Category Archives: Work Production

Reward Yourself: A Secret of Self-Motivation

You may not be doing something you should be doing and because of that may not be feeling the creative zest that should fill you while you write, paint, compose, practice, or perform. Let’s begin by asking why some creatives work tirelessly while many of their fellow creatives’ time spent doing the work they should be doing is minimal.

Tulip bouquetA secret is the rewards the former give themselves.  The operating principle is simple and clear–easy to understand: it is human nature to want to do things which you will be rewarded for doing.

Creatives who reward themselves for their efforts work harder and longer, accomplishing more than those who perform the same tasks, but don’t reward themselves. And self-rewarders are much more likely than non-rewarders to solve the problems they face while performing their craft. Rewards strengthen their problem-solving persistence, and persistence is the only way difficult problems of an art will be solved.

Don’t wait until the whole task is finished before rewarding yourself. Reward yourself for finishing components of the task. For example, a poet might reward herself after completing a stanza or a line. An actor, known for his spellbinding performances, might give himself the task of learning his lines Dog receiving rewardto perfection (as he always does) before he rewards himself with a glass of wine. The reward needn’t be major. Just so it’s something that you find pleasurable.

It is probable that if you increase the rewards you give yourself, you will find yourself putting in more time at your craft (another principle is that the more time you spend developing your abilities, the more successful you will be.) By rewarding yourself you will probably become more adept at solving the creative problems facing you than you have been, and will accomplish more than you are accustomed to. Self-rewards also increase concentration.

Man in front of laptop, holding his head in frustrationRewards are particularly effective when what you’re working on is tedious, as the crafts of art may sometimes be. The person who is under the misconception that the artist’s life is romantic and so exciting that it is free of boredom hasn’t known how dreary making creative things can sometimes be.

You may make the reward of breaking for dinner or going to a movie contingent on putting the finishing touches on the article. Or, as a reward, get away from your work place and do something pleasant and refreshing: go to the zoo, visit a museum, talk to your friends, walk to the store and buy a Reese’s Pieces.

Ernest Hemingway said, “Don’t get discouraged because there’s a lot of mechanical work to writing. There is, and you can’t get out of it.  I rewrote A Farewell to Arms at least fifty times.” Rewards that are a result of your accomplishments increase your self-confidence and are an antidote to discouragement. Self-confidence is crucial to all artists. Achieving your goal may be all the reward you need, but if there aren’t any rewards along the way to the goal, you may feel little or no gift box wrapped in gold papermotivation to continue working and may be susceptible to the scourge of discouragement.

The greatest danger facing a creative is the possibility of quitting. When you quit, your career ends. The majority of creatives quit–hundreds of thousands every year– from the little boy or girl who, although gifted, doesn’t want to practice anymore, disappointing parents whose hopes were high,  to the writer who for years has never had a work published and thinks, “What’s the use?” Quitting is more likely to occur if the creative receives no rewards from continuing to work and thinks it is hopeless to go on.  A reward brightens your spirits and makes you want to go on.

If rewards you need do not come from the outside, they must come from yourself to sustain you until eventually they come from the outside too. The greatest predictor of future success is past success. If you’ve succeeded once, you can do it again. Have faith. In other words, all that may be necessary to supply the motivation to go on working for years may be a single success. But if you give up, even that single success, as important as it could be, will be unreachable.

Stack of books with coffee and pastry on topDecide how you’ll reward yourself. Custom design your rewards to suit yourself.  Some people devise complex systems of rewards involving charts where they record steps on the way to the goal. Parents sometimes use this rewards of this kind to encourage children to practice. For me, “making paragraphs” that I think are pretty good is a reward in itself. Good, clear, paragraphs bring a strong feeling of satisfaction—a glow of overall contentment that I’ve worked energetically and efficiently and it’s paid off. I look at paragraphs on the screen and they excite me.

Then as a further self-reward, after a substantial workday I get to read the wonderful books I collect that are waiting in stacks downstairs for me. To get that feeling that will last into the next working day, leaving a residue in my mind of language beautifully used–to read those books–l  will work very hard for hours, even when the work is not enjoyable and seems to be going nowhere.  But if I don’t persist, I give myself no reward.

Make self-rewards you’ve designed for yourself a key part of your work schedule and see positive changes in your creative behavior. Don’t forget to reward Rose gardenyourself every day.  Begin now by listing the rewards that will motivate you most strongly: 1, 2, 3, 4, 5, and so on.

When you do a good job you might walk through a rose garden. Or if you prefer noise, walk down a busy street.

 

© 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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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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A Strategy for Defeating Writer’s Block and Painter’s Block

Hand of artist dipping brush into colored cups of paintWhen they are free of blocks creators are the most productive human beings on earth, capable of generating tremendous volumes of writing, painting, music, etc., the likes of which no one has ever seen. When I was in the business world lecturing on human motivation, my approach was unusual. I held up my beloved writers, artists, actors, composers, and particularly ballerinas as models of commitment, sacrifice, and inexhaustible drive and courage.

I’d say, “Study people in the arts. They will teach you more than anyone else what motivation and the quest for excellence really is, the demands it makes on you, and the heights of achievement it can take you to.”

Yet, it’s quite possible that at any given time the majority of creators–wonderfully talented though they are, with so much potential to contribute beauty to this oh-so-needy world, longing for one thing only: to create–are experiencing a block that is tying them in knots, and are at a standstill. The ability to overcome blocks is a major survival skill for creators

Some blocks last hours, and some for years. Minor blocks come and go and are nothing to worry about. For example, just not being in a mood to work for a short period. But some creators even now are being controlled by a chronic inability to create that is driving them to despair and anguish.

What could be more of a torture to a creator than to long to work, to be ready to work, and to have something urgent to say, but be unable to work?

There are many causes of creator’s blocks. Some of them are hard to diagnose and hard to cure. Exceptionally rare is the creator who is not blocked some of the time, though many puff out their chests and boast that they have never been and claim to be unable to imagine how anyone could be. That infuriates the person who is deeply mired in a block who prays night and day to know where to turn to remedy it.

A writer whose head is composed of crumpled paper uses a typewriter.

