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Creative People Need Optimism

I’ve mentioned before that while most of my blog readers are extremely talented and impressive artists and writers of all sorts in 135 countries, I don’t usually write about technique. That information can be gotten in a thousand places, and usually what’s said you’ve heard 200 times before. No, the turf I’ve staked out for myself concerns what I call The Inner Skills of Creative People. For there, I think, inside you, in your spirit, will be found the magical difference between run of the mill, adequate creators and great ones. Technique is important but will take you only so far. There’s more to being a creator. There is just something about great painters, writers, dancers, and actors that makes them great, and it comes from within.

So I write freely and happily about such creators’ necessities as courage, persistence, tenacity, will power, commitment, empowerment, sense of purpose, and discipline.  And resilience, enthusiasm, guts, self-motivation, boldness, doggedness, adaptability, endurance, and other spiritual dimensions of you, the creator.

And today I’ll write about the creator’s Inner Skill of optimism. 

Jesse Owens

Jesse Owens

What separates winners from losers, Olympic athletes from other world class competitors? According to a group of researchers who studied America’s top wrestlers, the difference is not in physical ability, and it’s not in training methods–they’re pretty standard. Wrestlers eliminated in Olympic trials tended to be self-doubting, confused, and pessimistic before the match. The winners were optimistic, positive, and relaxed.  Those who made the team were also more poised and in control of their reactions than the losers, who were more likely to become emotionally upset. The researchers were able to predict 92% of the winners by using profiles of the wrestlers alone–without seeing a single wrestling match!

It’s not only in athletic performance that optimists fare better than pessimists, but in school and work performance too. In one experiment, students’ success on tests was more related to their optimism than to their intelligence. A positive, optimistic frame of mind increases power and effectiveness. A pessimistic frame of mind depletes them.

One major job of writers and artists is to sell their work—to magazines and publishers, and galleries, show sponsors, and clients. It stands to reason that the more optimistic writer and artist will have more selling success than their museum-184947_640pessimistic counterparts because optimists make better sales people than pessimists. A study was done of two groups of people selling over the phone. One group was comprised of trained and experienced sales people who were pessimistic. The others were women who didn’t have a single day of experience or training in sales at all, but scored high on a test for optimism. The untrained and inexperienced women optimists easily out-performed the trained and experienced pessimists. So if you’re not a natural optimist, you may wish to see the strategies below.

Anyone who’s trying to be creative should aim for an optimistic mood. Pessimism decreases creative productivity. But a mood of optimism improves problem-finding and problem-solving abilities, and if there are two abilities every creator needs it is to be able to find the main problems to solve and to be able to solve them. Creators in an optimistic mood feel safe, which fosters bolder, more relaxed and creative approaches. Optimists are more willing to take risks.

Optimism entails:

  1. Feeling free and easy as you write, paint, dance, or act.
  2. Being collected, composed, and calm; not fretting and worrying or being grumpy, resentful, or irritable.
  3. Putting unsolvable problems aside, forgiving yourself for past  mistakes and letting them go.
  4. Being decisive and taking actions that will benefit you.
  5. Thinking hopefully.
  6. Being endlessly curious about life and confident that you can handle whatever it brings.
  7. Maintaining hope and faith in the rightness of things and the future, and that things will work out for the best; trusting your luck.
  8. Ridding yourself of bad habits.
  9. Having confidence and feeling in control of things and master of your destiny.
  10. Being open, trusting, genuine, sincere, kindly, and generous with others.
  11. Being brave and totally focused and clear-minded in action.
  12. Experiencing moments of bliss knowing that at that moment you and your life are at their best.
  13. Never letting setbacks penetrate your spirit; expecting to succeed and not to fail.
  14. Holding no illusions, but  knowing exactly where you are in life, where you want to be, and how you’re going to get there.
  15. Having implicit and unshakable confidence in your goals and not budging a single inch from them, being willing to work hard for them, knowing that fear is your most powerful enemy and that there’s nothing to fear and no reason to hold anything back.

This is the route to optimism and personal power.

