Tag Archives: artists and writers

Inspiration, Information, and Learnings For People In The Arts

Part 6 of a series.  See also Part 1, Part 2 & 3 Part 4, and Part 5

Pink and orange zinnias in impressionist style

Late Season Zinnias by Steven V. Ward

THE NATURE OF ARTISTS

  • “Artists shape the structure of their creative lives not by means of their gifts, but by means of their work. Production–to produce good works– is the artist’s overriding goal. Delicate creatures, when unable to produce works, they almost immediately fall into some form of self-doubt and then despair” (David J. Rogers).
  • “To possess and capture beauty (the artist) will do anything, use anything…be ruthless, murderous and destructive, cold and cruel and merciless…to get the thing he wants, achieve the thing he values” (Thomas Wolfe).
  • Berry branch with shadowy colored background

    Berry Shadows by Steven V. Ward

    “There is nothing we will not give to the person who can show us the undiscovered world within ourselves, for most of us are unaware of the possibilities we hold” (Seymour Krim).

  • “It is all in the art. You get no credit for living” (V.S. Pritchett)
  • “The hunger to succeed in spite of every impediment and the confidence that you can, along with skill, energy, focus, and the knack of overcoming obstacles have proven to be the key indicators of success in art” (David J. Rogers).

 

THE CREATIVE PROCESS

  • “The uninitiated imagine that one must await inspiration in order to create. That is a mistake. I am far from saying that there is no such thing as inspiration; quite the opposite. It is found as a driving force in every kind of human activity, and is in no wise peculiar to artists. But that force is only brought into action by effort, and that effort is work” (Igor
    Pink flowers on impressionist background

    Spring Colors by Steven by Ward

    Stravinsky).

  • “It has not been possible to demonstrate that creativity tests are valid” (Howard Gardner).
  • “If I create from the heart, nearly everything works; if from the head, almost nothing works” (Marc Chagall).
  • “If he thought, he would go wrong; it is only the clumsy and uninventive artist who thinks) (John Ruskin).
  • “If a man has talent and can’t use it, he’s failed. If he uses only half of it, he has partly failed. If he uses the whole of it, he has succeeded, and won a satisfaction and triumph few men ever know” (Thomas Wolfe).
  • “Everything you can imagine is real” (Pablo Picasso).
  • “It is important to forget about the opinions of others and to write after your own fashion with careless, proud indifference” (Llewelyn Powys).
  • ”There are no rules. It’s amazing how willing people are to tell you that you aren’t a real writer unless you conform to their clichés and their rules. My advice? Reject rules and critics out of hand. Define yourself. Do it your way. Make yourself the writer of your dreams (Anne Rice).
  • “Most creators know intuitively from the beginning of their serious work on a project what the final product will “feel” like. It may take weeks, months, or years to complete the work. But they’ve had from the beginning some sense of it. And that sense will guide them through the entire creative process” (David J. Rogers).
  • “Great artists feel as opportunity what others feel as a menace” (Kenneth Burke).
  • “A great portrait is always more a portrait of the painter than of the painted” (Samuel Butler).
Three white and pink lotus blossoms on blue background

Lotus Trio by Steven V. Ward

CREATORS’ WORK LIFE 

  • “Wake about seven thirty, have breakfast and am working by nine and usually work straight through until two p.m. After that it’s like living in a vacuum until working time next day” (Ernest Hemingway).
  • “Publishing is a very mysterious business. It is hard to predict what kind of sale or reception a book will have and advertising seems to do very little to the good” (Thomas Wolfe).
  • “We should write our own thoughts in as nearly as possible the language we thought them in, as though in a letter to an intimate friend. We should not disguise them in any way” (Leo Tolstoy).
  • “When I write I feel like an artist. When I’m not writing I don’t feel like anything at all) (Saul Bellow).
  • “I work on whatever medium likes me at the moment” (Marc Chagall).
  • “They come and ask me what idea I meant to embody in Faust as if I knew myself and could inform them” (Goethe).
  • “Great artists have no consideration for anyone’s sleep. Left alone and working all night, they phone you at three or four in the morning to announce they’ve thought of something” (David J. Rogers).
  • “We all do better in the future” (Raymond Carver).
  • Yellow Wildflowers on an impressionis style background

    Yellow Wildflowers by Steven V. Ward

    “You have reached the pinnacle of success as soon as you become uninterested in money, compliments, and publicity” (Thomas Wolfe).

  • “Inspiration exists, but it has to find us working” (Pablo Picasso)

I am pleased to again feature in this post artwork by the talented artist Steven V. Ward whose work can be found on FineArtAmerica.  Some of his work also appears in my post More Inspiration and Information For Creators #5

© 2018 David J. Rogers

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

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

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

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The Writer’s Block You’ve Never Heard Of

When Writers Hate Words and Painters Hate Paint

I

I adore words. Words have been my dearest medium since my childhood in a Welsh home where the English language Pink clouds behind single bird in a treewas king and queen. I can hear words as if they are being spoken in my ear as I read them on the page or computer screen.  I swear I can taste them. If I don’t read a minimum of a few thousand of them in books every day I am fidgety and dissatisfied.

I study words assiduously and they float in my mind because they are the building blocks from which a writer fashions images, ideas, and narratives. I want to know all of them and use them in my work when I need them. The more of them I can use intelligently the more ideas and emotions I will be able to communicate. Writers cannot pour the whole of their talent into their work without a storehouse of expressive language at their ready disposal.

Wooden typesetting blocksThe vocabulary in the piece may be as simple as Ernest Hemingway’s or as complex as William Faulkner’s. Either way, each word, doing its part, must have zest. If you lack the one and only “just right” word you cannot adequately convey the emotion and its shadings, or the expression on a face as it differs in daylight or at midnight, or a beach at dawn.

What can be more painfully frustrating and galling for writers who take their work seriously than sensing there is a word that will express precisely what they want to express, but not being able to think of it and having to settle for a second, third, or fourth best word?

I maintain on shelves massive loose-leaf notebooks with bright red, orange, and yellow covers. In them I enter words I come across that I think I might wish to use at some time that I don’t currently know or do know but don’t use. The 2 spiral notebooks, one lime green and one blacknotebooks are filled with many thousands of good, useful words and brief definitions and ideas for using them.

I consult these notebooks regularly. When I begin writing something substantial I jot down many interesting and lively–“good”–words that I will work into the text. I might write down in the notebook the word “irascible” with the note–“a nice, strong, dramatic word to use,” or other nice words, “pallid,” “stipulated,” and “rapture.”

II

But never knowing why and never knowing when, I experience a mystifying writer’s block you’ve never heard of that overwhelms me. I’ve never heard anyone else say a word about it, nor have I read about anything like it. I’d like to tell you about it now.

It is a periodic aversion  to the basis of the creators’ medium–words to writers, color and paint to painters, and music to composers. Such an intermittent malady may seem odd, but for me, odd though it may be, it is a fact. Sometimes writers hate words, painters hate paint, and composers hate notes.

water collor paints next to a blank notebookPainters feel the same way about paint as I do about words–that the goal of doing this thing called art in these media is to never be caught unable to express what you want or need to express.  A writer must be able to write everything down, a painter to paint everything she can see or imagine, and composers to be able to use all the means available to them to express all emotions.