By Drew Coffman

The causes of blocks may be much more complicated than many people realize. It has been found that blocked creators are more anxious and less confident people than creators who aren’t burdened by blocks. Blocked creators tend to worry excessively, and are self-doubting, and more prone to depression. They have also been found to be less ambitious and more easily discouraged than creators who are not blocked.

So to cure a severe block, the creator’s whole unique psychology–who they are as human beings and how they differ from other people–may have to be factored in if the block is to be overcome. A creator’s mind, more than other people’s minds, is the birthplace of rich images.

No one on earth can generate mental images as skillfully and profusely as creators. That’s the role they commit themselves to–makers of vivid images in words, paints, physical gestures and movements, and sounds. I believe that a path to freedom from creator’s blocks is through those images. I’ve written extensively about that in another post.

BUT THE PERSISTENCE OF BLOCKS IS STRONGLY ASSOCIATED WITH A POOR CAPACITY FOR DAYDREAMING.

Here is a strategy involving your creator’s abilities to make images and daydream that may begin to loosen the grip of a protracted creative block. I have designed it for writers, but it can be adapted successfully by creators of any kind:

  1. When you are caught or snagged and having difficulty writing, I want you to slow your breathing down, inhaling and exhaling smoothly, using an ancient breathing technique I’ve written about. There is no need to hurry. Just breathe comfortably for a while until there is a rhythm.
  2. Now I’d like you to project your consciousness above you into a corner of the room and see yourself in images in your mind’s eye writing smoothly and effortlessly as though you are someone else who has never had any trouble writing. There’s no strain and the words appear almost magically on the page under the direction of your creator’s mind.
  3. Think about the state of being you would be in at maximum productivity. Can you identify it? What would it entail?
  4. Think about the state you’d like to avoid—anxious, compulsive, self-doubting, and depressed. Let all your ridiculous worries and all obsessions and doubts drift away.
  5. Think of your mental state. It should be alert. It should be sharp. You should be thinking of writing words and not thinking of yourself doing this exercise.
  6. Now, daydream to your heart’s content.

Vivid mental images that can be made into creative daydreams and “mind wanderings” that writers I’ve talked to have found helpful in breaking through blocks include:

Traveling through space to get to a place of creative freedom (I often in my fantasies do the backstroke through space high above the earth. Below me are ancient cities with palaces with magnificent gold steeples and minarets.)

Going down deeper, inside and under the block

A faucet opening and the words you’ve been waiting for pouring out in a deluge

Flipping on a light switch

Going around a wall

Crossing a bridge

Enjoy the images. Go with them. Revel in them.

 

Use this strategy, doing the exercise once or twice a day for seven consecutive days or whenever you are blocked, and you should see results.

 

© 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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Fiction and Truth

I was in a writer’s group some years ago, an extraordinary group because except for me it was composed entirely of women–and they were elderly, seventy, eighty, ninety years old. At first I thought, “What am I doing with this bunch of old ladies?” But I quickly changed my tune.

They were tremendously talented and clever, sharp, and knowledgeable, and taken all together had hundreds of years of Typewriter, paper, glasses, pen, book on a wooden surfaceprofessional or amateur experience. It was a great, exciting group, the most pleasant and worthwhile I’ve known. The atmosphere every time was warm, radiant, cordial, and safe–a most productive creative environment. I often think of them fondly. At a session I read aloud a short story I’d written.  When I was reading I heard one woman–an award-winning journalist–say to her friend with a tone of discovery, “This really happened. You can tell.”

Well it had really happened. I hadn’t changed a single thing from the actual events and the actual setting and mood and people, except the names.  Even then I used their correct initials–“Wayne Collins” became “William Carruthers,” etc. In writing it I had to make everything accurate. If I wrote, “She had grey eyes,” I wouldn’t let myself get away with it. I just had to change it back to the real color, blue. Then the group turned to the question everyone seemed interested in that my reading had raised: “Can obviously autobiographical material–meaning it had really happened, the detail told you that–qualify as fiction?”

The eight people in the group were evenly divided. Four said, “Fiction is fiction and non-fiction is non-fiction. There’s a big difference.” I once asked my wife, an excellent writing teacher, “What is a short story these days,” and she replied “Currently, a short story is anything you want it to be.” That liberal view was basically the attitude of the other four members of the group, including me, so in our minds my strictly and admittedly autobiographical story more than held its own as fiction.

It goes without saying that when they are creating, all writers–all people in the arts–depend heavily on their own past experiences. But while most writers create characters and plots using their imagination as the dominant shaper of the work, some writers–such as those cited in this post–adhere slavishly to their own experiences and knowledge.

Truth is what the writer, painter, actor sincerely believes in his/her own heart. Everything in the work of art must be convincing for the artist and for the audience. The artist is often not striving for literal truth, but is inventing too, saying to the reader, “I’m trying to convince you that if this were happening, this is how it would be. If characters were people, this is how they would feel, talk, and behave.” But some writers invent far less than remember.

In college and in graduate school I was trained in “The New Criticism” that says all that matters when studying a literary work is the work itself: the author’s personality should not enter into it. I had a knack for sticking to the text and ferreting out patterns of images and symbols.

But I am a writer of fiction and poetry and I know from my own long experience and that of many other writers that the author’s personality and experiences are everywhere present in the creative process and permeate the content of everything the writer commits to the page, every feature, major or minor. Critics may not know that or may act as though they don’t, but every writer does. A writer can look at a passage in her work and say, “That character sounds so bitter because I had a bad tooth ache that day and so I was in the perfect mood to write that dialogue.”

Anton Chekhov

Anton Chekhov

There is a long precedence for obviously autobiographical content being put into fictional form and being accepted as fiction even though it really happened. Short story master/playwright, Russian Anton Chekhov, said “Art has this one great specification: it simply does not tolerate falsehood…There is absolutely no lying in art,” and in a letter to his brother, “Don’t write about anything you haven’t experienced yourself.”

That’s much easier to do when you are writing about yourself because you know yourself better than you know any character you can imagine and you know better than anyone else what happened to you if you have a clear and accurate memory. Autobiographical fiction writers obviously need exceptional memories–and most have one. Their most important creative routine is to stimulate their memory. I may look at photo albums as a way of doing this.  I’ve said about myself–hopefully not bragging–that I can remember every blade of grass on the street I lived on when I was eight.