Pessimistic writers and artists believe they’re not in control, that creative tasks are too much for them. If you believe you’re not in control, you set lower goals and have a weak commitment to them. But the more strongly you believe that you are in control the higher the goals you set, the stronger your determination to achieve them, and the longer you persevere, even in the face of adversity. Optimistic writers and artists take adversity as a challenge and aren’t discouraged. Trouble ignites them, it fires them up; they’re confident, and they come to life. Even as a young poet Anne Sexton sent out a poem as soon as it was rejected.  Sometimes she sent out the same poem fifteen times.

rose-1130037_640Optimists are able to persist just as strongly in the face of difficulties as when everything is rosy because they have absolute confidence in themselves and hold a favorable view of their future. Persisting rather than giving up, they’re more likely to succeed. Succeeding increases their self-confidence and optimism even more, and they apply themselves again. This cycle is true of people doing any kind of work, from workers on an assembly line to their supervisors, from students to their teachers, from children to their parents, from one writer or artist to another: wherever you find optimists and pessimists.

Optimism does not take the place of talent, focus, hard work, and the development of skills. But if there are two equally talented and hardworking artists or writers–an optimist and a pessimist–the optimist will go further and have more success. And pessimism can destroy creative talent.

Seven Strategies for Maintaining Your Optimism

  1. Think optimistic and hopeful thoughts–not just once in a while, but all the time, whatever the circumstances. When you find yourself thinking unpleasantly, pessimistically, change and think optimistic thoughts. The only way to drive out an undesirable thought is by substituting a powerful desirable thought. By thinking differently, you can replace writers’ and artists’ self-doubt and discouragement with self-confidence, fear with courage, boredom with interest, and pessimism with optimism. Don’t dwell on the negative, but jump over to the positive every time. Be like a fish in a stream and swish your tail and quickly change directions. Think thoughts that make you feel free and easy, composed and confident, free of worry, and brave. Just kick every other kind of thought out of your mind.
  2. Be addicted to goals and action. The path to living optimistically lies in action. Optimistic action immediately invigorates you.
  3. Always maintain high hopes no matter what. The question isn’t whether you’ll experience defeat, but how you’ll handle it when you do. Everyone without a single exception takes it on the chin sometime. When you’re beaten–by an event, a situation, a circumstance, a person–gather yourself up, be resolved, and come back again. Never let misfortune penetrate your depths. Setbacks can’t defeat an optimistic and determined person. That’s not possible. The optimism of a creative person needs to be indestructible.
  4. Don’t dwell on past failures. Why punish yourself with what didn’t work out? When you’re knocked down, get up right away. Get back on your feet. Regain your bearings. The next moment offers a reprieve, a new beginning. Seize it.
  5. Continually look to past successes. List them on a sheet of paper and you’ll see how long a list can be. Look at them when you doubt yourself and your optimism will return.
  6. Spend time with optimists as much as possible. Birds of a feather flock together, so choose your birds very carefully.
  7. Learn to play. The joke goes that a horse sits down at a bar and the bartender says, “Why the long face?” You run into long-faced people at work, the check-out stand, the post office, writers’ groups and artists’ groups–everywhere–all the time. But people with a sense of humor are happier, healthier, and more optimistic.

sun-314340_640You know very well that if your thoughts are pessimistic–if you’re “off”–your commitment to action is not 100% and your spirit and energy are weak. You don’t feel like working; you take the day off. But when you’re optimistic and know what you want and are confident you can get it, you’re able to devote yourself to it with a powerful singleness of purpose. When you’re like that there is almost no way of stopping you from any success you  dream of.

 

© 2016 David J. Rogers

 

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

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Stamina: The Creative Person’s Hidden Power

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

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

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

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

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

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

Nobel Prize winner Saul Bellow said, “For the artist work is the main thing and always comes first.” Psychologist Howard Gardner writes about high-excelling creative people. He says, “Individuals whose stock in trade is to do things which are novel, are people who’ve got to have a pretty good command of how they work.” Some writers and artists produce 10, 15, 25 times more work than others and those most productive usually rise higher in their field and find a greater sense of accomplishment. The more work you produce the higher quality your work will tend to be because the more you do something, the better you get.

