourself to run faster and jump higher.

The way to master a creator’s skills is to learn how to do them supremely well and practice them ten times, a hundred times, a thousand, getting constructive feedback along the way, making corrections, and experiencing a series of successes as your performance improves. Most often the reason a writer or artist is not yet accomplished is not because she’s unintelligent or not talented but because she isn’t knowledgeable enough yet of her craft.

Not Screwing Around Anymore

Theresa and the Costco man tell me they want very badly to be as excellent writers as they can be, and I believe them. Chances are you and I have never met and haven’t had a chance to talk, and it would be nice if someday we do. But I’m assuming that you’ve reached a state of being when you can say, “I want very much to be the most highly skilled, successful, and satisfied writer or artist I can be. That’s what I think about and that’s why I’m reading this blog. I’m not screwing around anymore.”

Theresa’s Programmed Activity

But many writers and artists—even those who claim that work is tremendously important to them–are lucky if they slice out an hour a day, or thirty minutes, one-forty-eighth of a day, to work on their craft. Creating isn’t all you do. You goal-976853_640have other important roles and responsibilities you must find ways of incorporating into your work schedule as depicted in this comment from writer Lois Duncan:

“Now I keep a typewriter with a sheet of paper in it on the end of the kitchen table. When I have a five-minute lull and the children are playing quietly I sit down and knock out a paragraph. I have learned that I can write, if necessary, with a TV blaring on one side of me and a child banging a toy piano on the other. I have even typed out a story with a colicky baby draped across my lap. It is not ideal—but it is possible.”

Expert writers and artists almost always structure their work time and environment carefully. I told Theresa that she had to commit to me that she would write thirty minutes every day without exception except for real emergencies—could she do that? Yes, she said, she could. I asked her the time she would write: “First thing before I go to work. I’ll get up a half hour early, shower, get dressed, and then I’ll sit down and write for a half hour.”

I thought of author Hope Dahle Jordan who said, “My personal, elementary rule sounds ludicrous even to me. Nevertheless, I am deadly serious when I insist it is the only one I conscientiously adhere to: I don’t dress for the day until two pages (500 words) are written, and acceptable to me. That is the only way I get a book finished. For as long as I stay in my blue bathrobe I stay at my typewriter.” Harry Crews said, “ I get up in the morning, that’s one of the hard parts, drag myself over to the old typewriter and sit down—that’s even harder—and then tell the Lord, ‘I ain’t greedy Lord, give me the next 500 words.’”

I told her that like artists, writers must guard again a two-pronged problem: avoiding work and quitting too soon.

I told Theresa not to be jealous of writers who have the luxury of being able to write as often as they want and as many minutes or hours as they want. I told her that doesn’t mean they’re the most productive writers or artists or that they’re writing-828911_640productive at all. It just means that the amount of time most writers and artists would give an arm and a leg to have is available to them. But I assured her that she would find that a focused half-hour’s work with a concrete goal clearly in mind is the equivalent of three unfocused hours.

I told Theresa that later on we can talk about how in addition to spending time writing she can increase her writing skills in other ways. In the future we will set goals to increase her abilities. And I told her one day we will talk about the Inner Skills of writers and artists, such as the need for courage, and that she should be completely indifferent to everything but the quality of her work.

I told her, “If you want to be read widely, read widely. Reading good writing with the intention of learning specific lessons from it is the best way to learn to write well. Good artists learn by going to museums, taking out a sketch pad, and copying masterpieces. To be able to say, ‘I learned that from so-and-so and borrowed that from what’s-her-name.’” Theresa should also learn about the way of life of a writer, which is different from a social worker’s way of life or a businessman’s or even a painter’s.

Then I said I wanted Theresa to jot down in a log a few quick sentences about each day’s writing: how it went, what journal-155431_640problems she had and how she solved them, and most important, what she’s learning about writing and about herself. What comes easily for her; what is hard? Writers and artists who set ambitious goals and keep records of their performance are considerably more effective than writers and artists who don’t.

I asked Theresa to have a very specific goal in mind whenever she sits down to work: what is she aiming to accomplish in the next half hour, the way a painter says, “By the time I finish today I will have finished the upper right corner of the canvas.” I told her that now that she’ll be getting up a half hour early she should go to bed a half hour earlier because when you’re tired you’re not ambitious and your writing or art goals won’t be ambitious either.

Talent and Many Truths to Tell

I feel that Theresa has a talent for writing because it has been said by those who study the development of high expertise that if you have an intense interest in a creative field, that is almost always a sure sign that you have a talent for it. I have faith in Theresa. When I think about her, I think about writer Louise Nevelson’s theory that “when we come on this earth, many of us are ready-made. Some of us—most of us—have genes that are ready for certain performances. Nature gives you these gifts…There’s nobody that’s common. I think that in every human being there is greatness.”

I tell her not be afraid to be bold and that truth is everything in art, and that when readers open her books one day they will ask themselves, “Am I going to find the truth in here?”

I don’t think she will become a writer who doesn’t write or who will give up before she succeeds. I have a sense that she may have the makings of a REAL writer and that writing may become an essential part of her identity. I hope she soon sees that a writer’s life is wonderful and worth sacrificing for: “I did not choose this vocation, and if I had any say in the matter, I would not have chosen it…Yet for this vocation I was and am willing to live and die, and I consider very few other things of the slightest importance” (Katherine Anne Porter). I tell her that nothing can compare with, nothing can replace the joy during the act of creating. American poet Robert Frost said that once a man has known the pleasure of making a metaphor he is unfit for ordinary work.

sunrise-580379_640At the crack of dawn almost every day Theresa is writing. Writing is becoming second nature to her. Her book is taking shape day by day. My wife is shopping over there and I’m at a table in Theresa’s store now and I’m thinking that if I’m right about Theresa soon the creator’s hunger to produce will take over and she will start writing during her breaks and lunch hours too.

 

© 2015 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/rogershttp://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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Filed under Artists, Becoming an Artist, Creativity Self-Improvement, Developing Talent, Human Potential and Achievement, Goals and Purposes, High Achievement, Inner Skills, Motivation, Personal Stories, Programmed Activity, Self-Confidence, Self-Direction, Success, The Writer's Path, Work Production, Writers

Artists Aim for Perfection

Artists develop notions of something greater than competence, greater than excellence, and become intoxicated with Laurence Olivierperfection of their craft, perfection of their technique, and perfection of their repertoire of skills culminating in what they hope will one day be the perfect story, perfect poem, perfect painting, or perfect performance. Once in his career Laurence Olivier, the greatest actor of the 20th century, gave what he knew and everyone knew who was present that night was a perfect performance of Hamlet. “My God,” he wondered, “How did I do it and how will I ever be able to do it again?”