English poet Samuel Taylor Coleridge advised to “write from recollection; [but} trust more to your imagination than to your memory.” Most writers are liars–they invent. But some writers write their best fiction, poetry, drama, and screenplays when they are writing the literal truth–or almost the literal truth–and not lying.

American Nobel Prize winning playwright Eugene O’Neill, for example, said,  “I have never written anything which did not come directly or indirectly from some event or impression of my own,” and “I shall never be influenced by any consideration but one; Is it the truth as I know it, or better still, feel it,” and “I am a dramatist. What I see everywhere in life is drama. I just set down what I feel in terms of life and let the facts speak whatever language they may to an audience,” and “Writing plays was the easiest thing in the world for me. I wasn’t making anything up.”

Some famous autobiographical authors who could be obsessive about not lying or writing about things they hadn’t experienced themselves include:

Katherine Anne Porter

Saul Bellow

Ernest Hemingway

Sherwood Anderson

Marcel Proust

Thomas Wolfe

Eugene O’ Neill

Henry Miller

Anton Chekhov

James Joyce

D.H. Lawrence

Sylvia Plath

Malcolm Lowry

Scott Fitzgerald

Raymond Carver

Ernest Hemingway

Ernest Hemingway

Ernest Hemingway, another Nobel Prize winner, could invent with the best of imaginative writers, but was obsessed with telling the truth, the importance of telling the truth, in his words, “the straight statement without moralizing or elaborating or decoration”–what “is not messed with.” He was asked what the job of the artist is, and he said it is to put down what you see and what you feel in the best and simplest way you can. What he had personally done and knew most about was what he was interested in telling about. “His standard of truth-telling remained…so high and so rigorous that he was ordinarily unwilling to admit secondary evidence…picked up from other sources than his own experience” (Carlos Baker.) Whenever I read the wonderful Hemingway short story “Indian Camp” I know that boy sitting in the rowboat was once the real Hemingway and the man with him was his real father just as in the boy in the story I read to the group was my best recollection of how I was as a boy.

Thomas Wolfe had an enormously retentive memory, as autobiographical writers generally do, and engaged in exhausting, sustained, many-hours-long periods of writing. (Research shows that the most productive writers and painters usually work in long, protracted bouts of creation and not in brief, choppy spurts. For maximum effectiveness you would preferably have or develop the ability to concentrate your attention for long periods, and if possible, find long uninterrupted, unimpeded periods of time for work.)  The artist’s highest goal is to make conflict-free, habitual use of the urge to create that dominates him or her, with no one and nothing interfering. It is not just interference that so aggravates the creator, but even the threat of interference.

Wolfe’s aspiration was to put into his writing precise descriptions of every experience and every impression and every sight and sound he had ever known. He wanted to put all the experiences in his life into written language, and had every confidence that was possible. His life had to be “looted clean.” “Everything had to be used; nothing could be implied” (The Norton Anthology of American Literature).

Thomas Wolfe

Thomas Wolfe, Van Vechten Collection at Library of Congress

Like many creatives whether in the arts or the sciences, Wolfe was governed almost wholly by the compulsion to work, to be as productive as he could possibly be. Words came out of him straight from his memory as water comes from a spigot–hundreds of thousands of words, thousands every night, manuscripts of a million words, his never having any concept of the requirements of a publishable book. Whenever he was deterred from working, this tall, handsome, tremendously gifted man from North Carolina would fall into a black mood. Then he would brood, drink, and pace the streets all night until he was able to work again, starting in the evening and working past the break of dawn.

Malcolm Lowry was the English author of the wonderful virtuoso-performance novel Under the Volcano. It’s generally considered one of the great works of the twentieth century. It is possibly the most accurate description of a man’s alcoholism ever written. (He wrote, “One dreaded the arrival of anyone unless they were bringing alcohol.”). Lowry almost never tried to invent characters or events because he didn’t know enough about any other person to be able to do that. His subject was himself and he could not focus on anybody outside himself. When he tried to, the writing went flat. He didn’t know anything about world events or anything else either. Everything revolved around his thoughts.

James Joyce

James Joyce

James Joyce had such a need for authenticity and accuracy that he believed he didn’t possess an imagination at all: he couldn’t make things up. When writing Ulysses he sent a letter home to Dublin asking a friend to go see if it was possible for a man in average physical condition to jump from this place to another at a specific address, or was it impossible. He had to know or he couldn’t finish the book. He was depressed when after the book was published a retired sea captain wrote him telling there was a mistake in the book in that with wind blowing the way he described, the boat wouldn’t have behaved in the way he had it.

F. Scott Fitzgerald, along with Hemingway, is arguably the most dramatic example in American literary history of an author whose private life is reflected consciously or otherwise in virtually everything he wrote. Fitzgerald’s language, his prose, his voice, tell us what he was going through at any given moment in his career, from his early extraordinary successes through his crack-up. Saul Bellow’s fiction is strongly biographical fiction. Its focus on the workings of a brilliant mind help explain why his writings are in essence long monologues. Sylvia Plath’s novel The Bell Jar is also strongly autobiographical.

T.S. Eliot said, “We all have to choose whatever subject matter allows us the most powerful and most secret release; and that is a personal affair.” Literary critic Gilbert Murray wrote, “It seems to me that the writers who have the power of revelation are just those who, in some particular part of life, have seen or felt considerably more than the average run of intelligent beings.” It is not a random choice, but a discriminating, highly selective instinct, a particular order of things that has an outstanding appeal to that particular writer. Painter Julian Levi said, “It seems to me that almost every artist finds some subdivision of nature or experience more congenial to his temperament than any other.” The subject matter, the subdivision of experience that all these writers mentioned here found, and that autobiographical writers today find, is not what they can imagine, but themselves and the recollection of the lives they’ve lived.

It’s generally thought among critics that Joyce’s Ulysses and Marcel Proust’s Remembrance of Things Past were the two greatest novels of the twentieth century. The subject of Proust’s book was Proust as much as the subject of Lowry’s works was Lowry. Wolfe’s subject was Wolfe, Fitzgerald’s was Fitzgerald, Henry Miller’s Tropic of Cancer and Tropic of Capricorn, Henry Miller, Plath’s was Plath, Hemingway’s was Hemingway, etc.