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

…THE MOST INTENSELY

…FOR THE LONGEST AMOUNT OF TIME

…OVER THE LONGEST TIME SPAN

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

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

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

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

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

 

© 2015 David J. Rogers

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

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The Moods of Artists and Writers

Moodiness is one of the characteristics of creative people. They prefer intuition and feeling; they experience high levels of excitability; they’re sensitive; they’re “inner directed,” and inside is where the moods are. They approach their work with an almost mystical intensity, and feel the pleasure and excitement that comes from meeting creative challenges. And the deep joy in producing a work that means a great deal to them. They have to learn to control and regulate their moods so they aren’t overwhelmed by them.

cloudy-211848_640Russian author Anton Chekhov observed that unhappy writers write happy stories and happy writers’ stories are unhappy. Was he right? He said, “The more fun I’m having, the more depressing my stories are.” A study of composers found that they did their most creative work when they were in the most pain and facing serious life difficulties like marital and legal problems. Gustave Flaubert told his girlfriend, “You should write more coldly. Everything should be done coldly, with poise.”

All his life, Gabriel Garcia Marquez experienced a mood that is so common among writers and artists—he was frightened at the moment he sat down to work. But fear or no fear, he won the Nobel Prize, so how debilitating could the fear have been? Writer Joan Didion speaks of dread: “I don’t want to go in there at all. It’s low dread every morning…I keep saying ‘in there’ as if it is some kind of chamber, a different atmosphere. It is, in a way. There’s almost a psychic wall. The air changes. I mean you don’t want to go through that door.” But exuberant Thomas Wolfe was fearless and found the act of writing a “wild ecstasy.”

A writer or artist in an optimistic mood with high positive expectations has the advantage of being able to generate rose-7634_640positive memories and large amounts of information. Good memories and that much information enable him/her to work creatively. A mood of boredom decreases artistic productivity. But a good mood improves a creator’ problem-finding and problem-solving abilities

It’s clear that regardless of the type of writing or painting you are doing, the act of doing it almost always improves your mood. Unless, that is, you’re working on a subject you feel no emotions about, neither positive nor negative. Then you don’t experience the uplifting emotional effects of working. The topic is bland; your mood is bland. But generally after writing or painting, sculpting, dancing, etc., creators’ moods are elevated. They may start their work in anger, for example, or depressed, but after finishing an hour’s work feel happier, more satisfied, more delighted, more joyful, and also calmer, less nervous, more relaxed and enthusiastic, serene, and peaceful. Positive mood or negative mood depends very much on how satisfied you feel with your performance. “Is the work going well or poorly?

Mood can have a profound and dangerous effect on creative people. They have a higher rate of mood disorders—a hall-212840_640fantastically higher rate—and poets, male or female, more than any other kind of creators. Poets—particularly female poets–have a high suicide rate. American poets Anne Sexton and Sylvia Plath are prominent examples. Female poets are significantly more likely to sufferer from mental illness than other types of female writers. Poets have the highest rate of depression and greatest number of suicides of all occupations. Studies consistently find that 50%-80% of creative writers studied suffered from a mood disorder.  A very high percentage of the writers on the faculty of the famous Iowa Writer’s Workshop studied over a fifteen year period had bipolar or other serious mood disorders.

Another creator’s mood is envy. Envy has been called “the writer’s disease,” and I suppose it might just as well be called the painter’s, sculptor’s, actor’s, and ballerina’s disease too. Envy is based on a “scarcity mentality,” the anguish caused by the belief that there is not enough money, opportunities, fame, etc., to go around. Envy may create painful feelings of inadequacy as the writer or artist thinks so-and-so is better or more successful than they are. Although it can motivate window-407206_640you to do better than those you envy, it can also make you lose focus. But if you free yourself from comparison to others, or from any preoccupation with yourself—your fame, your wealth, your status–you’ll overcome envy and other impediments to your best work. Your focus will be on the work 100%, nothing left over for anything else. All your attention will be brought to bear on the thing to be written or painted.

Many would-be writers and artists wait for the “right” mood before they begin. My father was a machinist and often wasn’t in the mood to go in to work. But he never missed a day. I don’t see what’s so special about writers and artists that they can’t do the same. Whether you are a machinist or a creator of great works, there is no such thing as being perfectly ready to work; there is just work that should be done whether you feel in the mood or not. To Norman Mailer, that was the difference between professional writers and amateurs. He said, “By professionalism I mean the ability to work on a bad day.”

And remember that whatever mood you’re in when you begin working, when you quit for the day you’ll probably feel terrific.

 

© 2015 David J. Rogers

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Writer and Artist Warriors

sunset-190922_640My younger sister Sharon died of bone cancer at the age of thirty-seven in a hospital in Honolulu, where she lived. She was a small, delicate woman who had the will of a warrior. When a doctor came to see her as she lay in her bed, he jumped back as though he had been pushed. He said to her, “I feel your power coming out to me.” But she was dying. There was no hope. Once she had been beautiful. I prayed, “Dear God, give me her pain so she will be free of it.”

