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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in the life of creators: it is often also part of their personality–for the creator is frequently apart and withdrawn even in the presence of others, and makes a deliberate attempt to seek solitude… Research shows that people are likely to come up with better ideas when they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)

 

 

 

 

 

 

 

 

 

 

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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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Inspiration and Information for People in the Arts: Parts 2 and 3

PART TWO

Monet painting of man and woman in a boat

THE DIFFERENCE BETWEEN SMALL ART AND GREAT ART

  • “The great art includes much that the small art excludes: humor, pain, and evil.” (Oscar W. Firkins)
  • “Great art is either easy or impossible.” (George Bernard Shaw)
  • Indifference to the response of an audience “is a necessary trait of all artists who have something new to say.” (Art critic Roger Fry)
  • “When a true genius appears in the world, you may know him by this sign: that the dunces are all in confederacy against him.” (Jonathan Swift)
  • “Every great and original writer…must himself create the taste by which he is to be relished.” (Samuel Taylor Coleridge)

 

UNDERSTAND THAT IT IS NOT POSSIBE TO DESCRIBE THE COMPLETE, COMPLEX STRUCTURE OF KNOWLEDGE AND SKILLS AN EXPERT ARTIST HAS ACQUIRED;

  • “Mastering accumulated knowledge, gathering new facts, observing, exploring, experimenting, developing technique and skill, sensibility, and discrimination…The sheer labor of preparing technically for creative work, consciously acquiring the requisite knowledge of a medium and skills in its use, is extensive and enough to repel many from achievement.” (Brewster Ghiselin)
  • “Every artist was first an amateur.” (R.W. Emerson)
  • “When a painting is finished, it is like a new-born child. The artist himself must have time for understanding it.” (Henri Matisse)

 

THE VALUE IN ALL ARTS OF SUCCINCTNESS, INCLUDING ONLY WHAT IS ESSENTIAL

  • “In art economy is always beauty.” (Henry James)
  • “The first and most important thing of all, at least for writers today, is to strip language clean, to lay it bare down to the bone.” (Ernest Hemingway)
  • “A sentence should read as if its author, had he held a plough, could have drawn a furrow deep and straight to the end.” (Henry David Thoreau)

 

ARTISTS ARE BY NATURE INDEPENDENT, RESTLESS, AND CONFIDENT OF THEIR TALENT

  • “The artist must do the launching of his own career. He has to prove what he can do for himself.” (Vladimir Horowitz)
  • “I have never known a poet who did not think himself super-excellent.” (Cicero)
  • “How few writers can prostitute their powers. They are always implying, ‘I am capable of higher things”.” (Edward Morgan Forster)
  • The process of creativity is “characterized…by restlessness, and creative people often move on to other projects just when the world is beginning to catch on to what they have done.” (Jane Piirto)
  • “The experience of most artists is that the quality of their production is in keeping with the intensity of their wish.” (Abbe Dimnet)
  • “Writing is a compulsive and delectable thing.” (Henry Miller)

 

MOST ARTISTS HAVE A SENSE OF HUMOR

  • When a young man approached him and said, “May I kiss the hand that wrote Ulysses?” James Joyce said, “No, it’s done a lot of other things too.” (James Sutherland)

 

HOW ART WORKS: THE ROLE OF THE ARTIST

  • “Art is the imposing of a pattern on experience, and our aesthetic enjoyment in recognition of the pattern.” (Alfred North Whitehead)
  • “Without charm there can be no fine literature, as there can be no perfect flower without fragrance.” (Arthur Symons)
  • “In every work of genius we recognize our own rejected thoughts.” (R.W. Emerson)
  • “The artist, like the God of the creation, remains within or behind or beyond or above his handiwork, invisible, refined out of existence, indifferent, paring his fingernails.” (James Joyce)
  • “The work of art is complete only as it works in the experience of others than the one who created it.” (John Dewey)
  • “The chief stimulus of good style is to possess a full, rich complex matter to deal with.” (Walter Pater)
  • “A man’s (writer’s) works often describe his longings or temptations and almost never his own true story.” (Albert Camus)

 

PART THREE


Van Gogh Cedar trees

ART WHOLLY TAKES OVER THE DEVOTED ARTIST

  • The painter’s brush consumes his dreams.” (W.B. Yeats)
  • “What artists call posterity is the posterity of the work of art.” (Marcel Proust)
  • “Many excellent writers, very many painters, and most musicians are so tedious on any subject but their own.” (Arthur Symons)
  • “I do not believe there lives the Southern writer who can say without lying that writing is any fun to him.” (William Faulkner)
  • “When love and skill work together, expect a masterpiece.” (John Ruskin)

 

OFTEN ARTISTS DON’T THINK HIGHLY OF THEIR CRITICS

  • “You know who the critics are? The men who have failed in literature and art.” (Benjamin Disraeli) But when T.S. Eliot, an editor himself for a time, was asked if he agreed that most editors are failed writers he said, “Perhaps, but so are most writers.” (I.A. Richards)
  • “Some critics haven’t had a new idea since they were undergraduates.”(Saul Bellow)
  • “I am convinced that the spontaneous judgment of the public is always more authentic than the opinion of those who set themselves up to be judges of works of art.” (Igor Stravinsky)
  • “A true critic ought to dwell rather upon excellencies than imperfections, to discover the concealed beauties of a writer, and communicate it to the world.” (Joseph Addison)

 

THE ARTIST WORKS HARD, BUT COULD WORK HARDER

  • “Genius has been defined as a supreme capacity for taking trouble.” (Samuel Butler)
  • “If you wish to be a writer, write.” (Epictetus)
  • “Nine out of ten writers, I am sure, could write more. I think they should and, if they did, they would find their work improving even beyond their own, their agent’s, and their editor’s highest hopes.” (John Creasey)

 

ARTISTS ARE SENSITIVE ABOUT EVEN THE SMALLEST THINGS

  • “A poet can survive everything but a misprint.” (Oscar Wilde)
  • At tea once, novelist Ronald Firbank said to poet Siegfried Sassoon, “I adore italics, don’t you?”