All artists want to “get better” and to “get it right.” They devote their entire careers to getting better and getting it right. The development of expertise is the artist’s most crucial task. If there is one thing that all successful creative people have in common it’s that they all work hard developing their skills, the foundation of their success.

To strive to improve one’s performance continually and to more and more often get it right, requires qualities that are not common. One is self-confidence; another is an objectivity about one’s artistic and sometimes personal shortcomings and limitations—a capacity for stern, dispassionate self-criticism. If an artist shows  you his work and you don’t notice the flaws in it that are so apparent to him, he will doubt your critical judgment and may not ask you again. Tell a ballerina her performance was breathtaking and she will say, “I missed a beat and my right foot wasn’t arched properly. “

The most difficult task for artists is to find and put into their work the right voice, the presence of the artist in the work. E.L Doctorow said, “I wait until I find a narrative voice. Then I listen to that and start writing.” John Updike wrote, “I notice that as I write it comes out as a sort of Updike prose. I sit down in such different moods, wearing such different clothes, and out this comes—like a kind of handwriting. It’s always mine, and there’s no way I can seem to get around it. Isn’t it funny you have only one voice?”

cream-rose-272946_640Artists may have to spend many years finding what their proper subject matter and voice may be. When they do find it, everything suddenly comes out into the clear light of day: “Now I know how to say what I’ve been trying to say.” At times—sometimes in mid-career—they discover that what they have been doing has been all wrong. The work doesn’t express them. When halfway through her life painter Mary Cassatt discovered her true subject—mothers with their children—and the right style, she destroyed all but a few of her previous works, signifying a new beginning. In mid-career painter Georgia O’Keefe decided her art was too influenced by other people and set out in a new direction.

Every art is physically and mentally exhausting. When they finish a day’s work, artists feel they have lifted a thousand pounds. They have a compulsion to work. The reason artists, like experts in all other fields, most often cite for their enormous energy, commitment, and focus necessary to excel is their motivation to concentrate on the task and put out effort to improve their performance.

Non-artists cannot be motivated or even forced to work at an artistic task to the extent that a person with an intense interest does willingly. There has probably never been a great artist who didn’t have a strong sense of single-mindedness and an ability to persevere, overcome difficulties, and concentrate on reaching his goals while resisting distractions. An interesting question is, “Why do some people but not others possess those qualities, and why do virtually all creative people?”

The artist’s main goal is production. When they have not worked at their craft for 48 hours, or 24 hours, or one hour, they get uneasy. When they are away from their work without a brush in their hand or something to write with or dancing slippers on their feet they are completely out of their element.

You cannot distinguish between true artists and their work. They are exactly what they do. A composer is his music, a writer his language. Every molecule in their body is the molecule of an artist. A director is one who directs; an actor acts. That’s what they do and that’s all there is to it. Their work is on their mind almost every waking moment.

mountain-299009_640Artists grow accustomed to loneliness. Even as children they spent much of their time alone. The common notion that artists are different and have different points of view, habits, personalities, and preoccupations than the majority of humankind is correct. There is often a distance, a gap, between them and their neighbors, even other members of their family, even their lovers and spouses who are not involved themselves in art.

They must incorporate the other person in their work or find a way of coping with that distance, or those sharing their lives must find a way. That may not be possible. Nobel Prize winning author Saul Bellow said, “I have always put the requirements of what I was writing first—before jobs, before children, before any material or practical interest, and if I discover that anything interferes with what I’m doing, I chuck it. Perhaps this is foolish, but it has been the case with me.” Bellow was married five times.

The artist, realizing that she’s looking at the world from a vantage point that’s not available to everyone, can say, “I am different. I see things differently. I value different things.” Everyone else wants to be rich. The artist wants fulfillment.

If they are truly artists, they are especially equipped and seem to have been born with not only magical “creative stuff” but with tenacity, strength, powerful will, and patience. In the achievements of successful artists you always see gifts coupled with extraordinary application, the former meaningless without the latter. A man I know was curious and attended an art show to ask a famous sculptor if he had advice for his son John, a sculptor who was just beginning. The sculptor said, “Yes I do have advice. It’s very simple. You tell John to pick up his mallet and his chisel and make chips.” A poet who lived several hundred years before Plato wrote, “Before the Gates of Excellence the high Gods have placed sweat.” Artists are great believers in sweat and making chips.

georgia-okeefe-396957_640Who sets the standard for perfection that all artists measure themselves against? The work of everyone is compared with the virtuoso. Miles Davis in jazz. Arthur Rubenstein playing Chopin. A novel by Faulkner.

French philosopher-playwright Jean Paul Sartre wrote that man exists first and only afterwards defines himself. He is what “he will have planned to be; he is what he conceives himself to be.” Artists may not talk much about being artists, preferring if they are any good, working to talking about working. But they conceive themselves to be artists. They have planned to be artists. They are creative in the grandest sense of creating themselves from scratch.

Henry David Thoreau, as great a clear-thinking artist as there ever was, wrote, “I know of no more encouraging fact than the unquestionable ability of man to elevate his life by conscious endeavor.” The Japanese say, “Irrigators guide water, fletchers straighten arrows, and as for wise people, they shape themselves.” Artists are shaping themselves from their first exposure to their art.

A cat becomes all the cat it will ever be without having to think about it. All that’s necessary is to be born a cat. But people who aspire to be artists have considerably more work to do than cats. The highest development of an artist’s capabilities to aim for and reach perfection is worth giving up almost everything for.

 

© 2015 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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Take Charge of Your Creative Life

What would you say is most significant about the writers and artists I’m going to describe?

How are you like them?

How are you different?

What might you do if you wished to be more self-directed?

“I could…”

For the last few days before starting work I’ve been inspiring myself looking at my write-ups of artists and writers I’m Cezanne-image(1)especially drawn to—Nobel Prize playwright Eugene O’Neill, novelists Henry Miller and Raymond Chandler, and painters Paul Cezanne, Mary Cassatt, and Jackson Pollock–and have decided that they have in common not only their accomplishments and prodigious skills and the uniqueness of their personalities, but that they were all self-directed—guided by themselves, no one else.  At one time or another you’ve observed first hand, heard about, or read about self-directed writers and artists too. Textbooks, anthologies, magazines, literary journals, galleries, museums, shows, and newspapers are filled with their names. They strike out on their own, taking full responsibility for themselves, their work, their careers, and their fate.