I told her that I’d had writing a book in mind for a long time, but that I was very busy running the business I had started and really had no time, and that even if I did write it, it would take years to research and more years to write, and I wasn’t sure it would ever be published—the odds were against that as they are against any book being published–and I had a wife and four children to support and couldn’t afford to take a chance. And I was afraid I wouldn’t succeed, that I didn’t have what it took. But I didn’t tell her that.

She was in such pain that even the slightest, even the lightest, touch of another person on her was agony. So when I left to fly back home, knowing I would never see her again, I couldn’t kiss her. The pressure of my lips would bring her pain. I leaned over her and rested my head next to hers on the pillow. She whispered in my ear, “Dave, you write that book. I have faith in you. Write it for me.”

I returned home and organized my work space and set to work, thinking of her “Write it for me.” I told my wife, “I’ll close the business and I’ll finish the book in one year, and during that year we will have no income.” My wife said, “I understand. Go ahead. It’s important.” Nothing could stop me. What before had been a vague dream now became a purpose to devote myself to, to write a book, a good book for my little sister. It became my wife’s purpose and my children’s too. Whenever I was discouraged that purpose made me return to the book and to work till dawn, to sleep a few hours and get back to work for a year until the book was done. While I was working on it I thought, “I’m making a book Sharon would be proud of.”

I dedicated it to her with the inscription: “In memory of my sister Sharon. Just one word—courage,” and that word meant a lot to me because in this life everyday courage is so important.

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My book Fighting to Win: Samurai Techniques for Your Work and Life came out and has been called “an underground bestseller” because with almost no advertising it swept the country and my life was changed in so many ways. The book became known in my family as FTW. It went through multiple printings, and appeared on bestseller lists; the cover price rose and rose. FTW discussion groups took shape in big cities and remote towns in America and Europe. Articles about this strange book with the Japanese symbol “spirit” on its cover appeared in scholarly journals and popular magazines alike. The book was read by generals, governors, and dancers, writers, artists, and riveters, heart surgeons, business executives, retirees, and sales clerks. It began being included on university required reading lists. It was not about Anthropology, Physics, or Botany, but about how to live. This little book is about musha-shugyo, “training in warriorship.” It teaches the skills and passes on the insights of samurai warriors adapted to everyday life.

It is an optimistic and encouraging book. That’s how I intended it. It is full of promise, full of hope. It teaches strength and makes you strong. It says we have but one life, but this one life can be changed in an instant. It can become two lives. The life before the changes and the richer, more fulfilled and stunning life after them. We can renew ourselves and start fresh at will on a new creative course, a more fruitful course, a better course any moment we wish, putting aside disappointments, discouragements, false starts, and failures and emerging as full-blown, skilled, exceptional artists or writers. Every living thing, every artist, every writer, has an urge to grow, to realize its full potential. My life tells me that. I believe it more every day.

Warrior symbol

“Warrior” by tiseb

The book teaches us to persevere, to be brave and not hide from difficulties, but to race forward to meet them so we may overcome them all the more quickly, maintaining high spirits and complete faith in ourselves. It teaches that we must never be stationary, but must be always moving at a good clip toward a better life, never slowing down because we’re too lazy, or afraid, or self-doubting, or discouraged, or have been set back by circumstances. “When you meet calamities and rough situations, it isn’t enough simply to say you’re not flustered. Whenever you meet difficult situations dash forward bravely and joyfully.”

Readers started contacting me, and I was happy to get to know them and listen to the stories they told me. In the revised E-book edition I mention a few of their stories.

A Hollywood movie director called me and said he felt that people in that aggressive film industry had been “eating him alive.” A successful opera singer wrote me and told me she had been overwhelmed by a sudden and inexplicable fear of performing. She felt helpless. She didn’t know what to do and stopped singing. They read FTW. He became more assertive, self-confident, and successful; she overcame her fear and went back on stage and resumed her career.

A newspaper was having serious financial problems. Its existence was in jeopardy. And so the publisher was going to launch a five-day intense telephone subscription sales campaign using 100 sales people. The publisher, who was also a playwright, was confident that exposure to FTW ideas would inspire them, and had me speak to them for an hour. Following the campaign, he called me and said that the campaign had been a huge success–the staff was fired up and the result was thousands of new subscriptions. He said, “You and FTW saved the paper.”

