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

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

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

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

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

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

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

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

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

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

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

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

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

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

The majority of creatives pursue both intrinsic and extrinsic rewards.

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

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

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

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

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

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

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

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

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

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

 

 

What motivates you most?

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

1.

 

“Also important to me are:”

2.

3.

4.

5.

 

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

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

 

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

 

© 2019 David J. Rogers

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

Interview with David J. Rogers

 

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

Reward Yourself: A Secret of Self-Motivation

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

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

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

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

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

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

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

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

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

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

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

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

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

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

 

© 2019 David J. Rogers

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

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

 

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

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The Lives of Talented Creatives

Painting of cherry pink blossom tree

Cherry Blossom Tree in Shinjuku Garden by Richard Claremont

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

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

landscape of gold fields with white clouds

Golden Harvest by Richard Claremnt

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

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

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

Green and blue with brown rocks, blue water and sky

Rockpool and Headland by Richard Claremont

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

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

glass vase with orange blossoms on light blue background

Gum Blossoms by Richard Claremont

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

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

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

dark grey road receding into cloudy sky with pinks and lavenders

The Road Home by Richard Claremont

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

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

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

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

night scene with curved road in Montmartre

Midnight at Montmartre by Richard Claremont

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

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

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

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

White flowers iin vase on table with teapot and cup

Still Life at 4pm by Richard Claremont

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

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

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

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

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

Still Life With Pink Hydrangeas by Richard Claremont

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

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

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

Pink sand dunes with cloudy sky

Sand Dunes by Richard Claremont

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

Two white gardenias and leaves in rectangular glass vase

The Last Gardenias

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

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

Path in Central Park with lampost and trees

 

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

 

 

© 2019 David J. Rogers

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

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

 

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

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Many Paths to a Meaningful Life

“Nobody has a right to be unhappy, or to live in a way that makes them unhappy” (James Agee).

Painting of Sunrise

Glowing by Nadia Parsons

There are many paths to the top of a mountain, and there are many paths to a meaningful life readily available to us. Paths are as innumerable as stars, and everyone has more than one.  If you think your paths are best, well then they’re best–for you, though even the person dearest to you might give you an argument. But even if they did, it wouldn’t matter. If you believe yours are best, no argument will convince you they aren’t. And if you believe someone else’s aren’t, no argument will convince you they are.

Some find that living what I call a “smart” life–a life rife with meaning and vitality and purpose involves acquiring wealth and luxury. Others–like me–have little interest in that at all. They can’t understand what the overly aggressive pursuit of wealth is all about and what makes pursuers of it tick. If you are a writer, artist, or actor, and I asked you about your attitude toward money I suspect you would be something like me.

Some people live to acquire power, and they run for political office or head a corporation.  Others, like many artists, like to stay out of the limelight and are not interested in acquiring power, they prefer quiet, modest lives. Some other people like to win and are so competitive that they’ll bet you that their pat of butter will melt faster than yours or their elevator will beat yours to the top. But others find no meaning in competitiveness and couldn’t care less about butter pats or elevators.

Painting of grey clouds over pink sky

Coating of Smog by Nadia Parsons

However they differ, all paths to meaning and living a smart life have this in common: for the people traveling them they have heart. Following paths that have heart brings you happiness. You don’t find meaning as if it’s lying around like a quarter on the sidewalk by a parking meter. You have to decide on the paths you’ll follow and hold them prominently in mind and commit yourself to them. That’s mature living.

These are ever-changing times. Everything is going faster. But here are paths that are leading people like you and me to meaningful creative lives.

Beauty

You and I have had moments of experiencing something so incredibly beautiful it was indescribable. It was then that we were reminded of what we had forgotten in the whirl of our everyday lives: we are insignificant and half the time we don’t know what we’re doing, but there’s pure joy in just being alive. The flow of life in our veins, in the world, before our eyes–the dazzling sun settled in the sky like a yellow coin, flopping in the whitest snow when we were children, sky-writing on a summer day in a clear sky, clouds, friends waving as they come down the street, a poem, a painting, the smell of a barbeque, a yelping dog chasing a squirrel in the yard– precious life at its simplest. What is more to be treasured than the energy I feel in my muscles right now, this moment, and the ability to think any idea I wish this moment, and excited now, to follow it wherever it leads?

Devotion to a Purpose.

A life without purpose is a meaningless existence. For many people life is tedious and unrewarding. But when, perhaps suddenly, they discover the purposes that ignite their imagination, their lives acquire a vital meaning. They focus on their most important purpose and their lives change instantly.

Adventure, Thrills, Excitement, and New Experiences.