 

ARTISTS ARE INDEBTED TO THE WORK OF OTHER ARTISTS

  • “Every novel which is truly written contributes to the total of knowledge which is there at the disposal of the next writer who comes, but the next writer must pay, always, a certain nominal percentage in experience to be able to understand and assimilate what is available to his birthright and what he must, in turn, take his departure from.” (Ernest Hemingway)
  • “Creativity is contagious, pass it on.” (Albert Einstein)

 

AMONG THE INSPIRATION AND INFORMATION FOR PEOPLE IN THE ARTS IS THE UNVERSAL TRUTH THAT CRAFT SHOULD BE SUBTLE AND NEVER DRAW ATTENTION TO ITSELF IN A WORK

  • “Art lies in concealing art.” (Ovid)

 

ARTISTS MUST SACRIFICE

  • “To follow an art you’ve got to give something up.” (Katherine Anne Porter)
  • “Tolerate nothing around you which is not useful to you or which you do not find beautiful.” (John Ruskin)

 

ARTISTIC LICENSE

  • “Poets have a license to lie.” (Pliny the Younger)

 

ART BENEFITS FROM PATIENCE:  DON’T BE IN SUCH A HURRY

  • “Art done least rapidly, art most cherishes.” (Robert Browning)

 

WRITING IS NO GOOD WITHOUT KNOWLEDGE

  • “The reason that so few good books are written is that so few people who can write know anything.” (Walter Bagehot)
  • “The difference between literature and journalism is that journalism is unreadable and literature is unread.” (Oscar Wilde)
  • “All our words from loose using have lost theirs edge.” (Ernest Hemingway)
  • “The literary artist is of necessity a scholar.” (Walter Pater)

 

STAY AN ARTIST AS LONG AS YOU LIVE

  • “Every child is an artist. The problem is staying an artist when you grow up.” (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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Inspiration and Information for People in the Arts (Part 1 of 3 Parts)

Here are some of my favorite quotations to inspire and inform people in the arts.

 

ARTISTS ARE POWERFULLY MOTIVATED

  • “Painters and poets alike have always had license to dare anything.” (Horace)
  • “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)
  • “Art is a kind of illness.” (Giacomo Puccini)
  • “The excellency of every art is its intensity.” (John Keats)
  • “To burn always with this hard, gem-like flame, to maintain this ecstasy, is success in life.” (Walter Pater)
  • “Art is the only thing that can goes on mattering once it has stopped hurting.” (Elizabeth Bowen)
  • “Fine art is that in which the hand, the head, and the heart go together.” (John Ruskin)
  • “Gifts like genius, I often think, means only an infinite capacity for taking pains.” (Jane E. Hopkins)
  • “The incurable itch of writing possesses many.” (Juvenal)
  • The composer’s principal problem is that of recapturing in every phase of his work …the energy which keeps it going…of bringing, in other words, the requisite amount of energy to bear on every detail, as well as constantly on his vision of the whole.” (Roger Sessions)
  • “The artist does not see things as they are, but as he is.” (Arthur Tonnelle)

 

THE OVERRIDING PURPOSES OF ART HAVE BEEN THE SAME SINCE THE CAVE PAINTERS–OR BEFORE

  • “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.” (Henry James)
  • “Art comes to you proposing frankly to give nothing but the highest quality to your moments as they pass.” (Walter Pater)
  • “Art is not an end in itself, but a means of addressing humanity.” (Mussorgsky)
  • The artist “speaks to our capacity for delight and wonder, to the sense of mystery surrounding our lives, to our sense of pity and beauty, and pain.” (Joseph Conrad)
  • “Art is a human activity having for its purpose the transmission to others of the highest and best feelings to which men have risen.” (Leo Tolstoy)
  • “The art of dancing stands at the source of all the arts that express themselves first in the human person.” (Havelock Ellis)
  • “It is through art and through art only, that we realize our perfection; through art and art only that we can shield ourselves from the sordid perils of actual existence.” (Oscar Wilde)
  • “The most truly satisfactory reward a writer ever gets is the moment he holds that book in his hand and says, ‘This is my baby”….It is an accomplished fact and it is yours. (John O’Hara).
  • “Great art is as irrational as great music. It is made with its own loveliness.” (George Jean Nathan)
  • A writer must leave “no room in his workshop for anything but the old verities and truths of the heart, the old universal truths lacking which any story is ephemeral and doomed–love and honor and pity and pride and compassion and sacrifice.” (William Faulkner)
  • “All art constantly aspires toward the condition of music.” (Walter Pater)

 

A WORK OF ART SHOULD BE CONSISTENTLY GOOD THROUGHOUT

  • “A work that aspires, however humbly, to the condition of art should carry its justification in every line.” (Joseph Conrad)