The answer to the question, “Can a true story be communicated as fiction?” is “Of course.”

 

© 2017 David J. Rogers

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Joys Of A Workaholic Writer Wasting Time

I’ve been trumpeting to anyone within ear shot that workaholic artistic people frog-1339897_640with their powerful and constant and sometimes obsessive need to work at their craft so they might improve and be more successful are the hardest working and most productive individuals on this planet.

That’s all true, but today my plan is to not produce a thing.

Today I will explore the joys of wasting time.

When I was a business consultant giving presentations to executives I’d say “Ladies and gentlemen I have utmost respect for your capacity for work, and I know you think you’re a hard worker. But you should spend a day with a ballerina. Then you’ll see what it means to work hard.” I’d ask, “For example, how many of you feel so strongly about reaching excellence that you’d practice till your poor muscles screamed and your feet bled?”

But I’m going to waste time all day. I’ll just see what happens.

A number of studies comparing novices with experts in most fields support the idea that because of their great knowledge and skill, experts are able to accomplish with almost no effort what non-experts can accomplish only with difficulty or can’t accomplish at all. That’s just common sense, isn’t it?

But common sense or not, that’s not true of artistic work. In fact, the opposite is true. Expert artists of all sorts—you very well may be one–work harder, not less hard than non-experts.  So:

THE BETTER SCULPTOR, PAINTER, NOVELIST, ACTOR, OR POET WORKS HARDER.

But I’ve taken this Wednesday in August off and I’m not thinking of anything like that because rarity of rarities I don’t feel a bit like working and have frog-914522_640decided to play hooky. I’m playing over again and again Simply Red singing the exciting “Fairground” and I feel terrific.  I’m writing this and don’t have the faintest idea where I’m going with it, and that feels great. I feel free, as if I’m in a forest as the Zen people say sitting quietly under a tree, doing nothing, while the roses grow by themselves.

At the moment it’s 2:10 p.m. In a few hours my wife Diana will be coming home and we’ll go out to eat. But first I want to finish this, wherever it’s taking me.

My “Let’s accomplish absolutely nothing today” rebellious mood began this morning when I woke up in yesterday’s street clothes on the couch at five according to the TV I’d left on all night. I just lay there and thought of my goals for the day, the way I start every day—take a look at the long email an editor sent and write a response thanking him, and continue finishing up my book I’ve designed for those whom I call “Stage Three Creators” who are not Stage One or Stage Two creators.

(If you’re curious, according to me:

Stage I creators don’t know the first thing about their craft, but don’t know they don’t know

Stage II creators realize they don’t know the first thing about their craft. So they try to learn as much as they can about their craft

Stage III creators realize there’s a lot more to know about their craft than anyone told them)

But I could tell my goal-setting mind and my I’m-all-set-to- work-let’s-get-the-show-on-the-road mind weren’t synchronized today. So my normal write-read-study daily schedule was tossed out the window and I thought, “For today at least, good riddance.  I think I’ll just putter around the house without feeling guilty.”

I can’t be away from written words for more than a few hours. So I went downstairs to my bookcases and tried to find something that would make me

booksfeel I’d gotten something out of the day even if I didn’t write a word. I passed up Chekhov, Virginia Woolf, Ernest Hemingway’s Death in The Afternoon, which I’d never read, and Flannery O’Connor whom I’ve never read, and John Cheever’s collected stories and Raymond Carver’s Cathedral, and so forth.

And there packed in among all my so-many books I saw that little paperback my father had bought me that early autumn afternoon he’d taken my older brother John and me for a commercial boat ride on Lake Michigan when I was eight or nine, I think—The Great Short Stories of Robert Louis Stevenson. Ten brilliant tales by the best-loved storyteller of all time, the book says. Dad had taken us to a book store in Chicago’s downtown (which we Chicagoans call The Loop) before the boat ride and told us completely by surprise that we could each pick out any book we wanted and he would give it to us. We weren’t rich. What a luxury for me to have my own book.

It was the first book I’d ever owned, that I’d taken my time going through the store and picked out myself. I can remember as though it is happening now looking over the racks for the right book—will it be this one or that one? I looked at the book’s price this morning—35 cents—and at the copyright date—so long ago. The pages are brown and the paper is brittle. The cover is bent but not torn. Through the years I’ve taken good care of it. Wherever I’ve moved, whatever heaven or hell I was going through, it’s come along. How could I possibly be without it?

What pleasure it gives me to see that little book again and to hold it in my hands. It meant so much to me that day. During the boat ride (the boat was named The Blue Dog) I remember that I could hardly take my eyes off the book though it was a lovely day, the sunlight reflected so brightly off the towering buildings along Chicago’s luscious skyline, the surface of the lake blue-gray and green. But it was my book, the first book that I alone had picked out and now could read as many times as I wanted and could keep.

It’s back to work tomorrow for me, but now I’m thinking I don’t know if my father giving me that book was in any way instrumental in setting me off in the direction of a writer’s life. But here I am thoroughly, completely, and irrevocably a writer. And I’ve never since childhood wanted to be anything but.

Writer's Block

 

© 2016 David J. Rogers

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Extraordinary Creative Outliers

I think all creative people are extraordinary. You’re extraordinary. I’m extraordinary too. We’ve been extraordinary all our lives and one day at the age of six or eleven or twenty-one or fifty-seven something remarkable happened and we discovered we were, and then a corner was turned.

But a separate breed of outlier creator is so extraordinary and so driven and capable of such incredible creative feats and leads such an extreme existence of sacrifice that we wonder what there is about them that inspires them so. What sustains them and equips them so perfectly to produce such exceptional work? Theirs isn’t the only path to creative achievements—most creators lead more moderate lives. But it’s a path extraordinary creative outliers often choose.

Creative outliers are so absorbed in facing challenges and solving creative problems that they have almost no interest in anything else. Nobel Prize winner Saul Bellow—the premier American writer of the second half of the 20th century– 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.” He was married five times.