The book teaches us the samurai concept of mo chih ch’u, “going ahead without hesitation.” It’s not looking back once you have decided on your course of action. Once you can say to yourself “This is what I want to do”—“Write the novel I’ve been talking about so long;” “Rent a studio;” “Move”– then be on your way immediately, mo chih ch ’u. Why delay when life is so brief and the most important time of your entire life is this present moment?

I shouldn’t have to ask where you intend to go in your career. I should be able to tell by watching you and hearing and reading about you. Your undeviating aim should be to reach the fulfillment of the creator’s life you can envision, letting no impediments keep you from it. You know that in this life you’ve chosen rather than the other 5,000 easier lives you could have chosen, courage is a necessity, that there really is nothing to be afraid of and no reason to hold anything back in reserve, and that the whole secret of existence is to have no fear. Getting closer each day to a more fulfilled creator’s life, becoming extraordinary, your energy and strength will be boundless. Others will let go of their dreams, but you never will. You’ll draw from deeper inside and be willing to exhaust yourself for the sake of your happiness.

You must never lose the expectation that no matter what, you will succeed. Your art will work out. Your book will be published. Your skills will get better and better, equipping you for your craft in ways you haven’t dreamed of yet. Knocked down, maintain your confidence that all will go well as long as you get up. Knocked down seven times, get up eight. For that is how a better creator’s life is reached. Like a warrior, you must only “take care that your spirit is never broken.” Never let disappointment and discouragement “penetrate to the depths.” “Wear your existence light as a feather.”

The samurai warrior spoke of internal “dragons” and “striking through the dragon’s mask.” The samurai was taught what we should take to heart: “When all psychological blocks are removed the swordsman will move without conscious effort.” When your blocks are removed you will write, paint, sculpt, or perform without conscious effort. “Success will always come if your heart is without disturbance.”The meaning of all things is within, in your mind, not something that exists ‘out there.’” After reading the book people ask themselves, or ask their friends, “What is holding me back? What are my dragons? How can I overcome them?”

dragon-149393_150Ask any small child what a dragon is and you’ll get an earful of terror and horror. You and I both believed in fire-breathing dragons until we discovered that the only place they existed was in our minds, that they were merely products of our imagination. They only “lived” and had the power to frighten us because we granted them license to. They died and no longer troubled us when we revoked their license. All obstacles inside us—in our minds–are dragons. They are no longer of the fire-breathing variety. They are now a different species entirely. But the effect of scaring us and making us draw back in horror is precisely the same. The goal of the warrior writer and artist is to strike through dragon’s masks and free himself/herself of obstacles so the mind is “free to function according to its own true nature.”

The five most powerful dragons samurai—there were women samurai too–were trained to strike through, and artists, writers and performers must train themselves to strike through, are any kind of fear, the fear of taking risks, thinking too much of what might go wrong, doubting yourself, and hesitating, particularly when that golden but fleeting opportunity appears. If the samurai was afraid, didn’t take risks, thought too much, doubted himself, or hesitated, he would lose—possibly his life–because of fear most of all. A creative person must be bold; fear cripples her: “Fear is the true enemy, the only enemy. Overcome fear and nothing can stop you.”

The one constant factor in warfare as well as a writer’s and artist’s life is uncertainty. Half the things you try to accomplish are obscured by it. Risk and danger and fear and self-doubt are always partners. You do not go into the arts if you want a secure, uneventful life of ease. In samurai swordsmanship there is a move that requires you to take two leaping steps forward and to come within a hairsbreadth of your opponent’s sword. It is not a difficult move and can bring quick and total victory, but it is rarely used. Why? Because taking the risk of coming so close to the foes blade terrifies most swordsmen. In a creator’s life, as with that sword move, it is only by edging yourself in close to danger and living more dangerously that you approach great success. Who are those artists and writers who are least satisfied with their lives? Precisely those gloomy writers and artists—and actors and dancers– who regret, now when it’s too late, being timid and playing it safe all their lives.

bird-226700_640As an artist or writer, you must have an immovable mind—a mind totally committed to facing with calmness and composure any fate, circumstance, or challenge a creator’s life throws at you. An artist’s or writer’s life is often filled with troubles. But you must never let them disable you: “Forget about death, forget about the enemy, forget about yourself, keep your thoughts motionless.” Then you will “flow with whatever may happen.” Then your craft will blossom and you will reach your destiny.