When you are a magician with language as American novelist Thomas Wolfe and American poet Walt Whitman, and French novelist Marcel Proust were–more so than any other writers who walked this earth (including Shakespeare)–you have available to you all the words you will ever need to express with the exceptional skills of the trained writer, which you take for granted, anything and everything–any emotion, any idea, any situation, any image–you can hold in your mind.  Nothing is out of your range, everything is within your grasp.

But at times I become so filled up and overly sated with words–thinking of them, writing them, reading them from morning to night year after year, decade after decade–that I reach a kind of maximum limit and it is futile to go on. I must be away from them.

random letters in the shape of a brainFor a while I have to be free from the tyranny of having to go through the process of translating, as though from a foreign language, every palpable thing I can see or touch or hear or imagine, or remember, and each and every mood I can feel, into abstract, impossible-to-touch symbols–words and syllables.

There is no word or combination of words ever written in poetry or prose that is as tangible and pleasurable as a kiss or a caress.

I find that it is hopeless to try to fight this mood. Nothing but frustration is gained by being heroic and hacking away at the keyboard in hopes that something more or less intelligible that can be worked into something more meaningful will mercifully appear on the screen. No, it’s best when words become abhorrent to me–to you, fellow writer–to just shut down, be patient, and wait.

I think this bottling-up happens to many writers, but they don’t realize what’s happening to them. They come to that impasse I know so well and they have no idea why or what to do next. And painters may be unable to even look at their palette and grow sick for a while of their beloved medium and need a break.

My periodic aversion to words, when the bases of my craft are repugnant to me, reminds me of  the great cellist Pablo Casals whose first thought when he fell and injured his hand was a happy one–that maybe now he wouldn’t have to play the cello anymore.

III

Having been through this troublesome block many times, I stop writing and I stop reading and try to clear my mind of words, just as painters who have been exposed to too much color stop painting for a while.

Then, without the written word, I have lost my bearings. I am aimless. I watch TV, paying no attention, or look for someone to talk to or go upstairs and lift weights or go for a walk or thumb through a baseball magazine.

A listless evening or a day or two of seeming to have no purpose in life pass, and my passion for words returns and I am hungry to sit at the computer and watch nouns and verbs, and then their friends the adjectives and adverbs appear in a perfect order on the screen as I hoped they would.

beautivul sunrise on blue skyAt that moment the creator’s existence–lived in a little world of contented seclusion, devoid of glamour–seems to me in an astonishing way to be as splendid and wonderful as any life on earth could be.

I am again confident, blissful, my temporary word-aversion now gone from me. I am happy. Everything I love and can think of I then love more tenderly. I am creating again, performing the sole work I believe I was so carefully allotted X number of years in this world to see what I could do with–which may be the same feeling you have about your work.

 

© 2018 David J. Rogers

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

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

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

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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:

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

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

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Filed under Artists, Conquering Blocks, Creativity Self-Improvement, Developing Talent, Human Potential and Achievement, Emotions of Creators, Inner Skills, Moods, Motivation, Painter's Block, Survival Skills, Work Production, Writer's Block, Writers

More Inspiration and Information For Creators #5

Part 5 of a series.  See also Part 1, Part 2 & 3, and Part 4

 

Leaves floating on water with reflections

On the Surface and Beneath by Steven V. Ward

 

 CREATORS’ FEELINGS, EMOTIONS

  • “(Creators) who lose their youthful rebelliousness are in grave danger of losing their talent as well” (Robert Jourdain).
  • “Art depends heavily on feelings, intuition, taste. It is feeling, not some rules, that tells the abstract painter to put his yellow here and there, not there, and may later tell him that it should have been brown or purple or pea-
    Lost Pink Hydrangea by Steven V. Ward

    Lost Pink Hydrangea by Steven V. Ward

    green. It is feeling that makes the composer break surprisingly from his key, feeling that gives the writer the rhythms of his sentences, the pattern of rise and fall in his episodes, the proportion of alternating elements, so that dialogue goes on only so long before a shift to description or narrative summary or some physical action. The great writer has an instinct for these things” (John Gardner).

  • “Every day the rejected manuscripts would come through the slot in the door…I’d sit at that old wooden table and read one of those cold slips that had been attached to a story I had loved and worked on very hard and believed in, and I couldn’t help crying” (Ernest Hemingway).
  • “One of the marks of a gift is to have the courage of it” (Katherine Anne Porter).
  • “The good artist believes that nobody is good enough to give him advice. He has supreme vanity” (William Faulkner).
  • “Research has found that uncontrollable anger is common among creative geniuses of all stripes. Always reaching for the impossible, life can be a long series of obstacles and frustrations” (Robert Jourdain).
  • “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” (Gilbert Murray).

WRITERS

  • “Writing is harder than anything else. It’s much easier to wash dishes” (Kristin Hunter).
  • “It is worth mentioning, for future reference, that the creative power which bubbles so pleasantly in beginning a new book quiets down after a time, and one goes on more steadily. Doubts creep in. Then one becomes resigned. Determination not to give in, and the sense of an impending shape keep one at it more than anything” (Virginia Woolf).

    Watercolor Iris by Steven V. Ward

    Watercolor Iris by Steven V. Ward

  • “Writing a book is a horrible, exhausting struggle, like a long bout of some painful illness. One would never undertake such a thing if one were not driven on by some demon one can never resist or understand” (George Orwell).
  • “History shows that the less people read, the more books they buy” (Albert Camus).
  • “The only writers left who have anything to say are those who write about practically nothing and monkey around with odd ways of doing it” (Raymond Chandler).
  • “It took me fifteen years to discover I had no talent for writing, but I couldn’t give it up because by that time I was too famous” (Robert Benchley).
  • “The only drama which really interests me and that I should always be willing to depict anew is the debate of the individual with whatever keeps him from being authentic, with whatever is opposed to his integrity” (Andre Gide).
  • “When men ask me how I know so much about men, they get a simple answer: everything I know about men I learned from me” (Anton Chekhov).
  • “If you are silent for a long time, people just arrive” (Alice Walker).
  • “For the writer there is only endless memory” (Anita Bruckner).
  • “The classical authors you still read today are not those who said the truest things. But those whose language has preserved a trace of them” (Jean Guitton).
  • “It would be as hard to predict the dancing flight of a flock of finches, or the subterranean movements of a single mole, as to explain a great writer’s peculiar gift” (Llewelyn Powys).
  • “A writer is interesting because of his peculiar perspective. Can this perspective be taught? I think not…A
    Blue Hydrangea Sunset Impressiion by Steven W. Ward

    Blue Hydrangea Sunset Impressiion by Steven W. Ward

    beginning writer hesitates to anoint himself, to make a declaration of his very special character. And so he seeks institutional support. He goes to the universities and gets a Ph.D. in creative writing and feels himself armed for the struggle. Like any other licensed professional. But this is social assistance rather than creativity.” (Saul Bellow).