Novelist Jane Smiley wrote, “Even if my marriage is falling apart and my children are unhappy, there is still a part of me that says, ‘God! This is fascinating.’” Ernest Hemingway lived in poverty early in his career and sometimes stole food and said a writer’s perceptions are sharper when he’s “belly-empty, hollow hungry,” that “hunger is good discipline and you can ballerina-534356_640_copy2learn from it.” Before taking the literary world by storm late-blooming novelist/essayist Henry Miller lived in poverty too. He once said, “I have no money, no resources, no hope. I am the happiest man alive.” Emily Dickinson, the greatest American woman poet, author of 1,775 poems, said that if she felt physically as if the top of her head was taken off, she knew that was poetry. Ballerinas—artistes of artistes–may practice until their muscles scream and their feet bleed.

We look at these creative outliers and we marvel and are impressed or appalled or shocked, and often ask ourselves “Could I live an unusual life like sunflower-395026_640that? Am I willing to sacrifice so much for my art and suffer so much and risk so much?  Is that possible for me? How much of my normal life am I willing to give up? If I sacrificed more could I be great too?” And ordinarily decide it isn’t possible at all and we’re not willing to sacrifice in that way, nor suffer, nor risk all that. We couldn’t because a life like theirs asks too much. We draw a line and dare not cross it.

All creative people are obsessed to some extent or another, from mildly to ferociously, so much so that when we obsessed-but-less-obsessed creators hear about these outlier creators we have no problems understanding them since they’re only different from us in degree.

What humans in their craft can accomplish extraordinary outlier creators are willing to push themselves upward toward.  They have a genius.  They’re self-absorbed. They’re determined. They’re completely taken by a way that’s too demanding for the ordinary run of women and men. But for a select few like these outliers their craft becomes a way of life, a journey, a goal, an inevitable struggle of someone rare who’s capable of achieving the impossible.

Creative outliers pour themselves heart and soul and muscle and blood into their work. They work and they work and they work repetitively, and think bird-226700_640about their art or their writing, acting, or dancing continually, and have a monumental amount of confidence. Any time they’re not working they’re making plans for improvement because they know no matter how good you are and what you’ve accomplished you can always be better.

The fundamental role of all creators without exception is to create—to produce works–and they do with a vengeance. Pablo Picasso produced 50,000 works—1,885 paintings ,1,228 sculptures, 2,800 ceramics, 12,000 drawings, thousands of prints, and tapestries and rugs.

There wasn’t a moment of his waking day all his career that Nobel Prize dramatist Eugene O’Neill wasn’t thinking about writing.  He produced 35 full-length plays and 17 one act plays and revolutionized American theater. Writing  long hours, English novelist Charles Dickens—the most popular writer in the world at the time– would sometimes put his head into a bucket of cold water, dry his hair with a towel, and then go on writing.

Creative outliers learn—often at an early age–that they will achieve more if they concentrate their efforts in one area. They are aware only of the work before them, and let nothing divert them from it. French novelist Gustave Flaubert said that only writing mattered to him, and that he kept all his other passions locked up in a cage, visiting them now and then for diversion. He said too, “Sometimes I don’t understand why my arms don’t drop from my body with fatigue, why my brains don’t melt away. I am leading a stern existence, stripped of all external pleasure, and am sustained only by a kind of permanent rage, which sometimes makes me weep tears of impotence but which never abates.”

French novelist/poet/dramatist Victor Hugo started his day by handing his clothes to his servant with strict orders to return them only after Hugo had finished a day’s work of seven hours. Composer Igor Stravinsky and novelist Thomas Wolfe worked all their lives in a frenzy—Wolfe in a “wild ecstasy” at top speed, never hesitating for a word, as though he were taking dictation.

You can’t measure intensity and a person’s pure life force. But the energy pouring out of outliers like Vincent van Gogh would bowl you over. Van Gogh vincent-van-gogh-starry-night-1889worked  furiously at a fever pitch, gathering up the colors as though with a shovel, throwing them on canvas with rage, globs of paint covering the length of the paint brush, sticking to his fingers. Goethe called such super-charged outliers “demoniacs”–people with a super-abundance of vitality, “something that escapes analysis, reason, and comprehension.” Goethe was aware of this power in himself.

Russian Anton Chekhov wrote 10,000 pages of short stories, and also produced great plays like The Cherry Orchard, The Seagull, and Uncle Vanya, and was a practicing physician too. Noted architect and futurist Buckminster Fuller was often unable to stop working until he dropped from exhaustion. Isaac Asimov, author or editor of more than 500 books, said he wrote for the same reason he breathed—because if he didn’t, he would die.

Extraordinary creative outliers are guided by an ambition, a notion so bold that it’s almost outlandish:  that you’re born with a certain aptitude and with direction, discipline, and sacrifice you can transform yourself into something magnificent. Their focus is maniacal—all day long every day. When they’re away from their work they long for it.

Nobel novelist Toni Morrison said, “But the important thing is that I don’t do anything else. I avoid the social life normally associated with publishing. I Toni Morrisondon’t go to cocktail parties. I don’t give or go to dinner parties. I need that time in the evening because I can do a tremendous amount of work then. And I can concentrate.” Outlier novelist Philip Roth said, “My schedule is absolutely my own. Usually, I write all day but if I want to go back to the studio in the evening, after dinner, I don’t have to sit in the living room because someone else has been alone all day. I don’t have to sit there and be entertaining or amusing. I go back out and I work for two or three more hours.” American William Faulkner said jokingly, “If a writer has to rob his mother, he will not hesitate: the ‘Ode on a Grecian Urn’ is worth any number of old ladies.”

We live in a world where everyone is selling something. Everyone has an ulterior motive. They want to be a brand. But these outliers only want one goal: to reach the highest heights they can. That’s it. There’s nothing else.

You look at Picasso and Faulkner and say, “Oh, that’s why painting and writing were invented. As if the gods of the arts declared, ‘To show you others how it should be done we’re going to make a person to represent perfection’.”

They have bad days, difficulties, and setbacks, and still believe in themselves. Andre Gide said, “The great artist is one …for whom the obstacle is a springboard.”   They know that effort is more important than talent. And if you say to them, “You’re just so gifted” they’ll stop you and say, “No, I’m no more talented than anyone else, no more talented than you, but I work much harder” and tell you and me, “If you want to excel you’ll have to overcome the notion that it’s easy.”