Unless you have mastered your mind and body, you cannot beat your enemies on the battlefield.” Take up one idea. Make that idea your life, recalling,  “No matter what it is, there is no hardship you can’t overcome.” Like a warrior “When crossing marshes, your only concern should be to get over them quickly.”

© 2015 David J. Rogers

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

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13 High Achievement Skills for Artists and Writers

Part I

I’m writing a book that says high achievement for artists and writers is within reach. It describes eight qualities creators need if they are to excel. If even one quality is missing, they will not excel. Day after day for a week I made no progress on one section. I would sit down to work at the computer and find myself fiddling around mindlessly for a few hours, then going down to the kitchen for a snack or looking around for someone to talk to, or I’d do laundry or something and after a while would go back upstairs to the computer with every intention of working on that section only to find myself Laundrychecking the sports scores. Then I’d quit for the day and feel that nagging dissatisfaction with myself that writers and artists so often feel. Finally I sat down on my recliner to try to get to the bottom of this and asked myself, “What’s the problem?” and I immediately answered, “That section is too easy for me.”

Most people in the world can be divided psychologically into two broad groups. Probably you are in one group, just as I am. There is the minority who set and pursue challenges for themselves and are willing to work hard to achieve something, and then the majority who don’t care about challenges all that much and don’t work hard. Those two groups are to be found among artists and writers everywhere in the world, just as they can be found among students, accountants, businessmen and women, athletes, and people in any other field. Mozart was a tremendous worker who practiced, performed, and gripped a quill pen to compose so many hours that by the age of 26 his hands were deformed.

The first group that sets out in pursuit of challenges possesses a distinct kind of motivation, a specific kind of measurable psychological need that the group that is indifferent to challenges lacks. That need is called Achievement Motivation, Success Motivation, or The Need to Achieve, and the people who have it are those who reach higher achievements than most other people, certainly higher than those who don’t care. (Much of the initial work on race-695303_640Achievement Motivation was done by psychologist David C. McClelland). The achievers are more successful artists and writers, just they are more successful students, physicians, athletes, salespeople and business executives. It is naïve of a creator to think talent alone will take a person to great heights. Most teachers of writers and artists will tell you that it is rarely the most talented pupil who dazzled the class that they hear and read about later. They hear about the one who was the most determined to succeed and the most dogged—a member of the first group.

So it seems to me extremely important if you want to enjoy more success, however you define success, to understand what high success people are like, so if you wish, you can become more like them and achieve more creatively and find more fulfillment. If they are in the business world, achievement motivated men and women have high career aspirations just as achievement motivated writers and artists are ambitious and have high career aspirations. Author Ernest Hemingway was as ambitious as anyone. An unbelievably hard worker, he wanted nothing less than to be the world’s greatest writer. And in 1954 when he was awarded the Nobel Prize, he was. Vincent van Gogh said that while he wasn’t successful during his life—he sold only one painting in his lifetime and traded another for brushes–one day he would take his place among the immortals. In the work world achievement motivated people get more raises and are promoted rapidly. If they are unemployed they get new jobs more quickly than less motivated people. Companies that employ a lot of them prosper.

If you are in the first group—achievers—I know you very well. I know how you think. I know how you act. I know your values. I know something about how your parents reared you. I know what color clothes you prefer to wear.

man-73318_150First of all, you are definitely goal-directed, and it’s no secret to you that achieving goals will require that you follow a linked series of steps over an often long period of months or years as you progress from beginner to expert, and sometimes amateur to professional. P.G. Wodehouse said, “Success comes to a writer, as a rule, so gradually that it is always something of a shock to him to look back and realize the heights to which he has climbed.”