Paintng of sky with blue and orange sections

Divisions by Nadia Parsons

This is the path of men and women of action: explorers, mountain climbers, high wire trapeze artists, etc. Race car drivers are the happiest they will ever be when they’re banking into a curve at 180 miles an hour.

Fun and Laughter.

Play comes naturally to animals, including humans. Every mother knows that even babies have a sense of humor. Smiles are universal. In every culture on earth a smile means the same thing. Laughter is therapeutic. There are more than five thousand laughter yoga centers worldwide.

Leading a Moral Life

“How lovely goodness is in those who, stepping lightly, go smiling through the world” (Virginia Woolf.) Our goodness tells us what we ought to do. During the Great Depression my mother found a hundred dollars on the floor of a bus. That was a lot of money in those days; money was scarce in our family. Instead of spending it she placed a notice in the newspaper, despite the fact that she and my father were broke, unemployed, and had a family to support. Here was a good woman and good man. No one claimed the money so it now belonged to my folks.

Achievement.

People often think of hard work and long hours as unpleasant and damaging to one’s health. They consider it something to be avoided, whatever the achievements it might lead to. It’s often thought that people who are like that are “work addicted.” Well, that’s true, they very well might be addicted, but hard work in pursuit of your purposes, overcoming obstacles to them,  is a positive addiction. People who train hard every day to run a marathon–for that achievement–are addicted, and it’s positive. We applaud them. Psychologist George Valliant studied the lives of leading achievers among graduates of the Harvard Business School. He found that they had unusually excellent health, and good marriages and happy lives, in spite of seventy hour work weeks.

Living Up to Your Duties and Responsibilities.

A duty is an obligation. It’s what we owe. Even the word “duty” sounds like a burden to some people.  But if we love what we owe the duty to, it is no burden at all, and we welcome it.

“Responsibility” is derived from the Latin “re-spurdere,” which means, “to answer the challenge.” We bear responsibilities to ourselves, our husband or wife, our children, our parents, our lovers, our friends, the earth, and all humankind. When we live up to them, we answer the challenge to a responsible life.

Painting of sky in white and grey

Climate Shift 2 by Nadia Parsons

Some people will shirk responsibility and refuse to answer the challenge whenever they can. You see that in personal life and at work. In any group or organization, given a task to perform, if one member of the group doesn’t do his job, the best workers will generally assume the responsibility he is avoiding rather than not accomplishing the task. To complete the task is their duty. Many people living smartly and meaningfully relish taking personal responsibility rather than being the pawns of circumstances. They owe that duty to themselves and to those who depend on them.

Some duties you bear as lightly as a feather and live up to gladly. But duties are not always pleasant. You would rather stay home on a rainy night when you are bone tired rather than driving twelve miles to visit your friend in the hospital. But you do what your duty requires you to do, without regard to how pleasant or unpleasant it is, and you’re proud of yourself and happy you answered the challenge. To lead a life of duties fulfilled is worthy of you.

Financial Security.

The need for security is a powerful human need, and people will do almost anything to satisfy it. It’s said, “Money can’t buy happiness.” But after having none of it for a long time and suffering, when you have it, it certainly does bring happiness. Some people have the need to acquire security, and when they do they’re at their best and leading a smart and happy life.

The Good Life

A life of ease, luxuries, good food, good drink, and good times brings meaning to the lives of many people. It has down through the long corridors of history. In the ancient Roman city of Timgat an inscription was found in the pavement which reads, “To hunt, to bathe, to gamble, to laugh, that is to live.”

Good Health

The young believe they are generally immune to illness, just as they are not quite convinced that they’re mortal and will not live forever. Older people know they are mortal and everything about the body goes through periods of disrepair. That’s why you hear them say, “The most important thing is your health.” For some people, attaining and preserving good health through such things as diet, exercise, and fitness is prominent in their life path.

Leisure

Some people value vacations, long weekends, or puttering around in nature. A famous little Zen poem reads: “Sitting quietly, doing nothing/ Spring comes/ And the grass grows by itself.” Wonderful nineteenth century American author and naturalist Henry David Thoreau wrote, “Time is but the stream I go fishing in.”

A Spiritual Life.

Painting of heavy, dark clouds

Clarity by Nadia Parsons

It’s been said that the essence of modern life is that nothing is sacred. But for many people who are leading a smart, meaningful life that’s not true at all. Some people find happiness in material objects, but others find it by turning away from outward things. They seek happiness inwardly, in the spirit. Many find meaning in the belief that they belong to something cosmic, something beyond human existence. They believe that we all come from God trailing clouds of glory and are the beneficiaries of divine grace, and that one’s soul can be elevated toward God. Walt Whitman wrote: “I see something of God each hour of the/ Twenty four and each moment then/ In the faces of men and women/ In my own face in the glass.”