 

LIKE WHAT YOU’RE WORKING ON

  • I was working on a story and it was very difficult for me to go on and I dawdled and dawdled. Then I realized I didn’t like the characters, didn’t like the plot, didn’t like anything about the piece though the quality of the writing was good. I stopped when I read: “One may do whatever one likes in art: the only thing is to make sure that one does like it.” (Robert Browning)
  • “Until the artist is satisfied with what he is doing, he continues shaping and reshaping. He stops when he thinks it’s good.” (John Dewey)

 

Among the topics to come in the next posts:

THE DIFFERENCE BETWEEN SMALL ART AND GREAT ART

UNDERSTAND THAT IT IS NOT POSSIBE TO DESCRIBE THE COMPLETE, COMPLEX STRUCTURE OF KNOWLEDGE AND SKILLS AN EXPERT ARTIST HAS ACQUIRED

THE VALUE IN ALL ARTS OF SUCCINCTNESS, INCLUDING ONLY WHAT IS ESSENTIAL

ARTISTS ARE BY NATURE INDEPENDENT, RESTLESS, AND CONFIDENT OF THEIR TALENT

MOST ARTISTS HAVE A SENSE OF HUMOR

HOW ART WORKS: THE ROLE OF THE ARTIST

And more.

 

© 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/rogers

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Total Concentration: The Heart and Soul of Creative Work: Part Two

A heart surgeon was performing a delicate operation when large chunks of the ceiling came crashing down all around him. People in the operating room screamed, the noise was deafening. But the surgeon was so concentrated on

the surgery that he didn’t notice.  When your creator’s mind is as deeply on the act of creation as it should be when you are painting, writing, dancing, acting, like that surgeon you will be aware of nothing else. You will look up and see that your friend has been talking to you and you didn’t notice or that rain is coming in the window that has blown open while you worked. You won’t hear blaring music from the apartment next door.

Creative people often notice that if their ability to concentrate while they are working is poor, their work is also poor, but that if their concentration is good, their work is also good–cause and effect–that concentration is essential to their doing their best work.

An actor’s concentration must be total and never not total from curtain up to curtain down. The more total her concentration, the more engrossed in her performance the audience will be.  Also, the more concentrated a writer is while writing, the clearer the writing should be. And isn’t clarity the secret of supreme writing that not every writer has learned, but the best writers have? It’s obvious that to produce clear work you must be thinking clearly.

Part One of this two-part post began…

 … Concentration is the heart and soul of creative work. How to develop and sustain it is a concern of actors, painters, dancers, pianists, composers, writers, and all other creators. Unless you bring to bear all the mental and physical alertness and clear-mindedness that you have the potential for you will not be enjoying the best conditions for your creative work.

 … Creators who can concentrate their mind like brilliant beacons of light at will can focus anywhere and can work under any conditions, and whenever they wish.

 … Concentration is an ability most people have not developed. Their minds run wild.

 Creators must concentrate on what they are doing in the moment, in the “now.” Then they must be able, when that “now” is finished, to move onto the next “now.” They work very hard. They should strive to develop the ability to be as little affected by distractions as possible, to brush them off and to quickly resume their performance after an interruption. Some creators avoid distractions almost completely by eliminating TV, clocks, telephone calls, Face Book, Emails, and unnecessary conversations.

Select a place where you concentrate best—for most creators that’s the same place every day. Get started (the best way to get started is to get started), keep distractions and diversions to a minimum and don’t stop for any reason until the day’s goal is reached, except for brief rest periods. Look at the prescriptions for increasing concentration in Part One of this two-part post.

Persist working and growing in the face of obstacles and inevitable setbacks. Overcoming psychological obstacles such as discouragement, self-doubt, lack of confidence, and the ubiquitous creator’s fear of who knows what is another skill creators must master. You can still do great work if you don’t let the obstacle stop you from concentrating. You must also learn to pace yourself and maintain your energy and stamina over days, weeks, months, and years.

Konstantin Stanislavski was the most significant and most often quoted figure in the history of actor training. He was a pioneer attempting to define the actor’s mental, physical, intellectual, and emotional processes in a way that was comprehensive and had never been attempted before. He said, “The first step of creative art is concentration of attention…Through my system we try to achieve a state of concentrated attention.”

He said that concentration cannot be defined in a few words. But that “the thought must be fixed entirely and absolutely on one object or idea and only it, without breaking the circle of creative attention for anything else…You need all the power of your attention to dwell on each separate aspect of your task.”

How are you to know that your mind has become concentrated? What is the test? It is when the awareness of time has vanished. The more time passes unnoticed the more concentrated you are.

When I was so ill and in such pain I looked for relief. I observed that since the human mind can be on only one thing at a time, if I absorbed myself deeply in some thought or activity my mind could not be aware of my misery. Prize fighters, hockey players, football players, bullfighters, soldiers in combat, and others engaged in activities requiring intense concentration may be seriously injured but yet experience no pain whatsoever. I took seriously the Buddhist aphorism “Without mind there cannot be pain.”  When my mind was deeply engaged in working on my Growing Up Stories when I was ill the sensations of pain, so horrible usually, thankfully, didn’t trouble me.