 ARTISTS

The art featured in this post is by the talented artist Steven V. Ward whose work can be found on FineArtAmerica. His beautiful images attracted my attention on social media, and he kindly gave me permission to display some of them in this post.

  • “I alone here, on my inch of earth, paint this thing for my own sole joy, and according to my own sole mind. So I should paint it, if no other human being existed but myself…Thus I must do it, for thus I see it, and thus I like it” (John Ruskin).
  • “One man in particular has the faculty of inflaming your imagination till you feel ready to declare him one of the bringers of heavenly fire. And yet his art is mad. Your first impulse is to laugh at these staggering cottages with flaming red roofs, or the blaze of rockets and Catherine-wheels supposed to represent night. But your laugh dies on your lips; you go on gazing, stupefied yet interested; and when you leave the exhibition, you do not know whether you have been looking at the pictures of a madman or not, but you have forgotten all the other pictures in the room” ( (From a review by Cecelia Waern of a painting by Vincent van Gogh in 1892).
  • “Like other creators, artists exhibited androgynous personalities, meaning that they were not concerned with
    Digital Watercolor Field of Wildflowers by Steven V. Ward

    Digital Watercolor Field of Wildflowers by Steven V. Ward

    their actions being viewed as masculine or feminine” (Jane Piirto).

BALLET DANCERS

  • Other performing artists try to give the definitive performance of a work, a role, a score, but ballet dancers have even higher standards that apply only to dancers. The standard against which dancers measure their performance is not simply that of the highest excellence. “Every serious dancer is driven by notions of perfection–perfect expression, perfect technique…In no other art can one find a comparable gap between what the world thinks of a star and what the star thinks about himself or herself, between the adulation that pours from the outside and the relentless dissatisfaction that goads one from within…Part of being a dancer is this cruelly self-punishing objectivity about one’s shortcomings, as viewed from the perspective of an ideal observer, one more exacting than any real spectator could ever be”(Susan Sontag).

ACTORS

  • “The great moments (in theatre) are almost always connected with the personality of an actor or actors” (Tyrone Guthrie). 

COMPOSERS

  • “The most perfect (musical) instrument in the world is the composer’s mind. Every conceivable tone-quality and
    Winters Approach by Steven W. Ward

    Winters Approach by Steven W. Ward

    beauty of nuance, every harmony and disharmony, or any number of simultaneous melodies can be heard at will by the trained composer; he can hear not only the sound of any instrument or combination of instruments, but also an almost infinite number of sounds which cannot yet be produced on any instrument” (Henry Cowell).

 

 

© 2017 David J. Rogers

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

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

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

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or

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

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

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The Self-Concept: Freeing Up Your Creator’s Mind and Personality

In those happy days when I was starting out and writing books during the night while my wife and children slept, I was a business consultant during the day. One client was an anal-type organization–lots of rules, very little freedom, business workers in office cubiclesdictatorial–and many disgruntled employees. You might have worked in an organization like that. You may be working in one now.

One rule was that no one from one unit was to visit another unit during working hours. They were serious. Wherever you went you heard people saying, “Don’t get caught out of your unit.”

Your creator’s self-concept–self-image, self-estimate–is your internal, private opinion of the kind of creator you are and of the actions you are or are not capable of performing as a creator. It directly controls how successful you are in your creative endeavors and how full and satisfying your creative life will be. Like that nutty rule, your creator’s self-concept says, “Whatever you do, don’t get caught out of your self-concept.”

Your behavior has absolute trust in your creator’s self-concept and believes it and obeys it. You may have decided after five years writing that you’re a pretty average poet, so you work only hard enough to write average poems, never expecting to do any better. Your self-concept is perfectly content with mediocrity although you may have the potential for greatness. It is continually telling you to stay inside its definition of the kind of person you are: “You’re a decent painter but let’s face it, you’ll will never be much more than that.”

Many people I’ve met and you’ve met tell themselves they’re not creative. They realize that creativity could make them happier, but they claim they just don’t have it. Many people think, “Oh, a painter is creative, or a novelist or an architect. But I’m not a bit creative.” Yet researchers have demonstrated that the self-concept is so powerful and yet so malleable and so easy to change that the moment–the moment–people start thinking “I am creative” instead of “I’m not creative,” creativity increases. They can write and paint and perform dramatic roles passably well.  Now they have a creator’s self-concept.

Disappointments lead some creators to think, “I can’t produce really superb art work. . .sell my stories to magazines…make a lot of money…place my paintings in the best galleries…get in a good show… compete with young creators…” and so on.

Many creators have such narrow self-concepts they’re living in a unit that’s only a fraction of the size of their true creative ability. They possess the capacity to accomplish high creative goals but they don’t realize they do. Other creators have wide and expansive self-concepts. Their actions are bolder. They are self-confident. They expect to excel and often do.

What’s holding narrow self-concept creators back? Don’t look at me. I’m not holding them back. You’re not holding them back. They are holding themselves back. Some creators—maybe you know a few of them—have self-concepts so narrow and confining that they have made themselves incapable of doing anything significant. Often they don’t even try.

Many of you reading this are fiction writers. But we are all fiction writers. ALL SELF-CONCEPTS ARE FICTIONS; THEY ARE ALL MADE UP.  They are not real in the way a flower pot is real or a desk is. They are merely ways you have chosen to view yourself. From this insight it’s a short, leaping step to the next: “Hey, since I made up this damned self-concept and I’m not happy with it, and it’s holding me back, all I have to do to increase my possibilities and free up my creator’s mind and personality is to create another one and act accordingly,” or “Do I need a self-concept at all?” If your self-concept is right for you—if you’re happy with it—by all means keep it. But if it’s bringing you creative disappointment after disappointment and discouragement and you’re dissatisfied with it, you’d better, I think: (1) change it, or (2) operate without it.

I want to tell you two stories:

Story One: “The Storekeeper and the Thief”

In Japan in the nineteenth century, storekeepers were considered lily-livered weaklings. One storekeeper became sick and tired of this reputation. To prove that it was totally false he took lessons at a martial arts dojo. He devoted himself religiously and after some years he became an expert. After closing his shop late one night, the storekeeper and his wife started home down the dark streets carrying the day’s receipts. They had just turned the corner when a man holding a knife stepped out of the shadows and ordered the storekeeper to hand over his money.

At first he refused, but when the thief charged him, growling, “You miserable merchant, I’ll cut you to pieces,” the storekeeper lost his courage, fell to his knees, and began to tremble with fear. Suddenly his wife cried out, “You’re not a storekeeper, you’re a master of the martial arts.”

The storekeeper turned his head and looked at his wife. “Yes,” he said, “I am.” He stood, a warrior now, totally fearless, completely calm. He let out a powerful katzu, “battle shout,” and leaped at the thief. He defeated him easily.