Unhappiness.

Some people are happiest and seem most alive when they’re miserable. You might be able to name people like that. But in some ridiculous way, they may have found something that suits them. Their unhappiness may be deceptive. Listen to your friend bitterly complain about a terrible job, nagging wife, troublesome children, interfering in-laws, the price of gas, a bad movie, problems with the boss, too-tight shoes, a medical report, crooked politicians, traffic, etc. In the middle of their complaints interrupt him and ask, “Are you happy?” They will stop talking, smile, and say, “Yah, I’m pretty happy.”

The Respect of Other People

We have a need for family, for friends, for company, to fit in and be a part of society, to belong. But at the same time we also have the contrary need–to be unique, to be different, to be noticed and singled out and respected for who we are alone, individually, for ourselves.

Self-respect, Self-esteem.

Life isn’t a courtroom. People needn’t prove their worth to anyone else. But they do need to find themselves acceptable, approve of themselves, be a person they can believe in, feel proud of being someone they can confidently reveal to the world and not hide. They can boldly declare, “This with my flaws, weaknesses, and strengths is who I am.”  Those who pursue a path of self-respect, no matter what circumstances they find themselves in, never lose sight of that goal. They strive never to do anything that is in any way unhealthy for them. Then they are in good company with themselves.

Loving and Being Loved

“Love is patient and kind…. Love bears all things, hopes all things, endures all things” (First Corinthians 13) “Love seeks only one thing. The good of the one loved” (Thomas Merton). We are intended to be loved and to love, and not to be lonely and unloved. We are not isolated islands in a sea of humanity. If we love, we will be loved. D.H. Lawrence wrote: “Those who go searching for love/ Only make manifest their own lovelessness/ Only the loving find love/ And they never have to search for it.” To have a day as I have and you have when everything turns against you, to arrive home, to be greeted by someone you love and who loves you, to see a smile, to hear laugher somewhere in the house, to be kissed: that is life at its fullest.

Sacrifice and Service.

Painting of sunset

Transitioning to Night by Nadia Parsons

Leading a life without concern for others becomes increasingly unsatisfying. We are capable of pettiness, jealousy, and selfishness, but we are also capable of unselfishness, compassion, helpfulness, kindness, and sympathy. “Man achieves fullness of being in…care for others. He expands his existence by bearing his fellow man’s burden….The deepest wisdom man can attain is to know that his destiny is to aid, to serve” (Abraham Joshua Heschel). Some people find great happiness devoting themselves to the wellbeing of others, and ask nothing in return. There are countless examples of such quiet self-sacrifice in everyday life. Someone set out this morning to help the needy, and someone else to comfort the sick, or to visit the home-bound, or to raise money for a charity. They make the other person’s problems their own. Helping to solve them, they are making the most of their lives.

There are many paths to the top of a mountain, and there are many paths to a meaningful life. What are you doing here on this earth with this life you’ve been granted gratis?  Does it have meaning? How will you be remembered? What paths are you following?

The beautiful and powerful paintings featured in this post are by artist Nadia Parsons, the Sky Painter, whose path is to capture fleeting moments of change in the sky. “As we observe the sky,” the artist says,  “we can become acutely aware of how small we are in contrast to the vast scale of the universe. We also have an opportunity to appreciate our importance as it coexists with fears of our own insignificance.” (Nadia Parsons, https://www.skypainterstudios.com/about/ )

© 2018 David J. Rogers

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

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

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Filed under Achievement, Beauty, Creativity, Creativity Self-Improvement, Developing Talent, Human Potential and Achievement, Duty and Responsibility, Finding Meaning in Life, Goals and Purposes, High Achievement, Moral Life, Motivation, Self-Concept, Self-Direction, Spiritual Life

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

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

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

 

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

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Filed under Creativity, Ernest Hemingway, Fiction, Literature, Malcom Lowry, Memory, Thomas Wolfe, Work Production, Writers, Writing

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:

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

 

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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:

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

 

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

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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:

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

 

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

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

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Creative People’s Goals

I’d been talking to a novelist and asked her what she was up to. She said, “In the next three years I want to accomplish five things. First I will …Then … And also …” Was I impressed. She was clear and confident about her goals and I was shocked because many writers, like many artists, dancers, actors, composers, and other creative people don’t give their goals enough thought. So much so that I can just hear them thinking right now, “Oh, this post is going to be about goals—that kind of stuff. So I’ll read something else.” Big mistake.