They all possess that rarest of qualities I admire so much and most people nowadays seem to have lost—intensity, single-mindedness, a “seriousness of intent” about their work. Their art means everything. There is not a minute of their waking day when their minds are not is some way or another on their work. They are vital: alive and electric. They give off sparks. They mean business. They go about their work undeterred, unknown or famous, poor or rich, unhappy or happy, in a bad mood or good mood. The commitment of their less memorable and less serious, less intense peers peters out, but that of a real writer and real artist goes on and on.

the-song-of-first-swallow-paul-pulszartti

The Song of First Swallow by Paul Pulszartti

Nothing can compete with, nothing can replace, their joy during the act of creating– the self-discovery, self-awareness, and self-expression that satisfies their deepest needs. They so saturate themselves with their work that to paint or write—or sculpt, act, or dance– becomes as much a need as sleep. A painter perceives the world in which she finds herself in lines and planes, a dramatist thinks in dialogues and scenes. A novelist divides his life into episodes.

Production is their never-ceasing main goal–to get the work out. Their existence is centered on, focused on, and organized around that work, and their ability to produce it is staggering. Shakespeare wrote an average of two plays a year–thirty six–many of the greatest examples of literature in the world’s history. And was also a poet, an actor, a family man, and a producer who had to attend to the practical concerns of mounting the plays’ performance. Due to bad health (a nerve problem that made it impossible to hold a pencil) and wandering the world in search of a place to work—France, Switzerland, America—Eugene O’Neill lost twelve years mid-career, but still wrote 49 plays. Belgian Georges Simenon who was capable of writing 60 to 80 pages per day, produced 200 novels, 150 novellas, autobiographical works, numerous articles and scores of pulp novels under two dozen pseudonyms—yet all of high quality.

Their standards lead to setting high goals and high goals lead to high success. Once unknown, they become known. It may take time. Raymond Chandler didn’t start writing until his forties and published his first novel at 53, becoming an “overnight” success. Success may not be easy: Henry Miller lived the life of a homeless beggar on the streets of Paris, penniless, yet considering himself the happiest man on earth, into his late forties before his genius was recognized. Early mary-cassatt-89730_640(1)in his career, before becoming rich and the talk of the art world, Jackson Pollock was poor and couldn’t afford brushes, so he’d steal them. Mary Cassatt, the greatest woman painter of the nineteenth century, didn’t become able to buy a chateau until two things happened in mid-career: she became an Impressionist and she found her subject: mothers with their children.

They produce continually better work and expand their abilities. Over an extended period writers and artists with a minimum of natural talent who apply themselves can acquire a great talent. Writing and art teachers are generally in agreement that it’s not the best, most talented students whose names they hear about in later years. The students with the most talent but the weakest work ethic who dazzled the class, disappear into oblivion, while the hard workers often go on to excel. Poet John Berryman thought that talent was no more than 20% of a successful poet’s personality, and the same is probably true of every creative field. Every minute spent painting or writing increases your talent. High performing self-directed people in all the arts and every other field wherever on the globe they’re to be found are universally alike: over and over again they are people who believe in trying to excel, in doing one’s best, in working very hard and not wasting time. Van Gogh in particular was an artist who couldn’t waste time, starting late but producing in just over a decade 2,100 works before his death at 38.

The word “easy” never enters their mind because what’s easy isn’t worth bothering with. If they don’t meet their high standard they are dissatisfied. Then what they do is not what everyone does. They work harder than before and don’t stop until they’re satisfied that they’ve done their best. If to be superb a poem must be revised 200 times, they revise it 200 times.

If they’re self-directed they set their own work schedules, work alone, and persist over a long period of time that the majority of people cannot match. They direct their achievements by setting challenging long-range and short-range aims to develop themselves and increase their knowledge and skills, and by applying a variety of five, six, ten, fifteen pragmatic strategies, techniques, and rituals to reach those goals.

Eugene O'NeillThey’re original; they invent and innovate. Cezanne and Pollock both revolutionized painting. O’Neill single-handedly created serious American theatre.

They believe in themselves and their capabilities, and are committed to meeting the challenges of the creator’s life, which is not an easy one. They are willing to take risks and sacrifice other goals and other activities. Psychiatrist Carl Gustav Jung thought that the creator’s life cannot be otherwise than full of conflicts because two forces are at war in him—on the one hand the normal human longing for happiness, satisfaction, and security, and on the other hand “a ruthless passion for creation which may go so far as to override every personal desire.”

The confidence in their abilities of self-directed people can’t be broken, and more than anything else is the most powerful source of their drive. So much of achieving goals and realizing your long-held creative hopes is a result of knowing exactly what they are, wanting badly to achieve them, and believing that you can. The more self-assured a writer and artist is, the stronger his commitment to high achievements. All great writers, artists, actors, and dancers were and are self-assured where their work is concerned.

Writers and artists—actors and performers–who harbor deep and prolonged doubts about their capabilities are easily set back by obstacles and failures. But when confident self-directed writers and artists encounter daunting obstacles, disappointments, and failures, they find a way to show courage, rally, and make a comeback, intensifying their efforts and persisting until they succeed. Among the personal qualities that cause self-direction and motivation that is strong enough to sustain success through the inevitable trials, valleys, disappointments, setbacks, and self-doubts are not luxuries but necessities for any writer or artist who is in any way serious about his craft: passion, obsessiveness, will. new-york-115629_640Very little is known about why some artists and writers give up before reaching their peak while the steady commitment of others to their goals and their doggedness in achieving them borders on the super-human.

They are self-aware and monitor and continually evaluate their performance, keeping track of their productivity, their working time, and their career progress. They strive to keep regular working hours, and organize their life and their environment to accommodate their commitment to their creative existence. Their names and their works are often topics of conversation. They’re published. Their works are shown. They win prizes. When they die, they’re remembered.

 

© 2015 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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Feedback and Help for Creative Success

Without doubt, performance feedback and creative success go hand in hand. Useful feedback can help you evolve and reach high levels of satisfaction and achievement. But where are you to find the quality of feedback and help you need? Deprived of it, some artists and writers quit before they reach their peak. They bid their beloved craft adieu.

Something, for example, has gone out of publishing. Something is missing. No longer can you find the publisher’s textual editors who once existed who would work tirelessly with you, the author, suffer with you, and use their specialized skills to help you create the best you’re capable of. Creators are rare and exceptional human beings who are able to work alone in seclusion long hours without recognition, without praise, sacrificing, overcoming hardships without flinching, always returning with high energy to the work which they have a talent for. For a writer or artist who by necessity spends so much time alone, the insights of a close collaborator who cares as much about your work as you do can be a godsend.

hands-545394_640In a novel I wrote an episode in which a New York publisher’s editor came out here to the Midwest to spend a week in a cabin at a lake working intensely with a promising writer. I wrote this episode knowing very well that an actual editor would say, “Well, such a thing is simply not conceivable.” But I thought how wonderful if it were. I enjoyed writing that episode more than any other.