It’s easy to be absorbed in the creative problem if it’s interesting–that’s not hard at all. But what if it’s not interesting? What if it’s boring? You know as well as I that creative work and the slow snail’s pace process of developing your skills to a level you’re satisfied with are often drudgery. Drudgery or not you still have problems to solve before you can go on with your creative performance. What can you do? When something is not interesting the first thing you do is what you shouldn’t do: you give it less attention. But give more of your attention to something and it will become more interesting.

The famous biologist Louis Agassiz was known for turning out students with highly developed powers of observation. Many of them went on to become eminent in the field. A new student appeared and asked Agassiz to teach him. Agassiz took a fish from the jar of preservative and said, “Observe this fish carefully and when I return be ready to report to me what you noticed.”

Left alone, the student sat down to look at the fish. It was a fish just like any other. The student finished looking and sat waiting, but no teacher. Hours passed and the student grew restless. He asked himself why he had hooked up with an old man who was obviously behind the times.

With nothing else to do, the student counted the scales, then the spines of the fins, then drew a picture of the fish. In doing so, he noticed the fish had no eyelids. He continued drawing and noticing other facts that had escaped him. And he learned that a fish is interesting if you really see it. (From Fighting to Win: Samurai Techniques for Your Work and Life)

You may turn to something else and return to your work later when you’re more focused. At times concentration can be so intense that it actually interferes with work and is exhausting, and so then it’s better to decrease attention.

Some people find that working when they’re tired and their mind is less sensitive to distractions is best for them. Then their work speeds up.

Your job to figure out how to focus on your work for a desired period of time. You have to learn to abandon what isn’t working and put aside problems that aren’t worth bothering with because they will lead to dead-ends.

Condition your mind. Practice concentrating on one thing at a time until you can concentrate at will. Focus on concentrating on things, on people, on ideas, on the text you’re reading. Look at your thumb. Turn it, study it and see it. Stare at your face in the mirror for ten minutes. See the blemishes; see the beauty you’d never noticed.

Fix your mind completely on one thing at a time and give it all your full attention–that one thought that it’s most important  to express in that one sentence,  that one right word that will capture exactly what the poem means, that one brushstroke, that one most-important emotion you, the actor, will communicate to the audience in Act Two. Practice keeping yourself in that state of alertness as long as you’re working.

The great Vivekananda said, “There is no limit to the powers of the human mind. The more concentrated it is, the more power is brought to bear on one point; that is the secret… In making money, or in worshiping God, or in doing anything, the stronger the power of concentration, the better will that thing be done.”

 

© 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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Total Concentration: The Heart and Soul of Creative Work

Part One of Two Parts

In the lives of great creators past and present, we find many characteristics that equip them uniquely for their role, especially tremendous powers of concentration. Those same powers of concentration are readily available to you.

Concentration is the heart and soul of creative work. How to develop and sustain it is a concern of actors, painters, dancers, pianists, composers, writers, and all other creators. Unless you bring to bear all the mental and physical alertness and clear-mindedness that you have the potential for you will not be enjoying the best conditions for your creative work.

Creators who can concentrate their mind like brilliant beacons of light at will can focus anywhere and can work under any conditions, and whenever they wish. For example, even fledgling actors are able to routinely commit to memory many pages of complex dialogue in a short period because of the phenomenal ability to concentrate they’ve had to acquire if they wish to act.

Make a pact with yourself: when you do creative work let nothing interfere with the only life that exists at the moment, namely the life of an actor or dancer or sculptor, and so forth. Just kick everything else out of your mind. All your life now for this time is the role your whole being has equipped you for because you have a love of your craft. There is no separation between you and it. It is part of you as much as your arm.

Concentration is an ability most people have not developed. Their minds run wild. That people generally are so poor at concentrating is shown in the fact that patrons in an art museum look at a work on average for 1 1/2 seconds. But out of the necessity of producing a stream of tangible works of high quality, many creators have disciplined their mind to be clear and not to wander. Those creators remind me of this famous story about concentration from the samurai Way. Samurai are ideal examples of how with application a person can increase his or her mental powers substantially and turn them to practical results, how ordinary people can become extraordinary.

Centuries ago in Japan there lived a man who had devoted himself completely to kyudo, the Way of the bow. Early one evening he was walking in the mountains when suddenly he saw a flicker of movement in the shadows. It was a tiger, its back arched, ready to pounce. Without hesitation the archer nocked the arrow. Concentrating all his power in the shot, since it might be his last, he let the arrow fly. A direct hit, right in the head. Without stopping to examine the dead animal, the archer continued on his way.

The next day, though, he became curious and returned to the spot. But hard as he looked he could not find the dead animal. He was about to abandon his search when he saw his arrow, lodged in a huge boulder. It hadn’t been a tiger after all, but his concentration had been so intense and his shot so powerful that the arrow had been driven into solid rock.

From this incident came the famous maxim about concentration and power in any Way of life–business, athletics, the arts, everyday life, and more: “Ichinen iwa wo mo tosu:” “The focused mind can pierce through stone.” (From Fighting To Win: Samurai Techniques For Your Work and Life.)

One-pointed, stone-piercing concentration is the ability of you, the creator, to direct your attention exclusively on the challenges of the work at hand as they appear, and being able to prevent any stray, muddling, interfering thoughts that aren’t related to solving the creative problems confronting you.

Also from the samurai Way , applicable to the Way of the creator, is the story of a contest:

The greatest archers in the land were invited to the contest. A fish was put up on a pole a great distance away. Asked by the judge if they could see the fish, one by one the archers said they could. One last contestant stepped to the line.