Story Two: “The Teaman and the Ronin

In feudal Japan, a servant, a poor practitioner of chado, the Way of tea, unwittingly insulted a ronin, a masterless samurai. Outraged, the ronin challenged the servant to a duel. “I’m not a warrior,” the teaman said, “and I’m very sorry if I offended you. I certainly didn’t mean to. Please accept my apology. ”But the ronin would have none of it. “We meet at dawn tomorrow,” he said, and as was customary, he handed the terrified teaman a sword. “Go practice,” said the ronin.

The servant ran to the home of a famous sword master and told him the terrible thing that had happened. “A unique situation,” the sword master said. “For you will surely die. The thing I might be able to help you with is isagi-yoku, the art of dying well.”

While they talked, the teaman prepared and poured tea. The masterful way he did it caught the eye of the sword master. He slapped his knee and said, “Forget what I just told you. Put yourself into the state of mind you were in as you prepared the tea and you can win this fight.” The teaman was shocked. The sword the ronin had given him was the first he had ever held. “What state of mind?”

“Were you thinking ‘I’m a teaman?’ ” asked the master.

“No. I wasn’t thinking at all.”

“That’s it!” The sword master laughed. “Tomorrow draw your sword and hold it high over your head, ready to cut your opponent down. Don’t think you’re a teaman or that you’re a swordsman. Just listen. When you hear him shout, strike him down.”

Image of kendo {{PD-1923}} The next morning the ronin appeared on the field and the teaman immediately raised his sword overhead, his eyes on the ronin, his ears waiting for the battle cry. For long moments the ronin stared at the raised sword, and the determination in his opponent’s eyes. Finally the ronin said, “I cannot beat you.” He bowed and left the field.

The problem of these two men should seem familiar. Their predicament is one we all encounter every day. Our opponents aren’t usually thieves and they certainly aren’t wandering samurai ronin, but that’s not important. Those weren’t the main opponents anyway. The primary battle, the main event, was going on inside the storekeeper and the teaman. To win on the outside, each had to deal with a faulty, inadequate, self-defeating self-concept.

Option One: “I’m a Warrior, Not a Storekeeper.” Changing Your Self-Concept

Many creators are overlooking their creative abilities. They persist in thinking they’re storekeepers when if they just thought differently about themselves they would see what warriors they have the potential to be. Listen to the things you say about yourself and think about yourself that begin with “I am,” “I’m not,” and “I can’t.” They are your self-concept in action. And they directly control what is possible for you.

 

Robin tells herself, “I’ve been working on the thing I call ‘My Novel’ for years and can’t seem to finish it. It’s embarrassing. I have no will power.”  And because of it she has real problems getting the damn thing off to a publisher. Ariel tells herself she’s not intelligent enough to write a Hollywood screen play. She doesn’t realize that intelligence is not fixed and final in a person, but can increase with use and with it her concept of herself as an intelligent woman.

Creators are what they are because they keep telling themselves they are. If they stop telling themselves they are, they change. If creators say to you, “I just can’t talk in front of large groups,” or “I’m not the sales type,” or “I’m not a really clever person,” and then ask you if there is anything they can do about it, you might suggest that they never, never say that again. Then suggest they counter every “I’m not” or “I just can’t” with a firm “I am” or “I can.”

Saying it isn’t enough.  What is in your head doesn’t count for anything unless you translate it into action, “body knowledge.” It’s not enough to think, “Hey, I’m not just a storekeeper, I’m really a warrior after all.” To defeat the thief you have to fight, and you can because:

 All behavior is nothing more than an act, a performance.  Acting is easy. Everyone can act. We are all performers.  As soon as a public speaker realizes that she is not a lecturer but an actor, her presentations get good. To BE confident, ACT confidently.

Find a model, someone who does well what you would like to do. Watch how she does it, then do it the same way yourself. Or borrow from a number of models.

Option Two: Operating Without a Self-Concept

The sword master advised the teaman, “Tomorrow draw your sword and hold it high over your head. Don’t think that you’re a teaman or you’re a swordsman. Just listen. When you hear him shout, strike him down.”

In sales training sessions I gave I often used a simple role-playing exercise that’s designed to demonstrate the teaman alternative. The teaman alternative is not replacing your old, limiting self-concept with a new and improved one. It’s not thinking you’re a cowardly storekeeper or a poor teaman, but it’s not thinking you’re a warrior either. It’s not holding any self-concept in mind, but just taking action, doing something.

After everyone in the training group had played the part of a sales person making a presentation to a potential customer, I asked them to list the things that they did well during the role-play and the things they would like to improve upon. Then we discussed the “like-to-improve-upons.” Sam said he was no good at thinking on his feet. He went blank. A real salesman, Sam said, is able to handle himself smoothly.

Gerri said her problem was talking too fast. Her words came shooting out so fast she often said the wrong thing. She got flustered. She blew sales.

One by one, they all had to tell me about their “improve-upons.” Midway through every description of a problem I stopped the speaker and said something like “I’m not sure I understand what you mean. I’ll tell you what: show me how you would like to be able to do it.” Then I just sat back and watched the amazing thing that almost always happened. Virtually every time, they were all able to do what they said they had trouble doing or could not do at all. Now they were acting.

Sam, for example, actually did think on his feet, and responded smoothly and quickly to the prospect’s objections. Gerri actually became a more composed, together, non-flustered and relaxed saleswoman. Shy people who wished to act more boldly and self- confidently actually did. Those who wished to improve their body language did so. And tough, defensive people who “always” argued and who wanted to be more friendly and warm succeed in acting that way.

I had prompted each of the role-players to act directly without letting their self-concept affect their performance at all. They were doing before their self-concepts had time to inform them, “You just got through saying you couldn’t do that, so it doesn’t make any sense for this guy to ask you to.”

What the role-players learned is precisely what the sword master taught the teaman: You can do what even you believed you couldn’t if you forget about your self-concept totally.

Seeing how easy and effortless it was to forget about a previous self-concept and just act, just be, just perform was exciting for everyone. It was an unforgettable life learning experience.

Man painting a pictureDo whatever you’re doing  creatively without any thought about your “I ams,” “I can’ts” and “I’m nots,” or any concern about “what bad thing will happen if I fail” or “what great thing will happen if I succeed.” You’ll be unhappy whenever your internal opinion of yourself makes you concerned with yourself instead of the creative action at hand.

The creative action at hand–the story or the painting to be crafted, the role to be played, the dance to be danced–they are all that matters, they are the main thing.  Forget about everything else. Watch what happens. Watch your creative life change.

 

Parts of this post appeared in different form in my book Fighting to Win: Samurai Techniques For Your Work And Life

 

© 2017 David J. Rogers

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

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

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The Warrior Creator

My thirty-seven year old son Eli, a school principal and YA author, and a wonderful man, has been a strong supporter of my work since he was a little boy and went with me to store after store while I autographed books. It’s he who suggested I write a blog. That’s when I said, “A what?” So three years ago that’s what, with my wife Diana’s technical help, I started to do.  I hope my blog friends are reading this post and will benefit from it. A few years ago Eli called me and said, “Dad, in an internet reader’s poll Fighting To Win has been maned the best motivational book ever written.” I said, “Well, how do you like that?”  Any creator knows what a joy it is to have his/her work praised. (That’s one reason we work so hard isn’t it?)