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

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

Wolfe was immensely talented, but his main problems were his uncontrollable, obsessive verbosity and a chronic inability to cut that resulted in unedited manuscripts of fantastic lengths, three or four times longer than a publishable book could possibly be. Those problems in turn were caused by Wolfe’s difficulty making any kind of independent decisions. He didn’t know where or what to cut. He would stare for hours at the manuscript before eliminating a few sentences when his agreement with Perkins was that he would strike out tens of thousands–a hundred thousand—words. He would start by rereading the manuscript section by section, trying to find things that were unnecessary and could be omitted. But he was totally blind to them. He never in his entire career had a concept of a publishable book.

I am certainly no Thomas Wolfe, but my wife Diana is my Maxwell Perkins. She has been a highly-regarded writing teacher, tutor, and mentor for years, and I doubt her judgment and skill can be surpassed. She edits all my work, and over the years I’ve been prolific—well over a million words–and she’s been busy. I—we—have had published best-selling nonfiction, as well as fiction and poetry, many magazine and newspaper articles, and this blog.

But she is far more than a conventional editor, and in this post I’m holding her up as an ideal, one the likes of which every writer and artist should find, hold onto, and treasure. I heard a psychiatrist say, “Everyone could benefit from a therapist.” And every writer and artist could benefit from knowledgeable, frank criticism—sympathetic criticism of course, not thoughtless and cruel criticism. When tough, street-smart novelist Henry Miller found himself being abused by editor after editor he submitted work to, he snarled, “Who are these shits? Where do they get off saying such things to me?” If you are to survive in the arts, as in life, you must never be intimidated by anyone. I think the greats were all bold, all brave.

Diana and I have developed a harmonious division of labor. I create. She evaluates. I respect her talents and she respects mine. They are different talents, but are aimed at the same object: the quality of the work. I’m aware that she will be my first and most demanding audience. I’m always eager to hear what she has to say because her opinions will help me improve. And isn’t to improve, transforming a gift into an achievement, what every creative person wants most?

ernest-hemingway-401493_640The most important criticism a seasoned writer or artist receives is self-criticism. The standards of good writing, painting, or dancing, etc., are now a part of the writer or artist’s makeup. Yet, a creative person of any level of ability should ask, “Am I getting honest feedback regularly also from someone else whose judgment I trust? Have I made arrangements to do that? Am I receptive to constructive criticism? Am I confident enough for it? Can I be dispassionate about it? Can I be non-attached?”

We all wish to be lavished with praise for every work we produce. John Irving said that “Good job” is the only feedback a writer wants. But it’s much more beneficial to have a wife or friend or coach, editor, teacher, writer’s or artist’s group, etc. who’ll point out flaws and shortcomings before the work reaches agents, publishers, newspaper reviewers, and the final judge—the audience.

Some writers and artists and people in every other profession would prefer to not know how well or poorly they’re doing. Others very much want to know if knowledgeable people they trust think they’re doing okay, and possibly more importantly, if they’re doing poorly, and if they are, in what areas they might improve. They welcome feedback and actively seek it, feedback that is (1) timely, (2) specific, (3) well-meaning, and (4) helpful.

Ernest Hemingway, for example, didn’t become the most innovative literary stylist of the last 100 years without incorporating into his work the advice of his newspaper editors, and fellow writers Sherwood Anderson, Ezra Pound, Gertrude Stein, and F. Scott Fitzgerald who were generous enough to share their expertise with him

Diana advises me, consults with me, inspires me, encourages me, and criticizes every facet of my work—objectively I believe, and always fairly. She is not easy on me, but pushes me. Well, not “pushes.” Pushing isn’t in her nature. But from her commitment I feel myself gaining energy. She is to me what a real editor should be, though I know how trying writers can be. (I once called my publisher’s editor and she sounded demoralized. So I said, “What’s wrong, Kathy?” She said, “Oh, I just had an hour-long argument with one of my authors about a comma.”)

vincent-van-gogh-self-portrait-1887Many creative people benefit from close personal support and encouragement from one other person such as a lover, husband or wife, sibling, or close friend: Frederick Chopin/George Sand, Jackson Pollock/Lee Krasner, Jean Paul Sartre/Simone De Beauvoir, Henry Miller/Anais Nin, Vincent van Gogh/Theo van Gogh, Virginia Woolf/Leonard Woolf, Salvador Dali/Gala, and George Gershwin/Ira Gershwin.

It may not be the oddest phenomenon, but it is something of a phenomenon that as soon as a creator is in his judgment finished with a work, he immediately loses interest in it. He wants to go on to something else. A study found that professional writers couldn’t remember what they had just written. But amateurs could remember very clearly exactly what they had written. And writers, like artists, are often working on 3, 5, or 10 projects simultaneously, moving restlessly from one to another as the mood strikes. While at times I’ve forgotten about whole projects I’ve got going, Diana somehow remembers. She will say, “Whatever happened to…?”

I might work on a piece for a long time, turning down invitations to go to movies, visit friends, or take vacations. Poet John Milton said some people—like me–“scorn delights to live laborious lives.” But when I can say, “That’s it,” well, that’s it. It’s all done. Something shuts off. All responsibility for it disappears. My mind elsewhere now, I might say flippantly, “Well you take care of it from here. Just mop it up.” And Diana will say, “Oh, no, you’re the writer, not me. I won’t make a change without your approval. So let’s get going. Why in the fourth sentence do you say…?”

Diana doesn’t usually suggest subjects I should write about. I develop my own ideas. But once she gave me a subject and it will give you an idea of how we work. I’d never really written anything significant about the death of my sister Sharon who was very dear to me. Diana said I should. I wrote what I thought was a good piece and gave it to her. She didn’t like it. I said, “It’s perfectly fine. I’m done with it. I’m not doing anything more.” Her words in reply were “It is not up to your standards.” I liked the implication that I had high standards, and in the back of my mind I knew I wasn’t satisfied with it either. I redid it seven or eight times. It became “Days End.” When it was done, a critic said, “This is not just writing. This is literature.” If it is, it wouldn’t have been without Diana so persuasively prodding me.

I’ve learned more of what they call “classical restraint” from Diana. That that style appeals to her is not coincidental. It suits her. She is dignified and calm—classically restrained. Her favorite word in the English language is equanimity—composure, level-headedness. A writer’s most effective writing mood is important, and every writer has to find his/her own, just as painters and sculptors, etc., must find their most productive working mood.

Diana is able to find in my writing what I may not see. I asked her to go over some fiction of mine. As she read she stopped abruptly and said, “Hmmm, this passage right here is a poem.” She said, “Just read it. These lines here. It’s a really nice poem just as it is.” I put it verbatim in poem form without changing a word and it was published and won a contest. I hadn’t noticed my poem among the prose.