From the start you exert yourself and mobilize more energy to reach your goals than other people. And you are able to persist steadily without interruption whereas poorly motivated writers and artists have low energy and will interrupt their work more often and not engage in it for long periods, even years. That can have a detrimental effect: if you neglect an activity for just 48 hours you function much less effectively when you resume the activity. While achievement people are hard persistent workers, they need not fill their entire day with work and are able to cut out and enjoy leisure time. At least in America most people work at least 7 hour days and must travel to and from work, but professional writers usually work at home about four hours, 16.7 % of the day, leaving 20 hours for other things (though some, like prolific novelist Philip Roth, work all the time).

paintings-316440_640A long gestation period is required before artists and writers are fully developed and performing at their peak, and during that period you spend your time actively thinking about how to do things better. You constantly talk about doing things better. You’re concerned with getting better all the time. You take classes, you study, you read, you learn. In other words, you are dominated by what is called An Urge to Improve. It’s not difficult to understand why people who constantly think about doing better:

  1. Are apt to do better at what they’re interesting in doing better
  2. Prefer working in situations where they can tell easily if they are improving or aren’t
  3. Keep track of their performance so they can tell if they’re in fact doing better

If you are an achiever, the goals you set are one or more of four types:

One, you compete with yourself, trying to achieve more in the future than you’ve achieved in the past. Is this true of you? If it is, you stay interested by aiming higher and higher. Once you’ve achieved a goal, the goal loses its luster and you now want something more. You had an essay published. That’s over and done; now you’ll write a book.

Two, you compete with others. You may not like it, but unless you do your creative work solely for the joy of it, you have to compete. Hundreds of writers, possibly thousands, are trying to get their stories in the same magazines as you and as many artists are trying to get their work shown in the same galleries. As novelist Doris Lessing said: “You have to remember that nobody ever wants a new writer. You have to create your own demand.” No one wants a new painter either. And so to draw attention to yourself in a cluttered field of one talented person among many talented people, you must develop the competitive survival skills of the showman and self-promoter.

The necessity of competing needn’t cause anxiety if you learn to be dispassionate and non-attach. Then you see competing as just another challenge and role, the role of the marketer of your work, a set of skills that can be learned, the logical conclusion of all your development and all your work.

Three, you engage in a long-term involvement over the long haul, and four, you pursue unique accomplishments–definitions of the work of writers and artists.

painting-316135_640You have sub-goals which will lead in an orderly way to the achievement of your major goals. For example, you know that to do as well as you hope, you’ll need to acquire more and more knowledge of your craft throughout your career. Knowledge is not quite everything, but almost. Writers and artists of all kinds draw from all the cumulative knowledge they’ve acquired. They do that sometimes consciously, sometimes spontaneously. What they know is reflected in their every word, every turn of phrase, every image, every idea, and every choice of color and perspective and every brush stroke. So it is incumbent on them if they are to excel to learn more and more about their craft, including how it’s done and how others have done it.

You take a futuristic view and are a long-range planner who keeps his/her goals in mind continually. They are never out of your mind very long. (In itself, this makes you exceptional because most people have very little idea of what their goals are and don’t think of them often.) The more important the goal is to a low-motivated person, the less interested in it he becomes. He loses focus on what’s important. But the more important it is to you, the achiever, the more challenging and therefore the more interesting to you it is. As it becomes ever more important it becomes ever more challenging and ever more interesting.

It’s worth remembering that to an achievement motivated person like yourself failure to achieve a goal makes the goal more attractive, not less. Failure doesn’t devastate you, but pushes you to greater effort because now it is even more of a challenge, and you thrive on challenges. You try again. And then again and again tenaciously until you succeed, whereas a less strongly motivated writer or artist may not try a second time and never reach success.

You are aware that reaching your goals depends on how difficult they are in relation to your capabilities. The ideal you’re trying for is to match your abilities perfectly with your goals, your abilities equipping you to achieve them all. If you lack the ability, you cannot reach the goal. Simple tasks and very difficult tasks are interesting to people with low motivation, but not to those with achievement motivation like yourself. You’re drawn to goals that are moderately difficult—not too easy; not too hard, but a little out of reach. Goals like that motivate you the most.

It’s been said that if writers were good businessmen, they’d have too much sense to be writers, and John Steinbeck said the profession of book writing makes horse racing seem like a solid, stable business, and the same is true of painting, dancing, and acting. If you’re an achievement motivated writer or artist you won’t even try to reach goals that in your judgment of your own capabilities you don’t have at least a 30% chance of reaching. I submitted a manuscript to a publisher with the odds of publication statistically about 3,000 to 1 against. But I was confident and thought I had a 30% chance. I was right and the book was published.

joshua-tree-5104_640You will not pursue goals that aren’t challenging enough. Sure things hold no excitement for you. They’re not interesting, just as the section of the book I’m writing is too easy for me. So you spice things up to make the goals more challenging, sometimes making the sculpture or the novel you’re working on more complicated, more ambitious, something, you’ve never tried before, for example. If something is important to the achiever, she will sometimes work days or weeks non-stop. But if it isn’t, she’ll avoid work. She’ll go fishing.