Hand with penAnd any author knows that if he writes a book that catches on, he’ll never get rid of it. He will become identified with it the rest of his life.  So here I am, the author of Fighting to Win: Samurai Techniques for Your Work and Life. I’m happy to say that that prescriptive how-to-do-it self-improvement book is a classic that since it first came out thirty years ago has been widely used by people of all kinds here and in Europe and Asia as a guide to actualizing their wonderful talents that otherwise may have lain dormant and unused. It started as a book popular with people in the work world, particularly business people, but then quickly spread to people in the arts.

Over the years I’ve received thank-yous from accountants and sales people, and painters, writers, opera singers, composers, movie directors, actors, musicians, and so on–people who’ve come to realize that whatever their walk of life might be, the psychology of the warrior fits them to a T because they are thinly disguised warriors too.  It’s a tribute to Fighting to Win that it Is still available as an eBook, is still being read, and is still changing lives.

I turned to the study of the samurai way of life as a result of hard times taking a terrible toll on me. I experienced far too many disappointments and was cheated in business by people I had trusted. I was looking for something that would Samurai swordsman in silhouettesalvage me from the kind of misery I was experiencing and in the samurai Way found strength as well as insights, strategies, and techniques I could use to pull myself out of the awful lethargy I had settled into. By way of the book, magazine articles, TV and radio, the internet, and speeches, I’ve been fortunate to meet many wonderful people. They have told me that they too have found solace from setbacks and gained the psychological and spiritual wherewithal to excel in their careers through samurai wisdom and what I call “the inner skills of creative people.”

The samurai of Japan were the greatest warriors who ever walked the earth. Trained to perform phenomenal feats of courage and fearlessness, they were stern, quiet, utterly serious people who devoted their lives to developing their skills, spirits, and minds to the highest possible level.

Just as all creative people face internal obstacles that interfere with their lives, so did the samurai. The bulk of his or her training (there were women samurai) was devoted to overcoming those inner obstacles that are no different than the obstacles you and I and creators of all descriptions face—anxiety, procrastination, self-doubt, hesitation, fear of taking risks, nervousness, discouragement, crippling over-analysis, depression, apprehension, impatience, anger, and more.

Japanese Character for Warrior

Japanese Character for Warrior

Creators and warriors both begin as ordinary people with the potential to be exceptional and memorable, to apply themselves and acquire impressive skills not everyone possesses, and to develop talents and excel at their chosen life path–their “Way.” Each Way is different: the Way of the painter is similar to yet totally different from the Way of the actor, which is like but different from the Way of the writer or the ballet dancer, etc. At a certain point in their training and development, they cease being ordinary anymore, but have become extraordinary. They have wholly recreated themselves.

To function superbly in their chosen role–the painter to paint, the writer to write, the performer to perform, the samurai to fight–of necessity all must be brave,  be bold, take chances, and resist discouragement, fear, hesitations, and self-doubt. Ideal warrior creators have the courage of a lion, the boldness of a gambler, and yet the sensitivity of a butterfly. Critics and nay-sayers are not capable of intimidating them–nothing does. Think how liberating it is to be incapable of being bullied by agents, by publishers, by directors. They are not flustered. Now you are thinking how glorious that would be. When they are facing critical moments, their goal is to be as relaxed as a person sitting down for breakfast, and that’s possible.

I’m sure you know many creators who encounter the fear of performing their craft–that’s one of their fears. When I Empty canvas on easelvisited a successful painter friend of mine I saw the same unfinished painting on the easel. Nothing about it changed month after month. Not a single new brush stroke touched the canvas. Then she moved away and I didn’t see her for a number of years.  When we got together again I asked first thing since that was what I was the most curious about: “Whatever happened to that green pastel that was on your easel for so long?”

She said, “I never finished it.”

I said, “You were afraid.”

She said, “I was terrified of it.”

I know a singer who has had a successful professional career, but suddenly and inexplicably after five years developed a fear of performing and for two years retired because of it. She read the book, applied what she read, resumed her career, and was more successful than ever. Her ordeal of not being able to perform matured her.

Fear–there are a thousand of them–is the creator’s most formidable foe. You know that: fear of not being good enough or creative enough or smart enough or talented enough, of being rejected by an audience, of never reaching the success you dreamed of since childhood.

Some creators are afraid even to enter their work room in the morning. The creator’s fear tightens him/her up. Confidence disappears and self-punishing self-doubt takes its place. Their thoughts don’t flow as they did when they Archer about to shoot an arrowwere confident.  To create becomes difficult if not impossible. But once creators learn to defeat fear, their minds and spirits are immediately rejuvenated, and creativity flows out of them in torrents: the novel takes shape; the just-right color is added to the canvas. What can possibly stop them now?

Warrior creators must always be ready to overcome almost unbearable personal impediments that might stop other people and to overcome scores of obstacles of all sorts standing between them and their highest ambitions.  Every year thousands of painters and thousands of writers and other creators give up and quit–just quit–and thousands more are getting ready to quit right now, possibly you. Hopefully they’ll eventually learn that adversity can’t be avoided and in fact is essential to a creator’s development.  If only they had persevered a little longer. Persistence is a creator’s good and faithful friend.

When you are a warrior creator your spirit must be strong and poised, in the words of the samurai strong enough to bring down “a wall or iron.” If you are knocked down you must not lie in bed and moan and whine, but must jump up. Knocked down seven times by circumstance you must jump up eight. You must take care that your spirit is never broken, whatever happens.

Your “depths” should never be penetrated. Inside the warrior creator is a tiny core of strength that nothing can touch. You must control your breathing so that energy is released like steam from an engine because the work creators apply themselves to is unbelievably difficult. Tremendous vitality spread over a whole lifetime and put into every poem, every sculpture, and every actor’s role is needed if one wishes to create.

Like samurai, warrior creators strive to remove all psychological blocks, and learn specific techniques for doing that, and having done that to be able to function freely without conscious effort, the way do when you are your most creative. When you are at your best and well trained everything is automatic, the fluid movement of a master swordsman, the ease of the gestures of a violinist, the sure brushstroke of an experienced painter, the rhythmic typing of a writer in the zone.

The work seems to do itself, and everything is easy. The release of the arrow is the most difficult problem the archer Dew falling from a leaffaces. Like the inspiration of the artist, the release “should be done without thought, like a drop of dew falling from a leaf or a fruit falling when it’s ripe.” One’s every creative act should be like the release of an arrow.  I’ve seen people like that and so have you.

All that warrior creators need is within, in their minds. Your mind holds all the secrets.  The meaning of all things is within, not something that exists “out there.” Warrior creators “grow from within.” You should leave your mind alone and not complicate it with fruitless anxieties and jealousies so many creators experience. Only then can the mind function uninhibited, in the state of highest creativity.