They’re a psychologically phenomenal combination of purity of focus and energy-1101474_640purity of discipline and purity of energy. Their creative lives are both comfortable and disciplined.  Even when they’re miserable they’re happy. Age has little effect on their skills except to improve them. They’re never happier and more at ease than when under pressure. They have a sense of being destined for something that very few other people are fitted for. But they are and they know they are.

They have a supreme care about their craft, and they never forget their failures. Their craft is their sanctuary. They’re never better than when doing their craft.

Outlier playwright George Bernard Shaw said, “I am of the opinion that my life sparks-142486_640belongs to the whole community and as long as I live it is my privilege to do for it whatever I can. I want to be thoroughly used up when I die. For the harder I work the more I live. I rejoice in life for its own sake. Life is no brief candle to me. It’s a sort of splendid torch which I’ve got to hold up for the moment and I want to make it burn as brightly as possible…”

 

© 2016 David J. Rogers

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20 Tips on Writing Like a Nobel Prize Winner

Writer Flannery O’Connor thought that any idiot with some talent can be taught to write a competent story, and something on that order may be true of all the arts. But a quest all creators aiming beyond mere competence are engaged in—writers, artists, actors, architects, dancers– or should be engaged in is discovering and refining a style which expresses exactly their unique vision and their unique skills and their unique selves.

old-1130735_640When they settle on that style their work leaps up in quality and they are whole.  But until they find it–it may take years– they cannot possibly come into their own and fully bloom and realize their highest creative potential. Style is the constant form in the creator’s work, the never-changing elements or qualities and expression of the person—his or her manner of communicating what is communicated.

Finding THE style that suits you supremely well is no small matter. A distinctive style that’s your own is the first sign of artistic greatness. There are styles that are okay for you and more styles that are wrong for you. And one style that is best. And the best may not be the style you’re writing in currently.

Nobel Prize winning writer Toni Morrison wrote that “getting a style is about all there is to writing fiction.”  And the most influential literary stylist on earth in the last 100 years was American Ernest Hemingway whose Nobel Prize citation reads, “For his mastery of the art of narrative…and for the influence he has exerted on contemporary style.” Hemingway’s techniques “have profoundly influenced generations of writers across all boundaries of nationality, gender, race, ideology, sexual orientation, class, religion, and artistic temperament” (Robert Paul Lamb). Critic Alfred Kazin:  Hemingway “gave a whole new dimension to English prose by making it almost as exact as poetry.” Joan Didion said about Hemingway’s style: “I mean they’re perfect sentences.”

ernest-hemingway-401493_640Probably no fiction writer before or since worked so hard for so long or prepared so thoroughly to create a personal manner of writing that was so perfectly suited to the writing he wanted to do. If you’re looking for a model of how a writer should develop skills you can do no better than hard-working Hemingway.

“In the late summer of that year we lived in a house in a village that looked across the river and the plain to the mountains. In the bed of the river there were pebbles and boulders, dry and white in the sun, and the water was clear and swiftly moving and blue in the channels. Troops went by the house and down the road and the dust they raised powdered the leaves of the trees. The trunks of the trees too were dusty and the leaves fell early that year and  we saw the troops marching along the road and the dust rising and leaves, stirred by the breeze, falling and the soldiers marching and afterward the road bare and white except for the leaves” (First paragraph of A Farewell to Arms).

Until you perfect your own style and are satisfied with it, you may wish to pick out from the style of Ernest Hemingway whatever might be useful to you. If you want to improve your writing by learning from the master—and what serious writer wouldn’t–here are 20 practical tips on writing like a Nobel Prize winner:

* To cause the most powerful emotional responses in the reader always understate, never overstate. Don’t lay it on thick. Write prose that’s always less emotional than the events seem to call for. No emotional excess. Reject sentimentality. Hemingway doesn’t state characters’ emotional responses at all except in the simplest way. He might say the character “felt lousy” or felt “bad.” The more emotionally charged a situation, the more emotional restraint you should use in writing about it. And then the result will be emotionally powerful. Flannery O’ Connor said the fiction writer has to realize that he can’t create emotions with emotion. If you want the reader to feel pity, be somewhat cold. Write in a subdued, unemotional voice. Make your prose cool and dispassionate.

* Don’t make the reader aware of your style. When you’re reading Hemingway you’re reading an extraordinary style. But you’re unaware of it.

* Have an intense awareness of the world of the senses. No one renders the physical world with more vividness than Hemingway. His descriptions of mountains, hills, plains, and valleys are beautiful and unrivaled.

* Base your paragraphs on simple sequences—the Hemingway character does this, then does that, then does something else—gets up from the table, crosses the room, goes down the stairs, and  then steps outside where the sun is shining and the flowers are red and yellow.

* Avoid describing the mental state of characters. Show it in the action.

* Simplify in every way you can.  Willa Cather said, “The higher processes of art are all processes of simplification.” “To write simply is as difficult as to be good” (Somerset Maugham). Fiction these days has shifted more and more toward greater conciseness and simplicity.

* Be completely objective. The more objective you are the stronger will be the impression your writing will make on the reader. State the facts.

* Tell the truth.  “A writer’s job is to tell the truth…Do not describe scenes you have not witnessed yourself” (Hemingway). Write down what you see and feel in the simplest way you can. Anton Chekhov: “One must never lie. Art has this great specification: it simply does not tolerate falsehood…there is absolutely no lying in art.” Hemingway’s works are generally autobiographical and stamped with authenticity.  He never wrote about anything he hadn’t first experienced himself.  He said, “I can only write from memory.” That creates trust in the reader.

* Show absolute sincerity. The particularly effective writer will develop a relationship with readers that goes beyond liking to intimacy, and that comes from above all else the sincerity the reader finds in the work. Hemingway is the sincerest of writers.

* Do no moralizing, no moral judgments—have no “messages.” Don’t preach.

* Eliminate long words or use them sparingly. But always use the mot just, the single best and most accurate word to convey exactly what you’re trying to say.  “I have never used a word without first considering if it is replaceable” (Hemingway). Put the right words in the right order to do the subject the most justice.

