Category Archives: The Creative Process

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

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

Waging Business Warfare812sCY9edLL._SL1500_

Click on book image to order from Amazon.com

or

http://www.barnesandnoble.com/w/waging-business-warfare-lessons-from-the-military-masters-in-achieving-competetive-superiority-revised-edition-david-rogers/1119079991?ean=2940149284030

 

Follow my blog with Bloglovin

 

 

 

 

 

 

16 Comments

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

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

Waging Business Warfare812sCY9edLL._SL1500_

Click on book image to order from Amazon.com

or

http://www.barnesandnoble.com/w/waging-business-warfare-lessons-from-the-military-masters-in-achieving-competetive-superiority-revised-edition-david-rogers/1119079991?ean=2940149284030

 

Follow my blog with Bloglovin

12 Comments

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