“Can you see the fish?” asked the judge.

The archer replied, “I’m looking at its eye.”

This was the champion.

Learn to concentrate on the fish’s eye and you’ll often find success in creative work. You will produce more works, and the work’s quality will improve.

I proved to myself the benefits of concentration in another context when I was a bodybuilder. I said, “I’m going to devote myself to this and see what happens.” It is as much a craft with high standards of performance and traditions as acting, painting, and writing. For the body builder and the writer at work a single stray thought not belonging to the performance breaks concentration. A lift is wasted, an injury is possible. The writer loses that one thought that would have conveyed exactly what the text needed. I worked hard and concentrated totally on each separate lift and every repetition with remarkable results. I had put into practice the words of champion bodybuilder Arnold Schwarzenegger: “One lift with concentration is worth ten lifts without concentration.”

The first quality of the creator’s concentration is an alert, undivided, focused, attentive mind that has nothing left over for anything unnecessary, irrelevant, and inessential while you are creating. As much as possible you want your concentration to be uninterrupted while you work and to not be diverted from the task involved in creating, or divided for any reason. How does a creator work on developing an alert mind?

Preparation: You begin preparing your mind for the task of writing well before you sit down at the computer, on sculpting before you enter your studio. Skilled actors don’t wait until they get to the theatre, but prepare themselves for their first entrance on the stage while they are still at home. On the days they are to perform they don’t clutter their minds with all sorts of unimportant things that have nothing to do with playing their role. When they arrive at the theatre they may not stop to engage in idle chatter that takes their mind from their performance. When they are putting on their makeup in front of the mirror they are solving problems and finding inspirataion.

In the morning start the day by thinking of the novel you’re writing, or the painting, or the role you’ll play when the curtain goes up tonight, of what you want to have accomplished creatively when your work days ends. And think of it in the afternoon and before you go to bed.  Think of it when you drink coffee and brush your teeth. Think about it whenever you can. Scribble notes about it on napkins when you’re having lunch. You must be a novelist, actor, painter, etc., the whole day, not just an hour or two.

Harmful emotions like anxiety, fear, envy, discouragement, and self-doubt are threats to your concentration. So you must learn to concentrate on the task and forget the emotion.  As much as possible, put how you’re feeling out of the equation. Tell yourself your emotions are irrelevant at the moment; you’ll take care of them after work.

Take your mind off what you’re feeling. You can feel afraid to write, as many writers do, and still write, and you can still do what you doubt you can do if you don’t let the fear and doubt stop you from concentrating. And too, once you’re engrossed in creative work, however poorly you were feeling before, your mood almost always improves and becomes more positive, optimistic, hopeful, confident, even blissful.

While you’re working develop your attention so that no extraneous thoughts interfere with the work. Don’t worry, for instance, whether you’re at your best today or you aren’t, or think about what might happen if you succeed and produce a great work–the glory, the applause– or if you fail–or if you have the sniffles or would rather be making love. Don’t fret about bills or personal problems or what you’ll make for dinner. Again and again bring your mind back to the work because right now it is the most important thing.

It’s hard to change your concentration from low to high if the environment you’re working in isn’t comfortable. It may not be comfortable for me, but it has to be for you.  For example, I am very comfortable with chaos–not in my personal life, not at all, I crave tranquility there. But in my work room chaos is welcome. To me in chaos there is order. But my wife tsk-tsks, and says, “It amazes me that you can possibly work under these conditions.” To placate her I say, “You’re right. I have to organize this mess.”  But between you and me I have no intention of ever organizing the mess.

You have to find an environment in which you can flourish, or create one. Many writers work in restaurants. I see them in the Starbuck’s down the street. Nobel Prize winner Ernest Hemingway wrote in cafes and was extremely productive. But home is best for me. F. Scott Fitzgerald didn’t have a comfortable work setting because of his wife Zelda’s constant interference.  She would take Scott away from his work to have fun and play pranks. One night she collected all the women’s purses at a party and boiled them. Whatever the place you work you should be able to go to it, focus, and be productive.

A perfect work place and good production routines and rituals are to be treasured. Simply by being there ready to work repetitively the same time day after day after day the power of good habits goes into effect. Some creators’ work habits will strike you as strange.  The poet H.D. (Hilda Doolittle) splashed ink on her clothes to give her a feeling of freedom when she wrote, and poet A.E. Housman rarely wrote unless he was sick.

For high quality, uninterrupted work to happen, not all, but most creators need isolation and solitude. To get rid of distractions some creative people eliminate newspapers, TV, clocks, telephone calls, emails, face book, and unnecessary conversation. One study showed that following an interruption for an email or phone call people were so distracted that 40% of the time they didn’t get back to work, but moved on to something else. If you quit 40% of the time, how long will it take you to finish your novel?

All your mental powers should be aimed in only one direction–toward the work at hand. But your creator’s imagination is always boiling over with ideas and has a playful impulse to lead you astray. To keep out even the smallest distracting sounds, the wonderful and eccentric Marcel Proust who was so focused on writing that he never learned how to open a window or boil a kettle of water wrote in a cork-lined sound-proof bedroom. “If you’re silent for a long time, people just arrive in your mind” (novelist Alice Walker). But some creators concentrate best when it’s noisy:–a jack hammer under their window, a baby shrieking. Which do you prefer, silence or noise?