The mind of the warrior creator must never get “caught” or “snagged” (toroware), or “stopped” (tomaru) on internal obstacles like a fish on a line but should always be flowing smoothly from thought to thought to thought like an unimpeded river. When warrior creators are at their best, their hearts are undisturbed and at total peace, their bodies and minds operating without conscious direction. To the master in any field, to execute their art is no more difficult than to breathe or utter their name.

When most productive warrior creators are confident and self-possessed, they are certain that sooner or later they will succeed. There can be no doubt about that. They are disciplined.  Their egos are under control. They look squarely at reality and never flinch from it. If up ahead is something unpleasant, well, up ahead is something unpleasant, so let’s get to it right away and get it over with.

Warrior creators are always trying to improve themselves. Tomorrow they should be smarter, stronger, more knowledgeable, and better skilled than they are today. They do things mindfully, deliberately, and are fully committed. Whatever they do they have every intention of completing. They are “immovable” and don’t budge from their important goals.

Warrior creators are designed to move. They know that when things are done leisurely, seven out of ten turn out poorly. Poster saying "Action is your natural inclination, a fulfilling life your true destiny"The Way of the warrior creator is action, action, and more action–getting things done, not procrastinating, not delaying, not stalling, but finishing what you start without delay and going on to the next thing.  The main goal of all creators is production–to produce works, an actor to play many roles, the writer to write many stories, the lithographer to work with many plates. No creator is more able to produce voluminous works than men and women of action.

The warrior creator knows that when you encounter calamities, it isn’t enough to say you’re not upset, but it is best to “dash forward bravely and joyfully” to meet the difficult situation.  What you fear the most you must get to first. Warrior creators accept whatever they are doing and flow with whatever may happen. They are taught to expect nothing but to be mentally and physically prepared for anything.

They focus: the concentration of the artist is astounding to the non-creator. Their lives are focused too, to enable them to do their work without interference. Among their affairs are many responsibilities, but no more than two or three “matters of greatest concern.” The most important time in the warrior creator’s life is the present moment: “There is only one purpose of the present moment, but a person’s whole life is just a succession of present moments.”

For the warrior creator every moment brings with it a CHOICE POINT at which one’s whole life can change: “From this point on, after this present moment ends, shall I be strong or shall I be weak, shall I commit myself to my craft or continue playing at being a painter, shall I buckle down and see what I can become at last?” These are crucial questions.

The warrior creator is to think what a frail thing life is and is reminded that every day of his/her life may be the last. Poster saying "The delicate cherry blossom doesn't last long in the wind that blows it from the tree."There is no fear of death. So warrior creators dedicate their lives to the fulfillment of their obligations to others and to themselves. They have an obligation to their art, their craft, and to live with the energy and flexibility that go into a creator’s every work: “Never let the thought of a along life seize upon you, for then you are apt to indulge in all kinds of wasteful dissipation.”

The warrior creator turns back again and again to the creative work to be done in this much too brief life, this single blessed moment that is occurring right now.

 

© 2017 David J. Rogers

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

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

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

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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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More Inspiration and Information for Creative People

Part 4 in a Series

See also Part 1 and Part 2 & 3

Drawing of hand holdng a pen

CREATORS WELCOME ALONENESS, LONELINESS

  • “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… Research shows that people are likely to come up with better ideas when they work alone.” (R. Ochse)
  • “Nothing will change the fact that I cannot produce the least thing without absolute loneliness. Once again I had the experience that I can work only in absolute solitude, and that not only conversation, but even the very presence in my house of loved and esteemed persons at once diverts my poetic nature.” (Goethe)
  • “What one bestows on private life—in conversations, however refined it may be…is the product of a quite superficial self, not of the innermost self which one can only recover by putting aside the world and the self that frequents the world.” (V.S Naipaul)
  • “Everything that matters in our intellectual and moral life begins with an individual confronting his own mind and conscience in a room by himself.” (Arthur Schlesinger)
  • “The most remarkable piece of research apparatus is the human brain. Some people want to buy every price of equipment known to science. They believe that with a beautiful building filled with modern equipment they have a first rate research institute. That is superstition. The greatest discoveries have been made by men working alone.” (Bernado Houssay)
  • “Originality is a form of solitude.” (Waldo Frank)
  • “Society is harmful to any achievement of the heart.” (Lord Byron)
  • “Conversation enriches the mind, but solitude is the school of genius.” (Edward Gibbon)
  • “Isolation and complete loneliness are my only consolation and my salvation.” (Richard Wagner)

 

INTERRUPTIONS, OBSTRUCTIONS, AND TROUBLE ARE A SCOURGE TO CREATORS

  • “interruption …is one of the major enemies of creative thinking.” (R. Ochse)–“interruption or the feeling that there may be an interruption at any time.” (Walter Bradford Cannon)
  • “Dreadful indeed are such interruptions. Sometimes they break the thread of inspiration for a considerable time, so that I have to seek it again, often in vain.” (Tchaikovsky)
  • Everything I have had to do has been interfered with or cast aside. I have never in my life had so many insuperable obstacles crowded into the way of my pursuits.” (Charles Dickens)
  • “I avoided writers very carefully because they can perpetuate trouble as no one else can.” (F. Scott Fitzgerald)

 

CREATORS ARE COMPLICATED

  • “It is at bottom fairly true that a painter as a man is too much absorbed by what his eyes see, and is not sufficiently master of the rest of his life.” (Vincent van Gogh)
  • Creative people are those who are more willing to redefine the ways in which they look at problems, to take risks, to seek to overcome daunting obstacles, and to tolerate ambiguity even when its existence becomes psychologically painful.” (Scott Barry Kaufman and James Kaufman)
  • “The creative artist seems to be almost the only kind of man that you could never meet on neutral ground. You can only meet him as an artist. He sees nothing objectively because his own ego is always in the foreground.” (Raymond Chandler)
  • “What distinguishes a great artist from a weak one is first their sensibility and tenderness; second their imagination, and third their industry.” (John Ruskin)
  • “The challenge of screen writing is to say much in little and then take half of the little out and still preserve an effect of leisure and natural movement.” (Raymond Chandler) and Chandler: “If my books had been any worse, I should not have been invited to Hollywood, and if they had been any better, I should not have gone.” (He was nominate twice for the best screen play Academy Awards.)
  • “To create, you must have a slightly hard heart.” (Albert Camus)
  • “All art constantly aspires to the condition of music.” (Walter Pater)
  • “The actor appears only to practice and to perfect himself.” (Actress Maria Casares)
  • “You have to remember that nobody ever wants a new writer. You have to create your own demand.” (Doris Lessing)
  • “The moment a man sets his thoughts down on paper, however secretly, he is in a sense writing for publication.” (Raymond Chandler)

 

CREATORS BETTER ACQUIRE CONSIDERABLE KNOWLEDGE

  • “People who gain a wide range of knowledge have a relatively good chance of being creative. They will have acquired a large universe of items from which possible new combinations could be drawn.” (R. Ochse)
  • “To creators knowledge isn’t everything. But it is almost everything.” (David J. Rogers)
  • “Creativity: a type of learning process where the teacher and the pupil are located in the same individual.” (Arthur Koestler)
  • “The literary artist is of necessity a scholar.” (Walter Pater)
  • Over the long run, superior performance depends on superior learning.” (Peter Senge)
  • “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)
  • “Learning is necessary to the development of creativity of the highest order, although attendance at an academic institution is not essential.” (R. Ochse)