In the business world goals are talked about all the time. Everyone who works in an organization has goals. But many creators have an aversion to goals that Set Goalsmystifies me. And they invent phony-baloney excuses for not pursuing them such as: “Creative people don’t need goals; they’re too spontaneous,” “I don’t see the value,” “I’ve never been able to stick to goals,” “I don’t have time for that,” and so on.

But the creator’s ever-active, never-resting mind—your mind, my mind–is confused when it doesn’t know what to do—when it doesn’t have clear, specific, empowering goals. (Be sure the goals are specific; general goals are meaningless.) The last thing a creative person needs is a muddled brain. So the mind’s greatest burden is to decide very clearly what must be done. When you discover what you must accomplish—today, in a year, in five–uncertainties disappear and you become productive. And productivity—the production of fine works one after another for the whole length of a successful career—is the main goal of creative people. Productivity is what all their routines and rituals are aimed at.

Many creative people don’t realize that usually the best in a field is also the most prolific. Except those who produce very little, but everything they do produce is perfect and hasn’t a single flaw.

Think Hard

Think hard about your creative goals because the more thought and the more intense the thought you give to shaping, reshaping, and fleshing them out, the  clearer and more specific they’ll become and the more strongly you’ll be committed to achieving them. That’s not just my opinion. It’s an indisputable fact.

The more intense you are about reaching your goals, and the more you talk about them with family, friends, and other creators and teachers and mentors the more likely you are to overcome obstacles and persevere and reach them. Simply stating a goal to another person–saying as that novelist said to me, “Here is what I’m going to accomplish”–increases the likelihood that you’ll accomplish it.

Then you feel a sudden zest, a tingle. Your imagination catches fire.  You’re Be optimisticfilled with optimism. Then you’re confident, and bear in mind that in every field on earth without exception–especially in the arts–more people fail because they lack confidence than fail because they lack talent.

It is confidence and not talent that’s the secret of most successful people’s success. Confident creators are rarer than talented creators. I take for granted that you’re talented. You wouldn’t have gone into acting, writing, painting, etc. in the first place if you weren’t talented. But if you have faith in yourself you’ll reach higher levels of success than other creators of equal talent who lack that faith in themselves. Think about that. Read that sentence again. You must never for more than five minutes lose confidence. Whenever you feel your confidence seeping away say, “Hey, enough of that.”

When your goals are highly charged  and you’re committed to them heart and soul, there’s hardly an obstacle that you can’t overcome—big obstacles, small obstacles, old obstacles, and new obstacles—no obstacle out in the world, and no obstacle in you. Then you have both tremendous power and clear direction.

Run Through the Tape

The majority of artists and writers, like the majority of all other people, relax when the completion of a task or the achievement of a goal—even the goal of happiness–is within reach. Is it laziness or weariness or over-confidence or burnout or because the pressure is off? There are theories, but no one has been able to adequately explain why. Many athletes relax in the vicinity of victory, and entire armies do too. And many individuals, athletes, armies, writers and other artists just plain give up and quit.

Particularly when a long time is necessary to achieve a goal, you may become exhausted and disheartened. It’s only then, when you feel you’ve given everything that should reasonably be asked of a person and can’t go any further, yet continue bravely on nevertheless, that you show your true worth.

The best-trained track men and women don’t run to the tape, they run through it. They race to an imaginary finish line a few feet farther than the actual one. Run through the tapeIt’s that imaginary line they are racing to reach. There’s a tendency in many people not only to relax when they’re approaching their goals, but also when they’ve reached them. I know a man who had been trying to get a book published for years without success, but lost all ambition once he was told it was to be published.

We have to learn to pour it on and run through the tape and pursue our goals with unwavering, powerful commitment, striving much harder, not less hard, the closer we get to reaching them. Tell yourself, “Run through the tape. Run through the tape.”  When your friend Kate or Jack or Milly or Bill is easing up tell them, “Run through the tape. That’s the only way you’ll succeed.”

Stick like Glue

Stick to your creator’s goals like glue. Never let a gap open between you and them. Many people fail to reach their potential because they let too much distance open up. Or they let too much time elapse and lose momentum. Or they lose focus, frittering their days and years away as if they have an unlimited supply of them.

Whatever creative success is for you, attach yourself to it. Where it goes, you go. Always be gaining ground on your goals, your dreams. Never fall back. Never get so caught up in the B.S. of daily life that you forget all that your craft means to you. The creator’s life is the best life—you know that. If you’ve gotten sidetracked, straighten up and set out again with determination and courage. Fear nothing.  If you need to make changes, make them, sacrificing this, sacrificing that—they were mere impediments. Constantly remind yourself of your goals. Then stick to them like superglue.

© 2016 David J. Rogers

Parts of this post are based on material from my book Fighting to Win: Samurai Techniques for Your Work and Life.

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

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