 

I’m planning to publish Part Two of “Total Concentration: The Heart and Soul of Creative Work” in a few weeks. I hope you’ll look at it. It answers an important question every creator asks: “It’s easy to be absorbed in the creative problem if it’s interesting–that’s not hard at all. But what if it’s not interesting? What if it’s boring? (Creative work is often tedious.) You still have to solve the problem.  What can you do?”

 

© 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/rogers

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

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Crucial Inner Skills for Writers and Artists 

I don’t know if you’ve noticed but my blog posts are not like the blog posts of other people.  Obviously, though, some of you notice the difference. You send me blog comments and tweets indicating that you do. I want to thank you because it’s gratifying to know that one’s ideas are of value to the people you’re trying to reach.

For example, when it started getting out that I was talking about ideas that were different, I was happy to receive an email from novelist Josephine Rose letting me know she thought I was on the right track: “David, it’s great that you focus on the practical aspects of being a writer. If I had read you 10 years ago I think I would have said, ‘Nah, it’s all about talent. Either you can write or you can’t.’ Now I know this is an error…Thank you for these wonderful reminders.”

I write about creators’ need for confidence because confidence may be the most important factor of all to the creator. Confidence touches every aspect of the creator’s being—whether you think about your prospects positively or in a self-defeating way, how strongly you motivate yourself, whether you will persist in the face of adversity and setbacks, your susceptibility to discouragement, and the changes you will be able to make in your life.

Believe in yourself. The higher your faith in yourself, the higher you’ll set your creative goals and the stronger your commitment to achieving them will be. You’ll feel serene, for now you can make full, free use of all your talents.

Failure can actually increase your confidence. If you experience only easy successes, you come to expect quick and easy results, and your sense of confidence is easily undermined if you fail. Setbacks and failures serve a useful purpose by teaching that success usually requires confident effort sustained over time.

Once you become convinced that you have what it takes to succeed you quickly rebound from failures. By sticking it out through tough times, you come out on the far side of failures with even greater confidence. If you’re not failing some of the time one thing is true:  you’re not aiming high enough.

I write about human qualities that distinguish one creative person from another such as strength (suggesting that it’s worth a creator starting every work day by asking, “Am I strong today? Will I be strong?”) And I write about courage, persistence, tenacity, will power, commitment, empowerment, sense of purpose, discipline, good writing moods and bad writing moods, and ideal writing moods.

And the creator’s experience of ecstasy, and the need for stamina, which I call “the creative person’s inner power.” And self-resilience, enthusiasm, self-motivation, energy and your capacity for work, sacrificing for the sake of your craft, boldness, doggedness, adaptability, endurance, resilience, maintaining at all times the highest hope of succeeding, and other spiritual dimensions of your personality.

II

My interest in the inner dimensions of creative people springs from the work I did on my international best-selling print book (now an ebook), Fighting To Win: Samurai Techniques for Your Work and Life, which is now considered a classic. In that book I said that a frightening 70% of the blocks–obstacles–impediments to fulfillment that a person encounters are inside them. Something is wrong and needs mending in their minds and spirits.

All people need to be inspired to overcome obstacles and shown strategies for accomplishing that. That’s what I set myself to accomplishing in Fighting to Win.

The main inner blocks people anywhere on earth and especially people trying hard to do creative work are encountering right now as they set out to work today are these:

Fear

Being Afraid to Take Risks

Thinking Too Much of What Could Go Wrong

Doubting Yourself

Hesitating

You will see that you’re no stranger to blocks.

So a person’s inner territory has been my main concern for more than thirty years–in fact probably much longer than that.

III

Rarely will you find me writing anything about how to write or paint or act or dance because that’s not my main interest. I will not tell a painter how to paint because I don’t know enough about that. But even if I did I probably wouldn’t talk about good technique or good use of color, or composition, or perspective except to say I recognize them when I see them. I’m a great lover of art. And I’m grateful to many accomplished artists who have allowed me to include their work in my posts. I will talk about what makes great artists tick and why they’re so special. And I will say that creators who do great work are great in themselves.

I know enough about writing to apply careful technique to my own writing and to have taught serious writers and found great pleasure in that and discovered  I have a lot to say. I’ve written about extraordinary writers—the most extraordinary ever to write.

But you won’t hear from me these days anything about developing characters, scenes, conflicts, and episodes, or how to write dialogue, or generate a mood, or structure a plot, or anything dealing with technique and mechanics.

There are two reasons for that. First, technical skills aren’t my main interest. My main interest is the psychology of creative people and how to teach them and support and inspire them to reach tangible success and personal fulfillment.

Also, there are already thousands of books, magazines, web sites, classes, and blogs for learning technique and mechanics. People have been writing books giving advice on how to write better for 2,000 years. The fact that information is so easily accessible is one reason why so many creators are autodidacts and have taught themselves their craft.

IV

In contrast, almost nothing has been written about what I write about and what the book I’m finishing up after 3½ years of researching and writing is about.  I’m convinced that inside, in your mind, in your gut, in your spirit, in your highest and dearest aspirations will be found the magical difference between adequate creators and great ones.

Creators who have technical skills, but lack these spiritual inner qualities and the ability to overcome internal obstacles will not go as far as they could. Or may not go far at all. Or they may give up and quit long before they would have reached their peak performance. Isn’t it sad to think of the thousands of gifted writers, painters, and performers who will quit this year, telling a spouse or a friend, “I’ve had enough”?