I’m currently writing a book that I believe has something original to say to writers who wish to achieve their writing goals, including becoming a higher quality writer and being successful in other ways too. I don’t let Diana or anyone else read anything I’m working on until in my judgment it’s pretty much done. I never tell anyone exactly what I’m doing. But she knows something about the book and the other day let slip the comment, “You should really make it applicable not just to writers, but to artists and actors, and so on.”

I’ve tried, but for the life of me I cannot get that sentence out of my mind. I wonder, “Should I do what she suggests? It would take more time, more work. It wouldn’t be easy, it would be tough. There are a hundred reason why I shouldn’t do it.”

But damned if I don’t have a hunch that once again she’s right.

 

© 2015 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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Writer and Artist Warriors

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

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

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

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

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

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

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

Warrior symbol

“Warrior” by tiseb

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

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

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

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

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

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

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

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

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

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

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

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

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

© 2015 David J. Rogers

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

www.mentorcoach.com/rogershttp://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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or

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Filed under Artists, Becoming an Artist, Blocks to Action, Boldness, Creativity Self-Improvement, Developing Talent, Human Potential and Achievement, Eastern Philosophy, Goals and Purposes, Motivation, Personal Stories, Samurai Techniques, Success, Warriors, Work Production, Writers

13 High Achievement Skills for Artists and Writers

Part I

I’m writing a book that says high achievement for artists and writers is within reach. It describes eight qualities creators need if they are to excel. If even one quality is missing, they will not excel. Day after day for a week I made no progress on one section. I would sit down to work at the computer and find myself fiddling around mindlessly for a few hours, then going down to the kitchen for a snack or looking around for someone to talk to, or I’d do laundry or something and after a while would go back upstairs to the computer with every intention of working on that section only to find myself Laundrychecking the sports scores. Then I’d quit for the day and feel that nagging dissatisfaction with myself that writers and artists so often feel. Finally I sat down on my recliner to try to get to the bottom of this and asked myself, “What’s the problem?” and I immediately answered, “That section is too easy for me.”

Most people in the world can be divided psychologically into two broad groups. Probably you are in one group, just as I am. There is the minority who set and pursue challenges for themselves and are willing to work hard to achieve something, and then the majority who don’t care about challenges all that much and don’t work hard. Those two groups are to be found among artists and writers everywhere in the world, just as they can be found among students, accountants, businessmen and women, athletes, and people in any other field. Mozart was a tremendous worker who practiced, performed, and gripped a quill pen to compose so many hours that by the age of 26 his hands were deformed.

The first group that sets out in pursuit of challenges possesses a distinct kind of motivation, a specific kind of measurable psychological need that the group that is indifferent to challenges lacks. That need is called Achievement Motivation, Success Motivation, or The Need to Achieve, and the people who have it are those who reach higher achievements than most other people, certainly higher than those who don’t care. (Much of the initial work on race-695303_640Achievement Motivation was done by psychologist David C. McClelland). The achievers are more successful artists and writers, just they are more successful students, physicians, athletes, salespeople and business executives. It is naïve of a creator to think talent alone will take a person to great heights. Most teachers of writers and artists will tell you that it is rarely the most talented pupil who dazzled the class that they hear and read about later. They hear about the one who was the most determined to succeed and the most dogged—a member of the first group.

So it seems to me extremely important if you want to enjoy more success, however you define success, to understand what high success people are like, so if you wish, you can become more like them and achieve more creatively and find more fulfillment. If they are in the business world, achievement motivated men and women have high career aspirations just as achievement motivated writers and artists are ambitious and have high career aspirations. Author Ernest Hemingway was as ambitious as anyone. An unbelievably hard worker, he wanted nothing less than to be the world’s greatest writer. And in 1954 when he was awarded the Nobel Prize, he was. Vincent van Gogh said that while he wasn’t successful during his life—he sold only one painting in his lifetime and traded another for brushes–one day he would take his place among the immortals. In the work world achievement motivated people get more raises and are promoted rapidly. If they are unemployed they get new jobs more quickly than less motivated people. Companies that employ a lot of them prosper.

If you are in the first group—achievers—I know you very well. I know how you think. I know how you act. I know your values. I know something about how your parents reared you. I know what color clothes you prefer to wear.

man-73318_150First of all, you are definitely goal-directed, and it’s no secret to you that achieving goals will require that you follow a linked series of steps over an often long period of months or years as you progress from beginner to expert, and sometimes amateur to professional. P.G. Wodehouse said, “Success comes to a writer, as a rule, so gradually that it is always something of a shock to him to look back and realize the heights to which he has climbed.”

From the start you exert yourself and mobilize more energy to reach your goals than other people. And you are able to persist steadily without interruption whereas poorly motivated writers and artists have low energy and will interrupt their work more often and not engage in it for long periods, even years. That can have a detrimental effect: if you neglect an activity for just 48 hours you function much less effectively when you resume the activity. While achievement people are hard persistent workers, they need not fill their entire day with work and are able to cut out and enjoy leisure time. At least in America most people work at least 7 hour days and must travel to and from work, but professional writers usually work at home about four hours, 16.7 % of the day, leaving 20 hours for other things (though some, like prolific novelist Philip Roth, work all the time).

paintings-316440_640A long gestation period is required before artists and writers are fully developed and performing at their peak, and during that period you spend your time actively thinking about how to do things better. You constantly talk about doing things better. You’re concerned with getting better all the time. You take classes, you study, you read, you learn. In other words, you are dominated by what is called An Urge to Improve. It’s not difficult to understand why people who constantly think about doing better:

  1. Are apt to do better at what they’re interesting in doing better
  2. Prefer working in situations where they can tell easily if they are improving or aren’t
  3. Keep track of their performance so they can tell if they’re in fact doing better

If you are an achiever, the goals you set are one or more of four types:

One, you compete with yourself, trying to achieve more in the future than you’ve achieved in the past. Is this true of you? If it is, you stay interested by aiming higher and higher. Once you’ve achieved a goal, the goal loses its luster and you now want something more. You had an essay published. That’s over and done; now you’ll write a book.

Two, you compete with others. You may not like it, but unless you do your creative work solely for the joy of it, you have to compete. Hundreds of writers, possibly thousands, are trying to get their stories in the same magazines as you and as many artists are trying to get their work shown in the same galleries. As novelist Doris Lessing said: “You have to remember that nobody ever wants a new writer. You have to create your own demand.” No one wants a new painter either. And so to draw attention to yourself in a cluttered field of one talented person among many talented people, you must develop the competitive survival skills of the showman and self-promoter.