 

CREATORS MUST FIND THEIR AUTHENTIC STYLE, TECHNIQUE, AND VOICE

  • “In the long run, however little you talk or even think about it, the most durable thing in writing is style, and style is the most valuable investment a writer can make with his time. It plays off slowly, your agent will sneer at it, your publisher will misunderstand it, and it will take people you never heard of to convince them by slow degrees that the writer who puts his individual mark on the way he writes will always pay off.” (Raymond Chandler)
  • “If you’re a creator the first thing you notice about the work of an accomplished writer, painter, actor, dancer, composer, etc., is a distinctive style, It cannot be hidden.” (David J. Rogers)
  • “No matter what elevated state of inspiration you might find for yourself, you can’t write the book until you find the voice for it. As it happens there is just one voice and one voice only for a given book and you must ventriloquize until you find it.” (E.L. Doctorow)
  • “Technique is the ability to do what you want to do…You must have a certain intention, and the ability to do that is the index of your technique.” (Pianist Leon Fleisher)
  • “Don’t get alarmed if you dislike what you write. It takes years to find your real voice, your tone and the truth in your heart.” (Albert Camus)
  • “It was at this point that I really began to write. I began from scratch, throwing everything overboard, even those I most loved. Immediately I heard my own voice. I was enchanted: the fact that it was a separate, distinct, unique voice sustained me. It didn’t matter to me if what I wrote should be considered bad. Good and bad had dropped out of my vocabulary…My life itself became a work of art. I had found a voice. I was whole again.” (Henry Miller)
  • “The writer’s work consists in writing with as much effort as possible; and at the end of this labor it sometimes happens that he finds what he sought for so long inside himself.” (Albert Camus)

 

THE WORK OF CREATORS IS SUBJECT TO CRITICISM, SOME FAIR, SOME UNFAIR.

  • “Good critical writing is measured by the perception and evaluation of the subject; bad critical writing by the necessity of maintaining the professional standing of the critic.” (Raymond Chandler)
  • “Most critical writing is drivel and half of it is dishonest.” (Raymond Chandler)

 

CREATORS FOCUS AND WORK HARD

  • “The inventor, whether artist or thinker, creates the structure of his psychic life by means of his work…It is only as the work is done that the meaning of the creative effort can appear and that the development of the artist brought about by it is attained.” (Brewster Ghiselin)
  • “Creation is not a joy in the vulgar sense of the term. It is a servitude, a terrible voluntary slavery.” (Albert Camus)
  • “With the piano, there’s no way of getting around hours at the piano if you practice to play correctly. It is what it does for your control of sound…The more time you spend at the piano, the more control you have.” (Pianist Andre-Michel Schub)
  • “Genius is nothing but a great aptitude for patience.” (French biologist Boffer)
  • ”For the artist work is the main thing and always comes first.” (Saul Bellow)
  • “I have had to work hard; anyone who works just as hard will get just as far.” (Johann Sebastian Bach)
  • “Everybody has the same energy potential. The average person wastes his in a dozen little ways. I bring more to bear in one thing only: my painting, and everything else is sacrificed to it…myself included.” (Pablo Picasso)

© 2017 David J. Rogers

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

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The Perfect Imperfections of Creative People

Wedding cake topperIn a survey of the most desirable occupation for a mate “poet” and “novelist” scored near the top. If you’re a poet or novelist yourself I can just see you now. You’re stifling a knowing chuckle and asking, “Did the respondents have the remotest idea what might be in store for them if in fact their mate had either of those careers–or was a painter, sculptor, dancer, composer, violinist, etc? Or were they expressing some romantic fantasy picked up from books and movies? Would it be a blissful and fulfilling match made in heaven or would it be full of turmoil and misunderstanding? Would it be any different than having a less artistically-bent man or woman partner? When all was said and done, would it be worth it?”

I’ve known creative people all my life–grew up in a family of sensitive, fiery Welsh musical people–and for the last fifty years of it have been spending time with writers, painters, and poets in particular, and reading the life stories of the most eminent creators ever to kick up dust on this earth and of their almost miraculous achievements and analyses of their inner psychological workings. This blog puts me in contact with thousands of them in 172 countries.

The end result is that to me artists are the most enthralling, most complicated, gall-darndest, stupefying, generally frustrating, and when in their brooding dark  nasty moods the most demanding, maddening, impossible yet endearing individuals on this globe–in short, immensely fascinating, highly-productive, beautiful, focused, exasperating beings.Vincent VanGogh self-portrait Though they are often no more possible to understand than I can understand the mystery I call myself, and often torture to live with. Rascals like Dylan Thomas, Vincent van Gogh, or Jackson Pollack: there’s just, well,  something irresistible about them.

In my most visited blog post–“The Characteristics of Creative People: What We Learn from Writers, Artists, Dancers, Musicians, and Actors”–I laid out just that, the characteristics of people who do creative things that conspire to make them able to do those things. I said creative people possess extraordinary energy and a compulsion to work, are willing to sacrifice almost everything else for their art with no hesitations, can produce tremendous volumes of work, value authenticity, integrity, and sincerity, are oriented toward the fullest development of their creative potentials, are resilient and able to overcome obstacles and to persevere,  must have the ability to attract and hold an audience, are more self-confident, bold, and daring than the vast majority of people, and so on

I want to fill out the picture of these original, gifted, talented people who contribute so many ideas and such beauty and creative feats with a description of artists’ characteristics many people consider flaws, imperfections, but which I think if they are imperfections are perfect imperfections that in some convoluted upside down, day is night, night is day way also equip them for the artist’s unusual life.

Artists–creative people of all sorts–are often indifferent to social “rules” and values, and have far less respect for people in authority than the people around them. The artist’s main motivation I think is to be left alone. He craves the freedom Salvadore Dali portraitto express himself, to experiment, to blunder, to go this way and that without rhyme or reason, and rules and external authority hold him back. Artists are often rebellious and uncooperative for the same reason, finding it extremely difficult and painful to do things they really don’t want to do simply because another human being says they should do it, no matter who he or she may be.

They are careless, disorderly, absentminded, forgetful, sloppy with details and matters they consider unimportant though their partner and their teachers and editors and such may consider them extremely important, and there may be conflicts. In a study comparing experienced writers with novices it was found that experienced writers forget what they have just written almost immediately after finishing a piece while novices remember their pieces in detail. Probably like every writer reading this I’ve had the experience many times of finding in computer files or drawers completely finished, refined, polished pieces–even finished novels–I wrote and completely forgot about. My wife-editor will often say, “Remember that thing you wrote about….” And I’ll say, “Oh yah, I forgot about that.” To the artist to say the work is DONE means that his job of doing the creative work–the fun stuff– is done, the fun is over; let someone else worry about the middling details.

They may be argumentative, cynical, and sarcastic, “too” direct–and tactless and intolerant. Sensitive to their every mood, and every shade of their moods, they are often overly emotional and temperamental, and easily hurt and quick to anger. Aware at every moment of what they are feeling and what they are thinking, they are self-absorbed in ways other people cannot fathom. Bundles of energy, their bodies and minds are perpetually active–over-active, electrically-charged in a way that a partner may not be prepared for or know how to respond to.

Fingers circling to indicate perfectionThe Latin sine qua non means literally “without which, not.” It means the essential, crucial, and indispensable ingredient without which something would not be possible. I think that without their imperfections artists could not be artists any more than they could be artists without their positive creative characteristics. In other words, their imperfections are–for them–perfect.

 

© 2017 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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How Creators Benefit from Teachers

Colorful abstract paintingIn college I had a brilliant professor of creative writing–he was dazzling. After class one day I said to him, “You know everything about literature and writing. Your analysis of works is something to behold, and you’re able to tell students how specifically to improve their work. But as far as I can tell you’ve never produced any creative writing yourself. Have you?

“No.”

“Why not?”

“Because I have no talent.”

He didn’t have the talent his students did have, but his students didn’t have the knowledge he had, and that’s what we were there to acquire so we would have both talent and knowledge.

A painter will not automatically improve her performance by painting more. A writer’s performance won’t improve simply by further writing. To ratchet up their performance they will have to make changes designed specifically to develop it to a higher level. One major change is to acquire more knowledge.

In the arts and every other pursuit knowledge isn’t everything, but it’s almost everything.  Most often the reason a creator isn’t yet accomplished isn’t because he’s unintelligent or not gifted but because he isn’t knowledgeable enough. You need a big data base to be an accomplished creator.

Knowledge translates into new techniques and skills. New techniques and skills translate into new creative accomplishments–roles for the actor, publications for the writer, commissions for the painter and composer, greater satisfaction with your craftsmanship, and so on.

Flute lessonParticularly important in the acquisition of knowledge about your art is the instruction you receive. It may come from yourself if you are a self-taught autodidact who acquires knowledge by reading and studying the author’s ideas as many creators do, and instruction from direct in-person exposure to expert, skilled teachers. Most creators are to some extent studious and have the ability to apply themselves and to learn quickly. They are teachable.

Everyone who has reached the highest level of excellence in their chosen field will be found to have spent much of their lives immersed in that field pushing themselves to improve their performance, and have amassed tremendous knowledge of it. Experts have a higher number of patterns–“chunks” of knowledge–in their memories to draw on and apply to solving the problems at hand. Most experts consider about 50,000 different chunks to be the foundation of their expertise. When you are learning, you are adding chunks. It is no secret to you when you are talking with masters of a domain. Knowledge seems to come out of their every pore.

If you are interested in reaching your upper limits of performance and the most effective training in reaching them, you should study experts in your field–read about them, listen to the stories about them. They have probably spent their entire creative life maximizing their performance. Lengthy, on-going, never-ending training is nearly always the reason for superior performance. All the known routes to high performance require extended training. There are no shortcuts.

Research on what enabled many people to reach high expertise reveals that very often elite performers attach themselves to teachers who give them quality feedback, and with their help engage in specifically-designed training tasks. Training tasks force the creators to solve specific problems and stretch their performance, break bad habits, acquire new skills, and often experience career-changing insights.

Often creators we’ve heard most about received a more ancient style of education rather than modern large classes and many teachers. They received at least some one-on-one personalized education, spending time with a teacher with a good reputation known for their work with students on an individual basis, engaging in give and take dialogue and questioning.

Pottery lessonWhen a student in an art studies with a role model, a master, sparks fly. The two of them immerse themselves in the world of their art. Together, they analyze the piece of work, the skills that went into producing it, and the additional skills that will be needed if the student is to go further. The student learns the importance of concentration and sheer effort, and the need to overcome self-doubt. The student is gaining independence and confidence, and learning to solve problems on her own. Then in time, she may become a master in her art.

Troubled and immensely talented American short story specialist/poet RAYMOND CARVER was called “The American Chekhov.” A turning point in his life was being taught at the Iowa Writers Workshop by author John Gardner and being affected profoundly. Carver said that whatever Gardner had to say “went right into my blood stream and changed the way I looked at things…He took my stories more seriously… I was completely unprepared for the kind of criticism I received from him.”

American MARY CASSATT’S emergence midway in her painting career was the result of a sequence of happy events: living in Paris, mingling with the French  Impressionists, especially mentor/teacher Edgar Degas, becoming an Impressionist herself, and finding her subject–her voice: mothers with their children. Degas was a generally unpleasant, abrasive, hard to deal with man who most other painters couldn’t stomach. But he was a good teacher, the right teacher for Cassatt.

Ernest Hemingway had a most astounding capacity for absorbing information as soon as he was exposed to it and applying it immediately. He was greedy for knowledge and went to everyone for help—and they gave it freely–Gertrude Stein, Ezra Pound, F. Scott Fitzgerald, Sherwood Anderson, and others.  He studied, read, and wrote, sometimes eighteen hours a day.

Expert performers and their teachers identify specific goals for improvement, particularly crucial aspects of performance. The person who is trying to improve his mastery must concentrate full attention on getting rid of shortcomings, focusing on where in his performance there’s the most room for improvement.  Not any old teacher will do; a bad teacher is worse than no teacher. The teacher must be effective and must know how to support and excite the student to go on learning. What could be more unendurable that a dull teacher?

The most important quality that leads a creator to success is his motivation. A good teacher stokes the creator’s motivation through positive reinforcement and encouragement.

If a writer is weak on imagery she must write out a hundred, two hundred, three hundred effective images in practice. If she’s already a master of imagery she needn’t practice making images as much and can concentrate on what she’s not strong on.

Seal: Knowledge is PowerAdmitting shortcomings is hard for some people, but not hard at all for others. It wasn’t hard for Vincent van Gogh. His brother Theo asked if he should stop criticizing Vincent’s work in his letters. Vincent replied: “Continue writing me about my work. Do not fear to hurt me…I will take such criticism as proofs of sympathy worth a thousand times more than flattery.”

Generally speaking, writers, painters, ballet dancers, actors, and composers are quite probably the toughest-on-themselves, most self-critical creatures on this globe. Only the poorer and most naive of them are seduced by undeserved praise. If there are flaws in their work, they almost always recognize them before anyone else. Tell a prima ballerina her performance was breathtaking and she will shake her head and say, “I missed a beat and my right foot wasn’t arched properly.” And if the criticism of their work is unfair and not justified, they recognize that too.

The whole reason for being of the creator is to produce fully realized, polished works that as closely as possible approximate the ideal of “The best I can do at this time. In a year I should have more knowledge and should be able to do better if I keep working and learning, and in five years, better still. But right now this is the best I am capable of.”

Until you can say that, the work isn’t finished and needs more attention. That attitude should be yours as long as you paint, as long as you write, as long as you dance, as long as you act, as long as you compose.

 

© 2017 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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