Who you are—what you are made of, what you know, what constitutes you, what you stand for and dream of—cannot be separated from your strange, puzzling creative self.

© 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/rogers

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Achieving Mastery in Creative Work

david-youngWhen I was a little boy about eight or nine, I was playing in front of the TV in our Chicago apartment when an old black and white English movie came on.  I knew nothing about acting, though I had once played a tree in a skit. But there was one actor on the screen who I could see was remarkable. He was just different, unlike any of the other actors, though I couldn’t say how. But I could see that something special right there on the screen.

What he was doing, how he was acting, the impression he was making made me feel a sensation which I now know was awe. I realized I was watching an extraordinary accomplishment I had never seen in movies before, in my life before. I pointed at the man and said, “Who is that, Mom?” She was a movie buff, so she knew. She said, “That’s Laurence Olivier. He’s the greatest actor in the world.” Even so young I had recognized supreme mastery, the highest attainment of any art.

As I grew older I began to notice examples of supreme mastery all around me: athletes, singers (In my family were many fine singers), pianists, violinists, and auto mechanics. And then, when I went into business and became a management consultant, executives, workers in offices, factories, and plants. And then when I became a professional speaker, spell-binding orators with supreme mastery who could inform you and teach you and move you in a way other speakers didn’t dare dream of.

About the people who perform best, whether actors, dancers,  accountants, ballerina-534356_640_copy2physicians, executives, sales people, mothers and fathers, chefs, carpenters, athletes, novelists, poets, and playwrights, etc., there’s  an ease, an effortlessness. They stand out. You notice them. You don’t forget them. They just do what they do so well and naturally, so charismatically, beautifully, confidently, and with what seems so little effort, that if you stand back and watch them, you have to marvel. You have no choice but to think, “What I am now watching is almost unreal. It is almost super-human.” They do it better and have more ability than just about anyone else you’ve ever seen—better than other actors, painters, or writers, etc.

It’s called yugen in Japanese. Yugen is the “highest principle” in Japanese art—in any country’s art, I think—and the most difficult term in Japanese flower-653710_640aesthetics to define. It’s the creation of grace and beauty–the mark of great ability of men and women who have reached highest attainment in their art, their craft, their occupation. There is “Grace of music,” “Grace of performance,” and “Grace of the dance.” There is the grace of any of the arts.

 Yugen is “the something behind the gesture” of a great craftsman.  It’s described poetically as the emotion you feel watching a bird slowly crossing the moon at night, or the ease with which a flower grows, or one of my favorite sensations which you might have experienced, that of wandering on and on in a deep forest with no fear and no worry and no thought of turning back.

No element of the yugen performance is wasted or done without purpose, and it’s something to behold. You can think right now of people you’ve seen, of people you might know, possibly you yourself, and be able to say something like, “If ever a person possessed yugen mastery it was Ms. Cartwright, my fourth grade teacher,” or Jessica Lange in Nobel Prize winner Eugene O’Neill’s Long Day’s Journey Into Night, or yourself, thinking, “When I directed that play,” “When I wrote that novel”   “When I danced Swan Lake,” “I had it.”

Everyone is—you are, I am, my wife is, my children and grandchildren are—potentially a yugen person. Aren’t we all more extraordinary than we realize?

If you ask yugen people, they won’t be able to explain exactly what it is they do that makes them different from others in their field because after long periods of practice and development they now do it intuitively, and what is done intuitively cannot completely be communicated to another person rationally. Oh, they have an idea, but can’t quite put their finger on what makes them able to leap up consistently in performance.

theatre-96714_640Olivier once finished a stage performance which he knew was perfect. Everyone in the company knew it was perfect and when he came off stage they asked, “Larry, how did you do that?”  He replied, “I wish I knew so I could do it again.”

If you have that special touch in the work you do, you would be hard put to tell someone who comes to you to be trained exactly what you put into your performance. You say, “I do the best I can.”  You’re not being modest. Just honest.

What’s known for sure is that mastery doesn’t happen overnight but is the result of long practice and absorption in the craft. Every person who reaches high achievement in a field will have spent much of his time trying to get better, and better still, and will have reached highest ability via a long process of learning and application while pushing himself upward to competence, then to expertise, then excellence, then greatness.

When you’re coming into your own artistically you are discovering in all its detail your most creative self of all the selves you might have been. Sometimes a person who one day will become a writer, artist, actor, or dancer doesn’t know himself what he might do. But he feels instinctively that he’s good for something and has some reason for existing. He has a hunch that there is something important in him that’s worth pursuing further. He finds that something in art. He makes himself into a writer, for example–an expert in expressing himself via written language.

Coming into your own, you are developing your skills and yourself to their peak. You are increasing the depth and breadth of your knowledge of your chosen field.  You are developing deep-felt, deeply-woven identity that everyone recognizes as the real you. You are on a creator’s Life Path.  Just imagine the fulfillments the Path will lead you to.

Mastery is revealed in everything the person does, down to the smallest detail. Dancer and choreographer Twyla Tharp said she could decide if a dancer was right for her company even by the way he came through the door of the studio and put down his bag. The opening scenes of a really skillfully-written play or the first leap of the dancer tell you right away if this artist has yugen.  If so, settle back, you’re in store for something marvelous.