Think about your three main writing/art goals at this time. Your crucial goals should always be held clearly in mind so that if I asked you could quickly say…

“No doubt about it, my major overriding goal now is…

“My second most important goal is…

“Also very important is…

Do you feel all in all you have a 30%-65% chance of reaching them? (I’m asking you if they are moderately difficult goals, the achiever’s aim.)

 

Part II

 You work in intense, concentrated spurts (which studies find now is the most effective way to work). Other people often marvel at your capacity for sustained effort. They ask, “What do you have going for you that you can stick to it and never seem to tire?” It’s because you are achievement motivated. But when the work is done, you put it completely out of mind and want nothing more to do with it. You want to go on right away to the next moderately difficult project, or you want to go to the beach and forget all about your work. The change from hard work to a total disinterest in work is so extreme at times that your significant other will say to you, “One minute you’re a ball of fire, the next I can’t get you to do a thing.” A research study found that professional writers couldn’t remember what they had just written, but amateurs could remember very clearly what they had written.

You consider your goals very carefully if you are achievement motivated. You “research the environment,” gathering information wherever you can and consider the probability of success of a variety of alternatives and try to find goals and tasks that will excite you. Should you continue working on the project you’ve started or stop and begin something else? One thing experienced creative people are good at is knowing when something is not going to work out, and if it isn’t, they don’t hesitate to junk it. Writers have been known to write an entire book, then decide they don’t like it and put it in a drawer and forget about it. Should you get help? Getting help is a sign in itself that you’re trying to reach the goal. Should you try something completely different such as a new style, a new technique, a new market for your work? You take time to reflect on your career, your strengths, your weaknesses, your ambitions, and your possible future continually.

When you set goals you spend more time thinking about what it would be like to succeed than what it would be like to fail. You don’t dwell on failure, only on success. And what is success to you? It is reaching excellence. Producing excellent work is far more important to you than prestige. But prestige is more important than excellence to those whose motivation is low, and they dwell on the possibility of failure.

When working in a group setting and asked to pick someone to help them solve a problem, low motivated people will tend to choose friends, but the most highly motivated will choose for a partner someone who’s more able than they are, friend or no friend.

You are task-oriented, a hard-worker no matter what the situation is—writing, painting, doing chores, planning a novel, assembling a dresser. The low-motivated writer or artist avoids working hard whenever he can. Also, highly motivated people, surprisingly, are better able to recall tasks they didn’t finish. And if they’re given a chance, they will return and compete those tasks. Even tasks that were interrupted many years before—the so-called Zeigarnik Effect. Achievers are not comfortable with unfinished business.

You prefer to take personal responsibility for outcomes rather than to leave the outcome to chance. You want outcomes to be the result of your own efforts and your own skills. You are not a gambler if no personal skills are involved and if winning and losing is a matter of luck and not of skill. Lotteries and slot-machines aren’t appealing because no skill is involved. If you were able to throw dice with a 1 in 3 chance of success or work on a problem with the same odds, you will choose to work on the problem because the result would be dependent on your abilities rather than chance.

Since achievement motivated people are always interested in improving their performance, they crave feedback on how well they are doing. The feedback must be (1) rapid and (2) specific. They want to know now and they want to know why. They are writers and artists who want constructive criticism.

So if you wish to be more of an achieving writer and artist:

  1. Pursue moderately difficult goals that require: a) doing better, b) competing for success, and c) engaging in projects that need long-term involvement and unique accomplishments.
  2. Get in the habit of researching your environment, looking for many sources of useful information you’ll need to set reasonable and attractive goals.
  3. Don’t dwell on failure; dwell on success. Think of what it will be like when you’ve succeeded.
  4. Be always expanding your knowledge. Set knowledge development learning goals.
  5. Take a long-term view of your writing, your painting, your sculpting.
  6. Be interested in excellence for its own sake.
  7. Work intensely in spurts and persist in the face of failure.
  8. Carefully consider the probability of success achieving each of your goals.
  9. Take personal responsibility for your work and your career.
  10. Get rapid and specific feedback on your efforts continually.
  11. Get help
  12. Be thinking all the time of how to do things better.
  13. