Category Archives: The Creative Process

Drive and Motivation: The Creative’s Urge to Produce Works of Art

If it is your goal is to do creative work it is important to be able to understand your motivation, your drive–is it strong or weak–and to know what drives you personally through difficulties and setbacks to creative fulfillment and joy. Without drive to sustain you, your creative career will fizzle out before you reach your peak. That’s so because drive is not a luxury, but a creative’s necessity.

Drive is that ingredient igniting the human spirit and pushing creative people forward to explore the scope of their talents. It is an irresistible urge to produce-and continue producing–works of your imagination and skill. Strong drive is the reason many successful creatives work so intensely and never give up when so many of their fellow creatives have cried “Enough” and simply quit.

Many people reading this post have been writing, painting, acting, composing–creating–for twenty, thirty, or forty years. How different are they from Vincent van Gogh who said, “That which fills my head and my heart must be expressed in drawings or pictures…Drawing becomes more and more a passion with me, and it is a passion just like that of a sailor for the sea.”

Psychologist Teresa M. Amabile wondered what motivated creative people. Was creativity merely a means by which the creator could reach other goals, or was creativity for the creative an end in itself?  She staked her reputation on proving that creativity increases when you engage in the activity as an end in itself for the sheer pleasure it offers, and that if you do things to earn rewards other than the enjoyment, satisfaction, and challenge of performing the activity you become less creative. She tested subjects ranging from grade school children to undergraduate women, rewarding some of them for performing creative tasks. Their work was then graded by professional creatives–established painters grading the paintings, writers the writing, etc.

No matter what the reward was or when it was given, if the subjects thought they were working for external rewards they became less creative.  But when they were playing and having fun and no reward was involved, they were more creative. The conclusion was:  a playful approach to the task increases the likelihood of producing creative results and external rewards have the opposite effect on creativity.

Another experiment showed that even the hint that an external reward was riding on performance was enough to make the subject lose interest. The same happens to chimpanzees. Given paint and canvas chimpanzees become so absorbed in painting that they show little interest in sex or food. But if the chimps are tangibly rewarded for their painting, the quantity and quality of their painting declines. They do only well enough to get the reward. Chimps, like many humans, are more likely to be creative when no external rewards are contingent on their performance. Even thinking about extrinsic rewards reduces creativity among many people, possibly you. Playwright Oscar Wilde said, “Genius is born, not paid.”

Enjoying the work itself is reward enough for people who are strongly intrinsically motivated like those chimps. Virginia Woolf was writing about her intrinsic motivation when she referred to her “rapture”: “Perhaps this is the strongest pleasure known to me. It is the rapture I get when in writing I seem to be discovering what belongs to what, making a scene coming right, making a character come together.” Literary critic Alfred Kazin thought writers were intrinsically motivated. He said the writer writes in order to teach himself to understand himself, to satisfy himself. The publishing of his ideas, though it brings gratifications, is a “curious anticlimax.”

Intrinsically motivated creatives enjoying their work don’t have to wait for money or praise or any other kind of external reward to be satisfied. They don’t need anything else but their “rapture.” Intrinsically motivated writers are caught and captivated by the writing itself and compelled to be immersed in it and in making it into something they feel is worthwhile.  The intrinsically motivated creative will often say, “What I do isn’t work. It’s joy. You can say in a real sense I’ve never worked a day in my life.”

But some creatives are driven by a need for extrinsic, not intrinsic, rewards.

Blaise Pascal who wrote that “anything that is written to please the author is worthless” was obviously not intrinsically motivated. Samuel Johnson wrote that no one but a blockhead writes except for money. And Anthony Trollope wrote in his wonderful An Autobiography that all “material progress has come from man’s desire to do the best he can for himself and those about him.” He said that what motivated him was what motivates lawyers and bakers—“to make an income on which I and those belonging to me might live in comfort.” Stronger even than that after a troubled childhood was his drive to make something of himself, “to be more than a clerk in the Post Office…to be Anthony Trollope.”

Pablo Picasso loved being rich, and said he wanted to work without material worries “like a pauper,” “but with a lot of money.” George Orwell thought that a writer’s main motivation was also extrinsic: to seem clever and be talked about, and be remembered after death.

There are other kinds of extrinsic motivating factors than money alone—recognition, praise, encouragement, popularity, acclaim, fame, feedback, and other forms of positive reinforcement that can be far, far more powerful motivators than money. While writers often don’t consider themselves competitive, they are.  When you’re told you’re the best there is, your motivation rises. When a writer’s work isn’t intrinsically interesting, as during those times it’s boring and tedious, an extrinsic reward such as a sumptuous dinner or a compliment might supply the right motivation to continue working.

The best way to recognize extrinsic motivation is to ask if you’d continue doing the work if no reward was to follow. If you’d answer “No way” your motivation at that time is extrinsic. But if you would answer, “Of course I would” it is intrinsic.

The majority of creatives pursue both intrinsic and extrinsic rewards.

Working skillfully makes writers feel fulfilled intrinsically. But they usually also want to see the work published somewhere—an extrinsic goal. American poet Anne Sexton wrote to her agent: “I’m in love with money, so don’t be mistaken, but first I want to write good poems. After that I am anxious as hell to make money and fame and bring the stars all down.” I suppose it’s possible to imagine anything, but it stretches the imagination considerably to imagine a pure intrinsically motivated writer who cares nothing about receiving some kind of external reward, or to imagine s pure extrinsic motivated writer who works only for rewards.

Extrinsic and intrinsic motivation aren’t two different types of motivation. They are on a continuum from most intrinsic to most extrinsic.

Whatever else we can say, we know one thing for sure: most human beings don’t do anything without anticipating a payoff. The payoff needn’t of course be monetary. It may be to be paid off for your efforts in other ways: through recognition or acclaim; through feedback and praise.

James Jones, author of From Here to Eternity, said “I do think that the quality which makes men want to write and be read is essentially a desire for self-exposure.” Some people create to produce great art that aficionados will admire. Playwright/short story master Anton Chekhov wrote, “I take pleasure in anticipating that these same passages will be understood and appreciated by two or three literary connoisseurs and that is enough for me.” Philosopher Alfred North Whitehead said, “A man really writes for an audience of about ten persons. Of course if others like it, that is a clear gain. But if those ten are satisfied, he is content.”

I think most creatives are driven to express beauty, the beauty they perceive in the world–the trees, the grass, a human smile, kindness, and the beauty in their souls that cries out to be shared–even if the subject of the work is not beautiful. Some are driven because they’re obsessed and can’t help themselves.

For some creatives performing their art is therapy. D.H. Lawrence, who should know, wrote: “One sheds one’s sicknesses in books.” Some are driven to have revenge. Mary Higgins Clark said that rejection slips only produced a “wait and see” attitude. She’d show people who doubted her. Perennial best-seller John Grisham said, The good thing about writing is that you can get back at people.”

Other painters, writers, actors, composers, etc., are driven by the desire to have the self-respect they don’t get on their jobs or in social or family life. That desire sparks their creativity, drive, and hard work to succeed and gain respect they haven’t found in any other area of their lives.  Some are driven by the pleasure of doing creative work.

Others are driven by their need for praise, and many others for tangible rewards like wealth that motivates almost everyone to a lesser or greater degree. There are many other reasons why creatives are driven.  Many artists’ main drive is to improve their abilities so they might improve their workmanship to an exceptionally high level just to see how excellent they can become.

Ask yourself, “Where on the Intrinsic Motivation—Extrinsic Motivation continuum would I put myself?  Most of the time I’m:

Rate yourself on a scale from intrinsic to extrinsic motivation. Where do you fall on the scale?

 

 

What motivates you most?

“The particular thing that motivates me more than anything else is:”

1.

 

“Also important to me are:”

2.

3.

4.

5.

 

It’s worth assessing how intense your creative drive is by choosing one of the following statements to describe yourself:

  • “My drive to survive, improve, and find fulfillment in the arts is very strong.”
  • “My drive is so-so.”
  • “I need more drive because right now I don’t have much.”

 

Assessing your motivation on the Intrinsic/Extrinsic motivation continuum and the current intensity of your creative drive can help you make changes in your creative practices that will make your work more fulfilling.

 

© 2019 David J. Rogers

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

Interview with David J. Rogers

 

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Filed under Actors and Directors, Artists, Composers, Creativity, Creativity Self-Improvement, Creators' Work Life, Drive, Motivation, The Creative Process, The Nature of Artists, Work Production, Writers

The Lives of Talented Creatives

Painting of cherry pink blossom tree

Cherry Blossom Tree in Shinjuku Garden by Richard Claremont

Creatives do exceptionally well what others find difficult, and that is the definition of a talent. Talent is the distinguishing quality of creatives, usually talent in one field.  Although a creative can be very talented in more than one area, as many bloggers are, as Vincent van Gogh, a wonderfully expressive writer of letters as well as painter was, the creative’s talent in one area dominates. My seven year old grandson is a much better painter than I am because he is gifted in art, and I certainly am not. (It doesn’t take long for the buds of talent to burst into bloom in a child). My talents are linguistic, and of all the arts I, who grew up in home where music filled the house, I’ve always wished I could write beautiful music–but I can’t.

I have a composer friend whose music is performed by major orchestras. He’s received many prestigious awards. But he can’t paint as well as my grandson. I can’t touch my friend in any aspect of music. He is much too talented musically for me. But he can’t write poetry or prose as well as I can. Nature specializes creatives and points them in a direction.  Whether they will choose to follow that direction in the course of their life or will not is their choice. How serious they will become about developing their talent–whether refining it to a high level or ignoring it–is up to them.

landscape of gold fields with white clouds

Golden Harvest by Richard Claremnt

When you’re making use of your main talent you’re as effective as you will ever be in any area of your life because your talent is what psychologists call your “dominant faculty.” Putting it to use habitually, day after day, to be free without being interfered with in any way, is a wish, a hope, a goal, of all serious creatives.

For the creative the quality of curiosity is extraordinary because it is so intense. Also there is a fascination with how everything works, fits together, and is useful that starts of its own accord in childhood and stays with creatives to the last day of their life.  Being curious and having an aptitude for picking up knowledge here and there is important. People who have stored up a wide range of knowledge have a very good chance of being creative.  Once they are serious creatives and are deeply involved in their field, they have a hunger for extensive knowledge of it: “The most eminent creators are consistently those who have immersed themselves utterly in their chosen field, have devoted their lives to it, (and) amassed tremendous knowledge of it” (Geoff Colvin).

Then there is a desire, impossible to satisfy in a single lifetime, to create original things–poems, symphonies, paintings, performances–that are added to the culture, and in doing so to leave behind at career’s end a legacy, the traces of a vital human being who walked this earth, breathed, achieved, and had a personality, a name, and a reputation which will outlive the talented person by a year, or ten, or a hundred.

Green and blue with brown rocks, blue water and sky

Rockpool and Headland by Richard Claremont

At a certain eventful time in creatives’ careers when they are no longer a novice and have matured as a craftsman, the need to paint or write, compose, act, or dance takes over, becomes powerful, and can’t be ignored. This is a turning point in the career of the creative, a new level of involvement with their craft.  The creative may well feel as novelist Henry James did, that “It is art that makes life, makes intensity, makes importance…and I know of no substitute whatever for the force and beauty of its process.” The creative becomes willing to give up other rewards for the sole experience of practicing an art because it is both fulfilling and challenging in a way little else is.

To practice the art may be more than adequate compensation for disappointments in other areas of life. Disappointed in love or work, if novelists they may choose to stop thinking of their hurt and turn their active minds to the task of writing a story with many characters and an intricate plot. Rather than grieving a loss, a ballerina turns to the only art she’s known since childhood and begins to warm up.

glass vase with orange blossoms on light blue background

Gum Blossoms by Richard Claremont

There is now something in the movements of the body and mind of creatives as they work, of muscle and thought, of experimenting with ideas, and entering the pleasant elevated mood of losing oneself in the work–some force implicit in the creative act–an urge that is more intuitive than rational, subliminal and subconscious. Those aspects of the processes of creation add up to an experience which may be so blissful that it can be as addictive as abuses of alcohol, drugs, gambling, and sex. But creativity is a positive addiction, not a harmful one.

As a mature creative, your thoughts are continually on how to get better. In an interview Pablo Casals, aged ninety, was asked why he, the best cellist in the world who had been practicing the cello for eighty five years, still practiced every day, and he said, “Because I think am making progress.”

You’re already excellent at your craft–you are far above average–but are not satisfied and talk about getting better. You study, you read, you learn, you discuss. You seek feedback and help because no one in the arts or sciences–no one in life–succeeds in a noteworthy way without someone advising and helping them–a teacher, a mentor, a friend, etc. You work exceptionally hard because if you are an artist you can’t help yourself and there is no other way to work, not always knowing why you do, but feeling strongly you must.

dark grey road receding into cloudy sky with pinks and lavenders

The Road Home by Richard Claremont

You know, and experience of the creatives who have preceded you bears out, that the more hours you work, the better you get. And your skills improve–you can see that–and your work does get recognizably better–either slowly, or moderately fast, or by leaps that may astound you. Your satisfactions, ambitions, optimism, and hopes rise as your work improves.

Creative people are models of focused human effort.  Few people seem to recognize that. In my many speeches to businessmen and women I had an unusual point of view. I referred to my life-long love–artists–as the best examples of highly motivated people. I’d say, “Strive to have the soul of an artist. Learn what it’s like to create something and the value of persistence from artists. Study artists. Read biographies of artists. Let their habits filter into your behavior.”

The commitment to write (or sculpt, perform on stage, etc.) can be extreme and may surpass other of your commitments. Nobel laureate writer Saul Bellow said writing had always been more important to him than his wife and children. There are other creatives such as painter Paul Gauguin and short story master Sherwood Anderson who felt the same and abandoned their wives and children for art.

The overriding aim of creatives is very practical. It is production: to produce polished works that must be completely finished because “It is only as the work is done that the meaning of the creative act” can be understood (Brewster Ghiselin). “The only certainty about writing and trying to be a writer is that it has to be done, not dreamed of or planned and never written, or talked about … but simply written” (Janet Frame). Psychologist Howard Gardner writes about high-excelling creative people. He says, “Individuals whose stock in trade is to do things which are novel, are people who’ve got to have a pretty good command of how they work.”

night scene with curved road in Montmartre

Midnight at Montmartre by Richard Claremont

The creative sets out to answer the production question, “How can I produce the quality and quantity of work I want?” A perfect work place and good production routines and rituals are to be treasured. Simply by being at your work place ready to work repetitively the same time day after day, the power of good habits goes into effect.

If creatives are unable to work or the work doesn’t go well, they suffer. A creative must always have goals and begin every day’s work with those goals in mind: “Today I will buckle down and…” Many tremendously talented creatives aren’t nearly as successful as they have the talent to be. They are frustrated because they haven’t figured out for themselves the best work/production program that will achieve a desired level of high-quality output.

If you are a creative, if you could you would create night and day because for you there is never enough time and your talent finds resting very hard. Long before you finish one work, you’re contemplating the next. When artists work, they are seeking freedom of expression through perfect technique. Many of them are willing to sacrifice material rewards just to be able to exercise their talents and do their work without being interfered with or restrained–to make creative things free of conflicts. Many creatives choose lower paying jobs that will allow them time to do their creative work over higher paying jobs that don’t allow them to.

You may be working on 3, 5, or more projects simultaneously, moving from one to another as the mood strikes, putting one aside and picking up another.  A creative’s lively, but unsettled production-oriented mind is a cornucopia spilling over with  concepts, words, techniques, methods, facts, recollections, hopes, fears, needs, problems, solutions, texts, authors, disappointments, successes, plans, possibilities, family, projects, and if a professional, finances. It rests only at bedtime. And often, not even then.

White flowers iin vase on table with teapot and cup

Still Life at 4pm by Richard Claremont

The logical end of the Creatives’ Way is to have the identity of a capital C  Creative, a Real Creative–to become known by your family, friends, teachers, editors, agents, other creatives and lovers of the arts, and to define yourself as “someone who is very serious about producing creative work, and is very good at it.”

The trappings of your chosen discipline appeal to you. Great writers “loved the range of materials they used. The works’ possibilities excited them; the field’s complexities fired their imaginations. The caring suggested the tasks; the tasks suggested the schedules. They learned their fields and they loved them….They produced complex bodies of work that endured” (Annie Dillard, The Writing Life).

When you’re away from your art you miss it. If you’re away too long you become edgy. Away from it longer, you become irritable and hard to live with. If you don’t do your art for 48 hours, your skills begin to decline. The only relief is to get back to your work as quickly as possible. You try to work at least one hour every twenty-four.  If you work for four hours you are more satisfied with yourself than if you work for two hours.

Creatives are subject to the heights and depths of moods. The act of working makes you happy, makes you confident, and empowers you. However badly you might feel when you begin a day’s work, you feel better when you are working and when you finish you almost always feel good–but you need to work at least a little. Gertrude Stein said that even though she had never been able to write more than a half hour a day, all day and every day she had been waiting for that half hour.

Pink Hydrangeas in vase on white tablecloth with white cup and blue bowl

Still Life With Pink Hydrangeas by Richard Claremont

When you’re producing your art, you’re searching for something: authenticity. You’re trying to cut through the fakery, the tricks, the games, the insincerity, the deceit and phoniness, and the lack of conviction so that you might tell the whole truth as you see it–accurately–withholding nothing.  You are modest and try to do nothing merely to make a splash because you believe that it’s only through producing work that is sincere and deeply felt that the truths you’ve discovered and now believe in and feel strongly about will be expressed.

For many serious artists, the art’s process itself is more rewarding than the product that ends the process.  In this world there are many competent writers who have almost no interest in having their work published. That doesn’t excite them, but the process does.  There are pianists who prefer practice to performing in public.

Patience is a necessity for creatives. Eventually after a long period of impatience you learn patience. “It’s so hard for people to be patient. It took me a very long time to get better, and a very, very long time to begin to publish. I wasn’t very patient. It’s painful….Young people are pushed so hard right out of school to get the first novel done. It takes time to write well. You have to sit with it. You have to be patient with it. You have to trust your intuition and your own material and stay with it as long as it takes” (Andrea Barrett). It’s been said that genius is nothing but an aptitude for patience.

Pink sand dunes with cloudy sky

Sand Dunes by Richard Claremont

Creatives must have a stomach for loneliness and must be able to adjust to it when it strikes. They have no choice. Pleasure increases the more you work on your art, partially because you work alone, independent, isolated, on your own, self-sufficient, and that is how most creatives enjoy working. Since creative achievers typically engaged in solitary activities as children, they are no stranger to working alone. “Aloneness…is not merely the effect of the circumstances in the life of creators: it is often also part of their personality–for the creator is frequently apart and withdrawn even in the presence of others, and makes a deliberate attempt to seek solitude” (R. Ochse). Creatives solve many problems every day. Creatives are problem-solvers. Research on problem-solving shows that people are likely to come up with better solutions when they work alone.  Poet Lord Byron said, “Society is harmful to any achievement of the heart.”

Two white gardenias and leaves in rectangular glass vase

The Last Gardenias

At times you live in uncertainties, doubts, tension, anxiety, and fear. But over the years you develop the strength to resist them. You acquire confidence and faith in your abilities and judgment. You fear fewer things. You grow less anxious and have a much fuller and more accurate understanding of yourself. The hardships, worries, disappointments, and stresses you encounter play a necessary part in making you stronger. Your strong faith in yourself helps you persist through obstacles, psychological blocks, and setbacks. Poet Stephen Spender said, “It is evident that faith in their work, mystical in intensity, sustains poets.”

Through your art you’re drawing out of yourself the end result of the entirety of your being–100 percent of yourself from your toes to the top of your head. That includes all the knowledge you’ve acquired, all the experiences you’ve lived through, good and bad, happy or painful, what your emotions are and the breadth and depths of feeling they are capable of because art depends so heavily on feelings,  how courageous you are, what skills you bring, and what you aspire to become. Then, self-aware, you have a clearer understanding of who you truly are, and how high the talent you possess that is growing stronger and more apparent might take you, and what new pleasures your talent may open for you.

Path in Central Park with lampost and trees

 

The beautiful paintings featured on this post are by Australian artist Richard Claremont. He says, “A successful artist knows that we do art because we have to. We would do it even if no one ever got to see it. What really matters is our commitment to our own vision, painting from our heart, creating work that matters.”

 

 

© 2019 David J. Rogers

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

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

 

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, Creativity Self-Improvement, Creators' Work Life, Developing Talent, Human Potential and Achievement, High Achievement, Life of Creators, talent, The Creative Process, The Nature of Artists, Work Production, Writers

The Most Important Step in the Creative Process

I liken the steps of creative insight to an image of a creator and a room. There is a room: at first the creator opens the door to the room a crack. They are very curious about what is in that room. They can see visually very little that is in Door slightlin openit, but they feel “there may be something there.” Then they open the door a little wider and can see more, and then wider, and wider, and many things in the room appear in their field of vision and become clearer.

Then the creator pushes the door open wide. They step boldly into the room , and  sensing there is something significant that will be revealed, explore every nook and cranny–the closet, the ceiling, under the bed, under the chairs, the floor, the light fixtures, the windows,  the window shades and curtains, the molding, the crack in the wall–until even the smallest detail of the room is known.

Excited now, feeling an urge, they get to work and sweat over their project, entering that room at will a hundred times, a thousand, five thousand, and whether they feel up to it or not, are happy or sad, healthy or sick, they go back to that room again and again. Then with a mixture of luck, timing, and skill the novel is acclaimed across the country, the etching is featured in a show, or the play is in a theatre where people applaud it. The creator is fulfilled.

 None of those things would have happened had the person not begun by thinking with an open mind, “Oh, I wonder very much what is in that room.”

I

If you are creative, I think you and I are very much alike because I am creative too, and the mystery I call my mental life is probably not very different from yours.  In my mid-twenties I was hired to work with a think tank of college professors at the University of Michigan–psychologists, economists, and sociologists, and their graduate assistants.  University buildingThey had been conducting research projects having to do with what were then in the sixties called “anti-poverty programs.”

I had written articles and speeches on that subject, and the institute contacted me to “do some writing” for them and to “put myself into the writing.”  I took the hour flight from my home in Chicago to Ann Arbor by way of Detroit to meet the directors. Specifically, they had written books that neither the government funders of the projects nor the target readers could understand because the writing was what they admitted to be a lot of academic mumbo-jumbo.

They wanted me to “clean it up”–something like a Hollywood script doctor–because I had a talent for turning difficult to understand academic textual concepts and badly written prose into clearly-written, understandable, serviceable, every day Anglo Saxon English. Most of my writing could be done at home–always a pleasure for me to be at home with my wife and children.

But I thought that it would be beneficial to start my project by working at the institute–studying their writing, meeting with staff, getting settled in a good work space. So I spent considerable time in Ann Arbor. I like college towns–like the bookstores, the activities, the restaurants, and the comfort of being where learning is occurring. The institute’s chief writer was out of commission with writer’s block, so I would be writing on my own.

The first week I was walking down the street on the way to dinner with a prominent economist and he called out “Congratulations” to a man across the street. Then he said to me,” He just won the Nobel Prize.” I very much like and feel most comfortable working with very intelligent people. With my mind filled with what I had read and gotten from discussions with staff, I began the writing stage by doing no writing at all, not even doodling.

Just sitting in my office at the institute, being imaginative, I let information I had acquired free-float in my brain, holding off committing my fingers to a pad of paper or a keyboard till I was ready and eager to start. I looked out the window at a pond where mallard ducks were floating, a peaceful, lovely little scene. In the background I could hear cricketpeople coming and going, talking, and laughing, and one day couldn’t help but hear the chirping of thousands of leaping crickets that had escaped from their cage where they were being kept for someone’s scientific project. I have no fear of chaos and disorder and thought the crickets were fun. (A major characteristic of creative people is physical and mental messiness, a mind cluttered with ideas, and a disorganized environment which can frustrate to no-end neat freaks they may be working with).

The directors would visit me from time to time and ask how the writing was going, reminding me not to forget the deadline I was working under. I said the writing was going fine. Though I hadn’t written a word, I knew without a doubt I would meet the deadline because I always meet deadlines. I like deadlines. I knew that time pressure, though it can be an impediment to creativity at times, usually facilitates it. For example, I have a writer friend named Stu who is able to produce what he has been procrastinating over when he knows that friends are coming over in an hour,

When I did not turn in a word of copy, the directors got nervous. They had had enough experience working with people in the act of creation (most of the people involved in the projects) to know that creative people are lousy with details and pay little attention to them. But I said everything was under control, and they gave me leeway because they were used to the eccentricities of creative people.

II

My mind then began the vital and intriguing process of what I have named “Pre-Compositional Lilt,” which I believe is the most important step in the creative process. I think you too know it well. It is semi-dreamy aimless state when ideas bubbles floating on colorful backgroundfloat lightly as bubbles through the mind, coming and going,  bursting and dissolving, some more promising and useful than others, a few sticking that will became a permanent part of your thoughts about the thing you are about to create–the painting, the essay, or story, or symphony.

It has been known for a long time that there are two types of thoughts, one of which is creative. The less creative type is under active control of your conscious mind, and the other is involuntary. The involuntary type is called Primary Process Thinking. It is the source of your creative inspirations. It is my Pre-Compositional Lilt: a disorganized drifting and succession of fragments of images and ideas in which a number of ideas fuse themselves with other ideas so that sometimes strange or extraordinary links are made between images and ideas that are not usually linked, but are unrelated. That’s when you have something original, or, in other words, creative–a practical, useful product of a wild ranging of the creative mind. (A creative idea–if it is truly creative–must have a practical use).

Almost all accounts of creativity by scientists, mathematicians, artists, and writers indicate that they feel that unconscious processes are passively revealed to them rather than delivered up to them by conscious thought. For example, novelist William Makepeace Thackeray said, “I don’t control my characters. I am in their hands and they take me where they please.” A common phrase of artists is, “It came to me; I hadn’t planned it.”

It comes at the conclusion of Pre-Compositional Lilt.  Walking alone often seems to spring creative ideas from the splashing water with floating bubblessubconscious. Poet Wallace Stevens composed his poems in his mind on the long walks between his home and his office. For me, a single word I may see in a book or on a sign on a store front, or in my notes, a word that has a special relevance for that text, may pop into mind and straighten out all my thinking about a text. And I know that once I get the first sentence right–and I can always tell l if ii is right–basically the whole thing, however long it will be, is as good as written.

Creative intuition, which works in a non-logical realm, is not simply in-born as it is often thought to be, but is developed and made stronger, beginning with “Lilts” and then enhancing your ability to bring together a wide range of relevant information without even being aware of what items of information you have used or how you have integrated them. Knowledge of your art or discipline is essential. In fact knowledge is not everything in creativity, but it is almost everything.

III

Creators typically have an obsessive side and often have few concerns other than their creative work. Most of their Door opening onto a colorful sceneconscious and subconscious thoughts are directed toward that work. Creators keep the subject of their work consistently before them and wait patiently or impatiently till the work opens slowly, little by little, into full and clear awareness.

The creative artist’s mind (like the inventor’s and mathematician’s) even during a day at the beach, even during a vacation in the mountains or a night at the theatre, is immersed in her art and consciously or subconsciously is always working on it and never takes a break. A sentence or paragraph that will convey exactly the mood she is seeking to communicate may elude a writer for days or months, only to suddenly appear when she is having sex or petting a dog because she is an artist and her mind never rests. Mozart jotted down pages of notes while waiting his turn at billiards. It couldn’t be otherwise.

I wanted my work to be as elegant as highly creative works such as paintings, musical compositions, and literary works. One test of a scientific theorem is: “Is it elegant?” I talked to my wife, who is also my editor, about that, and she was in agreement that having that goal would make the work more fulfilling for both of us and a bigger challenge. Why not always aim for beauty, so you may pause over a sentence or paragraph or musical phrase you’ve written or a painter’s right brush stroke and say, “That’s just beautiful, if I do say so myself.”

 

IV

I finished the books on time. They were published, distributed, and highly regarded. The material was put to use by people fighting poverty in many places in the world, and I was hired to work with the institute again on another project, and then others. I developed strong friendships with the people I met.

 

 

© 2018 David J. Rogers

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

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

 

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

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Filed under Creativity, Personal Stories, Pre-Compositional Lilt, The Creative Process, The Nature of Artists, Writers, Writing

24 Quotes About Creativity and Creative People

CREATIVE PEOPLE

A writer “takes an anecdote told by another man over a glass of wine; he takes an episode out of a stranger’s life; he takes the thoughts of philosophers; reports from newspapers; feelings out of his own imagination–and then he writes his little name under all this” (August Strindberg).

“The writer’s mind is everything. Nothing fascinates lovers of exceptional poetry or prose more than the intelligence and talent of the minds behind the words of writers they consider worthy of attention. To climb the heights those minds are reaching is the main reason a person goes on reading” (David J. Rogers).

“When I am finishing a picture I hold some God-made object up to it–a rock, a flower, the branch of a tree or my hand. If the painting stands up beside a thing man cannot make, the painting is authentic. If there’s a clash between the two, it’s bad art” (Marc Chagall).

“The most regretful people on earth are those who felt the  call of creative work, who felt their own creative powers restive and uprising, and gave it neither power nor time” (Mary Oliver).

“Aloneness is not only a major effect of the life of the creator, it is often a part of his/her personality…for the creator is frequently apart and withdrawn even in the presence of others, and makes a deliberate attempt to seek solitude” (R. Ochse).

“Human life itself may be almost pure chaos, but the work of the artist is to take these handfuls of confusion and disparate things, things that seem to be irreconcilable, and put them together in a frame to give them some kind of shape and meaning” (Katherine Anne Porter).

 

THE CREATIVE PROCESS

“You never have to change anything you got up in the middle of the night to write” (Saul Bellow).

“The more pictures you paint, the better you get” (Rembrandt).

“Gifted children do not necessarily become creators…Something is needed to translate talent into the power to create. That something demands work–work that builds the skills upon which creative productions rest” (R. Ochse).

“A writer has to have some kind of compulsive drive to do his work. If you don’t have it, you’d better find another kind of work, because it’s the only compulsion that will drive you through the psychological nightmares of writing” (John McPhee).

“The composer’s principal problem is that of recapturing in every phase of his work…the energy which keeps it going…of bringing, in other words, the requisite amount of energy to bear on every detail, as well as constantly on his vision of the whole” (Roger Sessions).

“After a thousand  or two thousand hours experience of focused writing, painting, dancing, or acting, you will be able to access your creative centers very quickly” (David J. Rogers).

“If your writing or painting are dull and uninteresting, it is usually because you need a stronger, clearer voice. Liven up your work with a voice that’s more heart-felt” (David J. Rogers).

“Mental imagery comes from within every creator, and must come out of her/ his memory. So it is ultimately memory that is the creator’s workshop. In their mind’s ear composers manipulate tones–auditory images–into sounds as adeptly as in their mind’s eye painters manipulate visual images into paintings and writers manipulate auditory images into dialogue” (David J. Rogers).

The state of many artists after finishing a work:  “Personally, I am not satisfied. It is something–but not the thing I tried for” (Joseph Conrad).

“Most people won’t realize that writing is a craft. You have to take your apprenticeship in it like anything else” (Katherine Anne Porter).

“Draftsmanship is key to who I am and what I create. I feel it is important to introduce the factor of the hand. It gives our images identity, like that of handwriting. Through seeing it we are then able to consider it and then understand it “(Sarah Ball).

“Shape captivates me. I look intensely and wait my judgement upon my piece of paper until I am ready to “expect the unexpected”. The shape of the object makes me determine the line quality. Judgements are passed with the intermingled sense of how I am feeling about what I have created. Sometimes it frustrates me, other times I feel overjoyed. This up and down rush from a few brush-strokes. I feel I am living it. It absorbs me until I am done” (Sarah Ball).

Sarah Ball is the talented  and award-winning artest whose work is featured in this post. I saw her work online and was drawn to her use of color and shape.

 

CREATORS’ WORK LIFE

“Solitude is taking me over: it is absorbing me, I see nothing, I read nothing. It is like being in a tomb which is at the same time a hell where one must write, write, write” (Joseph Conrad).

“But though some great writers may at times write awkwardly, it is nevertheless the case that one sign of the born writer is his gift for finding or (sometimes) inventing authentically interesting language” (John Gardner).

“The more I’m let alone and not worried the better I can function” (Ernest Hemingway)

“Every time I start on a new book, I am a beginner again. I doubt myself, I grow discouraged, all the work accomplished in the past is as though it never was. My first drafts are so shapeless that it seems impossible to go on with the attempt at all, right up until the moment…when it has become impossible not to finish it.” (Simone de Beauvoir)

“As far as I can tell, the decisive factor is what I call endurability: that is, the ability to deal effectively with uncertainty, rejection, and disappointment” (Ted Solotaroff).

“I’m not a must write every day writer, maybe a write four or five out of every seven days writer. And a reader when I’m not writing. But yet at times I do think, ‘Who knows what beautiful thing I might have written today if I hadn’t taken the day off?’ “(David J. Rogers).

 

© 2018 David J. Rogers

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

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

 

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

Fighting to win Amazon

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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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or

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Filed under Artists, Creativity, Creators' Work Life, Developing Talent, Human Potential and Achievement, Emotions of Creators, Quotations, The Creative Process, Voice, Writers