* When writing short stories make the stories simple—simple plots. The more elaborate the plot of a short story, the less effective as a work of art it tends to be. In many Hemingway stories very little happens.  In fact some of them aren’t even stories, but sketches that are only a few pages long. The same is true of Chekhov, and he and Hemingway, along with Guy de Maupassant, were the three greatest short story writers in the history of literature.

* Be brief, condensed, maximally concise. Not a single word should be unnecessary or superfluous.  A minimum number of words selected with care.

* Provide few details and make them precise and concrete. Too much detail exhausts the readers and takes their mind off the action—and that’s where it should always be.

* Stress clarity at all times.

* It’s not necessary to state everything. Rely on suggestion.  Leave some things for the reader to figure out.

* Write in a style that’s easy and flowing and has simple rhythms—a tremendously appealing sensual style.

* Keep sentences short and simple–a series of short declarative simple sentences, generally not complex or compound. No ornamental rhetoric. Write forceful and direct prose. There is hardly a single simile or metaphor in all the works of Hemingway. Dialogue sentences especially should be short.

* Severely limit adjectives and adverbs. Emphasize nouns and verbs. If Hemingway used adjectives they were inexact and common—“The trees were big and the foliage thick, but it was not gloomy.”  The colors were “bright.” “Hemingway certainly helped bury the notion…that the more you pile on the adjectives the closer you get to describing the thing” (Tom Stoppard).

* Cut exposition to an absolute minimum.  No explanations, discussion, analysis, and comments. Eliminate the frame. It’s not necessary. Jump right into the action.

stockholm-952497_640Having found your right style you’ll be equipped to achieve the writer’s objective “to convey everything, every sensation, sight, feeling, place and emotion to the reader” (Hemingway). Everything with brevity, economy, simplicity, intensity. It isn’t possible to overstate the influence of Hemingway on the way Americans speak or on how writers everywhere write fiction.

 

© 2016 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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Filed under Artistic Perfection, Artists, Becoming an Artist, Creativity Self-Improvement, Developing Talent, Human Potential and Achievement, Ernest Hemingway, Fiction, Goals and Purposes, High Achievement, Literature, Motivation, Preparation, The Writer's Path, Work Production, Writers, Writing Style

Preparation and Creative Success

A young recent college graduate found out I was an experienced often-published writer and came over and asked me if we could get together to talk about writing. And so we went to a restaurant and talked for an hour and a half.

writing-828911_640She wants to be a poet. She’s started reading poetry but isn’t trained in it. She’s a fledgling poet, a poet in the making. She showed me samples of her work and I liked it and could see what she’s trying to get at. I encouraged her. As we were finishing up she mentioned magazines and poetry journals she was going to send her poems to. They included the New Yorker and Poetry and other of the most prestigious publications in the country.

I went home thinking, “I hope she doesn’t get too disappointed if her poems are rejected. They probably will be. She doesn’t yet realize how competitive publishing is. She’s thinking only of the gift she senses in herself. But there are whole armies of other gifted people everywhere in the world. There’s no premium on giftedness among creative people. They’re all gifted.”

And I thought, “There are a million poets nowadays, just as there are two million novelists and three million artists, some of them extremely well-trained in their craft and who have long experience. And every poet, novelist, and artist would like to be extraordinarily successful.” But why would I of all people discourage her? She’ll find out for herself. Then we’ll see what she’s made of. Will she still be writing and still be as enthusiastic in five years? Ten years? Fifteen?

Then I received an email from a graduate student in Texas who’d heard me speak. He wanted to know if I could refer him to an agent and publisher he could contact after he started writing. He hadn’t started writing yet.

I replied in my email, “I think the most important task for you now is to focus on writing, writing, and more writing. And reading good writers who are writing the kinds of things you want to write—write and study how to write. Learn bestsellers-67048_640and learn more. Read because people you read about are people who’ve spent their entire lives reading. Develop your abilities. Getting an agent, getting a publisher are separate activities from writing and should be kept separate. After you’ve gotten good at writing, then it’s time to start thinking about getting your work published. First get good.”

What I was saying was that success–particularly in the arts–is difficult, and that preparation is the key. And is the key to success in everything. And that if you lack the skill to reach a goal you will not reach it. You will not reach the goal pen-27043_640until you have the necessary skill. There has to be a perfect match between goals on the one hand and skills on the other.

The main reason most artists and writers fail is because they haven’t developed the skills they should have developed, but neglected to. The need is to develop an expertise not in every skill but in especially the key skills a person in that field must excel in if they are to be as successful as they could be. If you don’t have the skills, if you’re to succeed you’ll have to acquire them. If, for example, a fiction writer isn’t strong in the skill of characterization she’ll have problems because characterization is an essential skill. Many say more essential than every other writer’s skill. So a writer better focus on developing that skill.

You can take a flyer and try—nothing ventured nothing gained. And if you fail, you fail, so what? But something unfortunate often happens to artists and writers (and actors, etc.) with high hopes who, because they’re unprepared, fail and fail again, and again, and again. They may never succeed and never know why they don’t. Their beginner’s confidence, once so strong, now flies out the window. They become deeply discouraged and may quit, and that’s it. Their career, once so hopeful, is over.

Their dreams of being creative all the time and living the life of a writer, painter, or actor, or dancer dissolve. Why? Because they’d been so hungry to succeed fast they’d neglected their preparation. And preparation is what they should have been doing—slowly, patiently learning, learning more, overcoming their weaknesses, and building up their strengths.

I can’t possibly tell you how many promising writers and artists—talented, impressive people–I’ve known who failed pencil-1203980_640and gave up and never reached their peak. All professional writers and artists have encountered more than a dozen more talented writers and artists than themselves who no longer write or paint at all. Who knows what they might have accomplished? How much better it would have been for them if instead of thinking, “I’m not good enough” they’d thought, “I’m not YET good enough, but one day I will be if I commit myself to getting good, very good.”