The necessity of competing needn’t cause anxiety if you learn to be dispassionate and non-attach. Then you see competing as just another challenge and role, the role of the marketer of your work, a set of skills that can be learned, the logical conclusion of all your development and all your work.

Three, you engage in a long-term involvement over the long haul, and four, you pursue unique accomplishments–definitions of the work of writers and artists.

painting-316135_640You have sub-goals which will lead in an orderly way to the achievement of your major goals. For example, you know that to do as well as you hope, you’ll need to acquire more and more knowledge of your craft throughout your career. Knowledge is not quite everything, but almost. Writers and artists of all kinds draw from all the cumulative knowledge they’ve acquired. They do that sometimes consciously, sometimes spontaneously. What they know is reflected in their every word, every turn of phrase, every image, every idea, and every choice of color and perspective and every brush stroke. So it is incumbent on them if they are to excel to learn more and more about their craft, including how it’s done and how others have done it.

You take a futuristic view and are a long-range planner who keeps his/her goals in mind continually. They are never out of your mind very long. (In itself, this makes you exceptional because most people have very little idea of what their goals are and don’t think of them often.) The more important the goal is to a low-motivated person, the less interested in it he becomes. He loses focus on what’s important. But the more important it is to you, the achiever, the more challenging and therefore the more interesting to you it is. As it becomes ever more important it becomes ever more challenging and ever more interesting.

It’s worth remembering that to an achievement motivated person like yourself failure to achieve a goal makes the goal more attractive, not less. Failure doesn’t devastate you, but pushes you to greater effort because now it is even more of a challenge, and you thrive on challenges. You try again. And then again and again tenaciously until you succeed, whereas a less strongly motivated writer or artist may not try a second time and never reach success.

You are aware that reaching your goals depends on how difficult they are in relation to your capabilities. The ideal you’re trying for is to match your abilities perfectly with your goals, your abilities equipping you to achieve them all. If you lack the ability, you cannot reach the goal. Simple tasks and very difficult tasks are interesting to people with low motivation, but not to those with achievement motivation like yourself. You’re drawn to goals that are moderately difficult—not too easy; not too hard, but a little out of reach. Goals like that motivate you the most.

It’s been said that if writers were good businessmen, they’d have too much sense to be writers, and John Steinbeck said the profession of book writing makes horse racing seem like a solid, stable business, and the same is true of painting, dancing, and acting. If you’re an achievement motivated writer or artist you won’t even try to reach goals that in your judgment of your own capabilities you don’t have at least a 30% chance of reaching. I submitted a manuscript to a publisher with the odds of publication statistically about 3,000 to 1 against. But I was confident and thought I had a 30% chance. I was right and the book was published.

joshua-tree-5104_640You will not pursue goals that aren’t challenging enough. Sure things hold no excitement for you. They’re not interesting, just as the section of the book I’m writing is too easy for me. So you spice things up to make the goals more challenging, sometimes making the sculpture or the novel you’re working on more complicated, more ambitious, something, you’ve never tried before, for example. If something is important to the achiever, she will sometimes work days or weeks non-stop. But if it isn’t, she’ll avoid work. She’ll go fishing.

Think about your three main writing/art goals at this time. Your crucial goals should always be held clearly in mind so that if I asked you could quickly say…

“No doubt about it, my major overriding goal now is…

“My second most important goal is…

“Also very important is…

Do you feel all in all you have a 30%-65% chance of reaching them? (I’m asking you if they are moderately difficult goals, the achiever’s aim.)

 

Part II

 You work in intense, concentrated spurts (which studies find now is the most effective way to work). Other people often marvel at your capacity for sustained effort. They ask, “What do you have going for you that you can stick to it and never seem to tire?” It’s because you are achievement motivated. But when the work is done, you put it completely out of mind and want nothing more to do with it. You want to go on right away to the next moderately difficult project, or you want to go to the beach and forget all about your work. The change from hard work to a total disinterest in work is so extreme at times that your significant other will say to you, “One minute you’re a ball of fire, the next I can’t get you to do a thing.” A research study found that professional writers couldn’t remember what they had just written, but amateurs could remember very clearly what they had written.

You consider your goals very carefully if you are achievement motivated. You “research the environment,” gathering information wherever you can and consider the probability of success of a variety of alternatives and try to find goals and tasks that will excite you. Should you continue working on the project you’ve started or stop and begin something else? One thing experienced creative people are good at is knowing when something is not going to work out, and if it isn’t, they don’t hesitate to junk it. Writers have been known to write an entire book, then decide they don’t like it and put it in a drawer and forget about it. Should you get help? Getting help is a sign in itself that you’re trying to reach the goal. Should you try something completely different such as a new style, a new technique, a new market for your work? You take time to reflect on your career, your strengths, your weaknesses, your ambitions, and your possible future continually.

When you set goals you spend more time thinking about what it would be like to succeed than what it would be like to fail. You don’t dwell on failure, only on success. And what is success to you? It is reaching excellence. Producing excellent work is far more important to you than prestige. But prestige is more important than excellence to those whose motivation is low, and they dwell on the possibility of failure.

When working in a group setting and asked to pick someone to help them solve a problem, low motivated people will tend to choose friends, but the most highly motivated will choose for a partner someone who’s more able than they are, friend or no friend.

You are task-oriented, a hard-worker no matter what the situation is—writing, painting, doing chores, planning a novel, assembling a dresser. The low-motivated writer or artist avoids working hard whenever he can. Also, highly motivated people, surprisingly, are better able to recall tasks they didn’t finish. And if they’re given a chance, they will return and compete those tasks. Even tasks that were interrupted many years before—the so-called Zeigarnik Effect. Achievers are not comfortable with unfinished business.

You prefer to take personal responsibility for outcomes rather than to leave the outcome to chance. You want outcomes to be the result of your own efforts and your own skills. You are not a gambler if no personal skills are involved and if winning and losing is a matter of luck and not of skill. Lotteries and slot-machines aren’t appealing because no skill is involved. If you were able to throw dice with a 1 in 3 chance of success or work on a problem with the same odds, you will choose to work on the problem because the result would be dependent on your abilities rather than chance.

Since achievement motivated people are always interested in improving their performance, they crave feedback on how well they are doing. The feedback must be (1) rapid and (2) specific. They want to know now and they want to know why. They are writers and artists who want constructive criticism.