 

© 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/rogers

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

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Creative Talent and Sweat

cherries-and-peonies

Cherries and Peonies by Georgiana Romanovna http://www.romanovna.com/

Whenever I look at the work of the creative people who follow my blog –and I do often–I marvel.  I think, “There are so many talented people—she there in Australia and she in England are talented and he in Ireland is talented. Just look at that French woman’s work; it’s beautiful. That Russian woman is so accomplished; everything about her work is just right; it was created by a tremendously talented human being.”

But I know that the finished products that I admire so are far from the whole story because no outstanding creative achievement has ever been produced without a lot of effort on the part of the creator, however much natural talent he or she possesses. Hesiod, a poet who lived several hundred years before Plato, showing great insight into the creative life, wrote, “Before the gates of excellence the gods have placed sweat; long is the road thereto and rough and steep at first; but when the heights are reached, then there is ease though grievously hard in the winning.”

Sweat becomes part of the successful creator’s everyday life before that ease Hesiod talks about (that effortlessness that really does happen only after some years of learning and application) is reached. One day painting becomes automatic, writing becomes automatic, performing becomes automatic.

The existence of some creative people is organized completely around their work—they think about it all the time, even when they are not working. Even,

Genesis - Abstract Expressionism Art with beautiful colors and a sense of movement. Mixed Media Painting in warm and vivid tones of Autumn Buy Art Prints by Georgiana Romanovna Mixed Media Artist. Mixed Media Digital, Traditional and Photographic Art Encompassing Design, Original Paintings, and Vector Artwork. Art Which Is Colorful And Bold, Sedate Or Classic. Contemporary Landscapes, Abstracts, Flowers, Portraits, Vintage Reproductions, Fractals, Still Life, Impressionistic Paintings and much more. Art for All your Decor and Decorative needs. Watermarks will not be printed on your print purchases. If you like my Art Gallery or a Particular Artwork, please push the Pinterest, FB, Google+ Twitter or SU Buttons. Thank you. All artwork in this gallery is the original artwork of Georgiana Designs. All Rights Reserved. It is copyright to Georgiana Romanovna and is protected by US and International Copyright laws.

Genesis by Georgiana Romanovna http://www.romanovna.com/

research shows, when they are asleep. And their ability to produce it is staggering. But many prodigiously gifted artists, writers, dancers, and actors don’t end up where they belong–in the upper echelons of their field—for the sole reason that they don’t sweat enough.

They are not willing to travel the long, rough, steep, grievously hard road to high expertise. After Michelangelo died someone found a paper on which he’d written in his old age to his apprentice, “Draw, Antonio, draw, draw Antonio and do not waste time.” Without sweating sufficiently you won’t go far. In every field, experts work harder, not less hard than non-experts.

A common notion among laymen is that the main cause of creative success is natural talent one is born with, and that a major cause of failure is the lack of talent. But the most eminent people in any field, including creative work, generally attribute their success to high ability and high effort and attribute failure to lack of effort, saying that a person’s success comes mainly from ability combined with hard work over a long period of time.

If they fail, the goal of excellence they’re pursuing becomes even more attractive to them. They get hungrier to succeed. If things don’t turn out well they don’t believe it’s because they aren’t capable. It’s because they didn’t sweat enough. They apply themselves; they work harder; they sweat more. That brings them hope. Optimism is kept high, for effort is a virtually limitless resource. You can always work harder.

Less successful creator’s thinking is “Either you have talent or you don’t.” Talent is not something they feel they can improve, so they don’t attempt to, even though they may have the potential to develop their talent to a very high level. It’s as though they are not aware that one’s level of talent is not fixed forever at some point and unchangeable. As your talent increases, as it will through conscientious education, training, experience, and practice, the probability that you’ll successfully reach your creative goals increases—paintings in galleries, books published, roles gotten– and your ability to perform more ambitious and difficult creative tasks also increases.

Most of the time the creators around you will have one of these attributes, either talent or sweat, but not both. If you do have both you have a tremendous advantage.

Springtime Ornamental

Springtime Ornamental by Georgiana Romanaovna http://www.romanovna.com/

The effective way to develop your talent is not to blindly put in more hours working on this and that, but to take time to identify the small number of main skills most related to success in your field and practice them over and over and over until they become your main strengths, hopefully under the guidance of a knowledgeable person.  For example, a characteristic of successful writers is often a rich and varied vocabulary. To improve your writing you might wish to develop your talent along those lines. So important is an appealing writing style to a writer that J.A. Spender said, ”If you are getting the worst of it in an argument with a literary man, always attack his style. That’ll touch him if nothing else will.” The same is true of painters and performers.  Strive to refine your style or styles so they are recognized as yours. Some artists, such as Georgiana Romanovna, featured in this post, have multiple styles, but their work is always recognizable as theirs.

Most people in the world—whatever their field– can be divided psychologically into two broad groups. There is the minority who are willing to work hard to achieve something. Some creators are capable of producing ten, fifteen, twenty-five times more than others. And then there are the majority who don’t work hard. If you work hard, at the bare minimum you’ll be good at whatever you do.

Creators who love to work, enjoy sweating, and are confident they have what it takes to attain success are rare. If you are one you have a major advantage over other painters, writers, performers, etc. who believe high talent is an unreachable dream for them and that sweating is unpleasant.

 

© 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/rogers

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

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