A theme of mine is that it’s always best to face reality, however harsh and however much at times we want to hide from it. Face reality head-on and don’t lead a life of illusions. Never hide. And a reality that a creator has to face head-on and not hide from is that it takes a long time—usually many years–and a lot of patience and an almost unbelievable amount of work to become what I call a REAL painter, or REAL writer, or REAL actor, or REAL dancer who has what Nobel Prize winner Ernest Hemingway called “seriousness.” And there are no exceptions.

According to the research on the development of expertise in any field thousands of hours of application have to be put in if your aim is to excel or even be competent. No outstanding creative achievement has ever been produced without that much work on the part of the creator, however much natural ability he or she possesses. Some degree of that mysterious stuff called talent is necessary. But it’s far from everything. Talented people are a dime a dozen. The poet Hesiod who lived hundreds of years before Plato wrote, “Before the Gates of Excellence the high gods have placed sweat.” Sweat becomes part of the real creator’s everyday life.

The expert makes the performance look easy and we’re seduced: “I can do that.” But we have to look past the ease of the expert and realize creating is fun, it’s a gas, it’s fulfilling, and nothing else in your life compares with it. But succeeding at it at a high level is exceedingly tough. But many people have acquired a TV-ratings kind of mentality. It’s either quick results or cancellation.

It’s the same in the arts. A couple of tries without reaching success and it’s ratings time: “Who needs this? It’s harder to succeed than I thought. I’ll go into something else.” Then if you quit, nothing will be gained and many perfectly good years will have been wasted. But when we look at creative people who’ve “made it” we invariably find beings who have (1) persevered through setbacks (2) been devoted to developing to a high level the specific skills that made their high performance possible, and (3) had a thirst that can’t possibly be quenched to get better and better still.

So it’s wise to ask yourself as you work, “Am I really ready? Am I sufficiently prepared?” Lay your ego aside. If your answer is an honest “No, I can see I’m not,” go back, be patient, and focus harder on preparation.

Feel your expertise growing, your unique creative voice becoming clearer, your skills being refined before your eyes. For backdrop-772520_640a while don’t concern yourself at all with appearing on The New York Times best-seller list or any best-seller list. The hunger to see your name on these lists is the bane of writers. Don’t worry about having your work shown in the fanciest galleries.

When you’re prepared and your skills are strong enough that well may happen. But not until. But whatever you do, don’t quit till you’ve seen how high the skills you’ve so conscientiously developed will take you.

Sometimes I see the young poet on the street and I ask her, “Are you working?” And she smiles and says she is.

 

 

© 2016 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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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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Stamina: The Creative Person’s Hidden Power

Middle distance runners are deep and analytical, contemplative, aware of the slightest changes in their body and mind. I ran fastest at three in the afternoon when the temperature was 88 degrees and my mind was clear. Creative people are also deep and analytical, contemplative, aware of the slightest changes in their body and mind.

I was in training for my event, the 800 meters. That workout I decided I’d run as many laps around the quarter mile athletics-229808_640(1)track as I could at three-quarters speed. After a few laps the pain I was so familiar with began gradually to set in. And the difficulty breathing. Then with each lap the pain in my legs, my arms, my chest—my entire body–became more severe, breathing even more difficult. And I thought about quitting. How easy that would be. Just step off the track and the pain would cease and I wouldn’t have to go through this anymore. I thought, “No one is making me run but myself.” The thought of stopping was very powerful and I had to fight it.

But I didn’t stop, I didn’t slow down. I increased my speed (I would show this pain) and the pain was much worse. I thought, “How long can a person endure this?” Then I thought, “I am a middle distance runner. Middle distance runners can bear pain.”

But then, after I had pushed myself as hard as I could and suffered that pain longer than I thought possible but continued to run, I passed into a new and miraculous state of being. One moment I was in agony; the next I wasn’t. I had entered a place, a garden, where pain couldn’t exist. All pain and exhaustion were lifted out of my body and I could breathe easily again. The running suddenly was smooth, effortless, and strong, my form perfect.

runner-728219_640That afternoon, one of my teammates after another quit his training and left for home. But I ran lap after lap far into the night. I had the feeling I could run forever.

That experience has become a metaphor for me. I go back to it in my mind time and again. It inspires me and I am a hard worker and have stamina.

Nobel Prize winner Saul Bellow said, “For the artist work is the main thing and always comes first.” 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.” Some writers and artists produce 10, 15, 25 times more work than others and those most productive usually rise higher in their field and find a greater sense of accomplishment. The more work you produce the higher quality your work will tend to be because the more you do something, the better you get.

There’s a lot to be said for the benefits of prolonged, intense working spurts, for in a study of writers, writers who achieve the most are those who wrote:

…THE MOST INTENSELY

…FOR THE LONGEST AMOUNT OF TIME

…OVER THE LONGEST TIME SPAN

High achieving writers and artists, like athletes in training, exert more energy from the start of a project and work steadily without long interruptions for a much longer period than the majority of writers and artists–for days, months, lyrics-710329_640years if necessary, often producing staggering amounts of work. What enables them—what enables you– to operate continually at a higher level of stamina?

It’s excitement or necessity or both, excitement over the production of a work or the necessity of overcoming obstacles to produce it—and the habit they’ve developed of working through tiredness. Creative people will push themselves to an extreme day after day and overcome impediments when they are on fire with the excitement of creating.

But many artists and writers produce very little because they stop working at the first sign of fatigue. They’re in the habit of quitting when tired. Better to ratchet up and exert more effort then, not less. Then you acquire the ability to not tire easily, a creator’s and athlete’s major skill in itself, and your work production rises, and with it, its quality.

If you quit at the first sign of tiredness, you develop the habit you don’t want of tiring quickly and giving up. Every time you reach the point when you seem to have no energy left, yet push yourself a little further, you train yourself to draw from deeper into your energy reserves at will. If you push yourself on then—painting another hour, finishing the chapter–the tiredness gets worse, but only up to a point. Then it reaches a peak and fades away as my running pain faded. You know that from our own experience. Then you’re fired up by a sense that you can go on creating much longer than you’ve realized. Fatigue is replaced by an explosive surge.

Focus on your goal of finishing this work on your easel, on your computer screen. Let your urge to reach high levels of excellence in your craft consume you. The result will be a new freedom, new stamina, and new creative power.

 

© 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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