So if you wish to be more of an achieving writer and artist:

  1. Pursue moderately difficult goals that require: a) doing better, b) competing for success, and c) engaging in projects that need long-term involvement and unique accomplishments.
  2. Get in the habit of researching your environment, looking for many sources of useful information you’ll need to set reasonable and attractive goals.
  3. Don’t dwell on failure; dwell on success. Think of what it will be like when you’ve succeeded.
  4. Be always expanding your knowledge. Set knowledge development learning goals.
  5. Take a long-term view of your writing, your painting, your sculpting.
  6. Be interested in excellence for its own sake.
  7. Work intensely in spurts and persist in the face of failure.
  8. Carefully consider the probability of success achieving each of your goals.
  9. Take personal responsibility for your work and your career.
  10. Get rapid and specific feedback on your efforts continually.
  11. Get help
  12. Be thinking all the time of how to do things better.
  13. Place your confidence in your own abilities and your own hard work.

I’ll have to find a way to make writing that section of the artist’s and writer’s book more interesting—more moderately difficult–so I can work harder and finish it. We’ll see what happens.

© 2015 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/rogershttp://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

Fighting to win Amazon

Click on book image to order from Amazon.com

or

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

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

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Writers’ and Artists’ Deadline Problems and What To Do About Them

vincent-van-gogh-74018_640Writers and artists are almost always marvelously productive human beings able to generate huge quantities of work, amounts of work which put people in other walks of life to shame. They are concerned with their production and pay close attention to it—did you write your 500 words today; did you finish painting that corner of the canvas before quitting for dinner? If production falls off, they want to know why, and if good work pours out of them fluently, they want to know why that is happening too.

Hard as I try, I find it difficult to imagine any writer or artist—amateur or professional, novice or expert–who hasn’t had  production deadlines to meet, and it’s not unusual for them to have had problems meeting them at least once or twice, and possibly more frequently than that. You’ve heard it said, and maybe you’ve said it yourself when you’ve been under the pressure of a tight deadline and are having trouble meeting it: “This deadline is important. It’s in the contract, and it’s very clear.”  Think how ominous the word is. It’s not a “lifeline,” but a “dead” line, as though if you exceed it you’re a goner.

You have a task that you’re supposed to finish by 2:00. Or it may be by next Tuesday, or one year from Tuesday. There’s some kind of principle or another—Murphy’s Law–that goes, “If something can go wrong, it will go wrong.” Let’s say you start to work and encounter a setback. You begin thinking, “I’m falling behind.” You’re not worried and you continue on, but you run up against another snag or block that slows you down more. More work, another snag; the ideas just won’t come, or you can’t find a concept for the drawing, or your computer crashes, and it will be a long time before it’s fixed. (I had that problem once and was told there was a backlog and that I’d have to shut down for ten days while I waited for a repair person. But I had a deadline to meet, and I really couldn’t wait ten days. So I called the national president of my internet service provider at that time, calendar-148598_640 (1) AT&T, and had a nice conversation with his personal assistant. I explained to her that I was an author and had a book to get out to the publisher right away, so I needed my computer to work. She was an avid reader which I think helped. A repairman was ringing my doorbell at 8:00 the next morning. By 8:20 I was back at work, everything copacetic, things under control.) Or you move out of your old place into a new place or have a baby, and your work comes to a standstill.  A crack in your confidence then appears. You soon begin to conjure up a grim chain of possible events: “If I don’t finish this assignment-story-novel-report-painting-lithograph on time, this might happen and that and that, and that would be very bad.” And then there are other slowdowns and still more. Eventually you think, “Oh, God, no matter what, I can’t possibly finish on time. My butt’s in a sling. What a predicament.”

Strategies for Freeing Yourself from Deadline Difficulties

  1. Pay not the slightest attention to the deadline. You have only so much attention. It’s not divisible. If it’s on one thing, it can’t be on another. Resist any inclination to worry about the deadline. Fix it in your mind once, enter it on a calendar, then get to work immediately. Whatever attention you devote to fretting about it is that much less you can devote to the job at hand. Yet that’s where your mind should be totally focused. It will be helpful if you are able to be dispassionate and non-attached. Perfectly unworried.

archer-160389_640Archery contests are held at a temple in Japan and the best archers compete. The object of the contest is to see how many arrows the marksmen can shoot from one end of a 128 yard long veranda into a target on the other end in one day. The ceiling of the veranda is very low, and the archer has to shoot without much arch. That requires considerable strength and is exhausting. The record is 8,133, or about five arrows every minute for twenty-four consecutive grueling hours. Now how many arrows would the archer have shot if he stopped to fret about the deadline? Certainly not 8,133.

No matter what, we must refuse to let our mind waver from the job at hand, agonizing less about the deadline, absorbing ourselves in tasks, just shooting our arrows, just punching away at the keyboard, just drawing lines. The more we remain firm and focused, shifting our minds again and again persistently to what is in front of us that needs doing, the higher the quality of the work we produce will be and the sooner the work will be accomplished.

  1. Remember that some time pressure actually enhances performance. There are many things we would never have completed if we hadn’t had a deadline to prod us. In school you had papers to write or a drawing to do. You were forewarned: it was due in four weeks. If you were like most students, you put it off for three weeks, six days and 19 hours. You stayed up the night before and, bleary-eyed and rendered useless the rest of the day, turned it in on time. There you are; you obeyed another principle: work tends to expand to fill the time available for its completion. So had you just one week, you would have finished it in one week, and would have finished it on time had you had only five hours.
  2. Bear in mind, however,  that unrealistic deadlines create too much pressure, and too much pressure interferes with performance. You worry. You tighten up. You lose focus. After a while when you’ve fallen behind, you find yourself beginning to pay more attention to the deadline than to doing well what needs doing. The need to finish on time gets more urgent and you start taking shortcuts. You really don’t want to, but you’re lowering your usually high standards and getting sloppy and the work’s quality is falling off.
  3. If you have any say in the matter make the deadline reasonable. Realistic deadlines motivate performance. I’ll confess: I’m a naturally excitable person, and I used to get very stirred up and to be too optimistic about reaching any deadline that I set. At times my staff had to work ridiculously long hours and on weekends and holidays and even while they were sick to meet them. So I devised a simple precaution which I called “the kick.” When I was asked by a client to estimate how long a job would take, an associate would kick me under the table. That was the signal to increase my estimate by 30%. Never let your enthusiasm exceed your better judgment. Can you use some version of the kick?
  4. Choose deadline-beating thoughts, not worry-creators. You are inwardly free to replace one thought with another whenever you want. Instead of, “I’m losing ground,” replace it with, “I’m making progress. I’m whittling this baby down,” or “Every time I stop to look at the clock (or the calendar) I’m wasting time.” “I’m going to have the focus of those archers.”
  5. Accept the deadline as an exciting challenge. When I was working on a particular book, as I turned in one chapter after another, the editor thought, “This is pretty good stuff, and it’s getting better and better. This book is going to make money.” She told the publisher, “I think we have something.” The publisher then said to her, “The longer his book, the larger the cover price we can charge. Have him double the number of words we contracted for (from 60,000 to 120,000 words). And let him know since the book is so good, we’ll want an earlier pub date. Finish with it as soon as possible.” So the length was doubled and time pressure increased. Rather than the usual “cut, cut, cut” I had to think “add, add, add.” I could have renegotiated, but accepted the new terms as a challenge and didn’t ask for any more time. I just worked longer hours (an extra writing shift every night), and everything went well.
  6. In some cases, renegotiate the deadline. When you do not see the time constraint as challenging, but rather as completely unrealistic, renegotiation makes sense. No one wants you not to meet the deadline.
  7. Overcome the causes of the snags and slowdowns. For example, often a person’s failure to meet a deadline isn’t that person’s fault at all, but of someone else’s failure to meet their deadline. If you can help them overcome their snags it will help you overcome yours.

I don’t think American novelist Thomas Wolfe (1900-1938)—that master of language–ever met a single deadline his entire career. When you’re as talented as Wolfe, you can get away with murder. Until you can get away with murder too, you will have to find effective ways to handle your deadlines, striving never to be late.

© 2015 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/rogershttp://www.mentorcoach.com/positive-psychology-coaching/interviews/interview-david-j-rogers/

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Leadership: The Effective Leader’s Mind

David J. Rogers writes for artists, writers, performers, and creative people of all kinds and has also provided consulting in strategy and leadership to some of the world’s largest corporations. He has lectured on these subjects extensively in North America and Europe. His best-selling book Waging Business Warfare: Lessons from the Military Masters in Achieving Competitive Superiority–now a new, revised, and updated E-book–has been called a business masterpiece.

“The responsibility for a host of a million lies in one leader who is the trigger of its spirit.”(Ho Yen-His)

alexander-the-great-35767_640The greatest competitive leaders in business, whatever the industry, are exceptional. They may be anywhere in the organization—as is also true of leaders in warfare. They are out of the ordinary because they combine a complement of qualities that equip them perfectly for a leader’s life but that are only rarely found together in one individual. They are knowledgeable, talented, creative, intelligent, energetic, flexible, and driven. They are obsessed with the need to take direct action and mix it up with the competition, and they are savvy strategic thinkers.

Hannibal, the Carthaginian (247-183 B.C), was a true master of strategy. In fact, he is called the father of strategy. Napoleon considered him superb in every aspect of warring, and the Duke of Wellington thought him to be the single greatest soldier in all of history. To this day Hannibal’s victory against the Romans, commanded by Varro at Cannae in 216 B.C., is considered the most perfect tactical battle ever fought. Hannibal’s army of 50,000 annihilated the Roman army of 86,000.

Before the battle began, Hannibal, knowing the importance of a leader keeping his people informed, called his army together and addressed them. He told them that at a certain point during the fighting it would appear that they were about to lose, but to have courage and have no fear because what would be happening then was part of his plan, and soon the tide would turn. It has been said that the mind of the leader is passed on to ten thousand subordinates.  A great leader is an inspiring leader.

How could a much smaller army beat a larger one, and so deci­sively? The historian Polybius provides an important answer: it wasn’t Hannibal’s soldiers or order of battle that made the Carthagin­ian army superior to the Romans. It was Hanni­bal’s superior personal skills. Then Polybius makes a matter-of-fact comment that carries immense implications for businesses vying for com­petitive excellence: “As soon as the Romans found a general who equaled Hannibal in ability, they immediately defeated him.”

And how could a little pipsqueak of a company like the WD-40 Company with its minute work force consistently outcompete giants Du Pont, 3M, and Pennzoil the way Hannibal beat the Romans?

In short, a contest within the contest between the Carthaginian and Roman armies was the contest between leaders. The better leader won; the less capable leader lost. More than 135,000 men took part in the battle of Cannae, each pitting his abilities against his counterpart on the other side. Yet it was the qualities of just two human beings—Varro and Hannibal— which stood out and dominated the day.

startup-594126_640 (1)The situation is precisely the same in business competitions. Many companies have had all the material resources necessary to gain the advantage over competitors but weren’t able to do so until the right leader with the right vision, right strategy, right plan, and right insights into how to manage people took charge. We should guard against becoming so accustomed to discussing competitions between businesses that we forget that businesses don’t run themselves: people run them. We shouldn’t forget for a moment that behind the corporate names GE, Procter & Gamble, IBM, McDonald’s, Toyota, GM, Microsoft—and behind their every strategic and tactical move are the leaders who are pitting their quality as leaders against the quality of competitors’ leaders.

CEOs know how integrally leadership ability bears on the well-being of their corporations. When 300 of them around the world were asked what they would look for in their successors, “personal leadership style” was the most sought-after attribute. “Aggressive competi­tive outlook” was second. Who a leader is and what he or she is made of and how clear a thinker may be more important than all the other company resources, including size and wealth.

Every strategic and tactical move reflects the minds, the spirits, and the personalities of those leaders. However much information the business man or woman or entrepreneur has in hand–studies, reports, analyses, anecdotal stories, scenarios–strategic decisions require problem-solving under shifting, loosely-defined, ill-structured circumstances. They are made in a kind of fog and because of the fog always require of leaders qualities of decisiveness, courage, and clear thinking.

Man thinking-23838_640Effective leader-strategists are thinkers with a two-pronged ability. First, they are sensitive to the complexities of the problems they are facing and able to process multiple perspectives. They try patiently to understand the situation objectively and to penetrate the problem to its core.  They also consider a range of goals that are sometimes inconsistent before considering a number of solutions and arriving at a satisfactory answer. Then, second, they are equally adept at integrating the perspectives into a coherent viewpoint, in this instance, a strategy. They are not conservative in their thinking, but are independent, open-minded, and flexible.

People with little strategic ability, being less complex thinkers, think simply. They work with only a single, simplistic perspective, and are generally unwilling or unable to consider alternative solutions. They are impatient and evaluate quickly and then turn to other matters. Their thinking tends to be rigid, dogmatic, and inflexible, a world removed from the more active, quick, alert, and subtle mind of the superb leader-strategist.

French colonel Ardant du Picq (1821-70) made highly detailed and scrupulous studies of the factors leading to success in battle. His most fundamental conclusion was that “It is the mind that wins battles; that will always win them, that always has won them throughout the world’s history.”

In his Art of War, Sun Tzu (400-320 B.C.) put the issue quite simply: any commander will be able to forecast which side will win by answering the question, “Which of the two commanders has the most ability: me or him, (or her)?”

It is minds that win business competitions—often one woman, one man sitting in an office alone, thinking.

© 2015 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/rogershttp://www.mentorcoach.com/positive-psychology-coaching/interviews/interview-david-j-rogers/

 

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

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

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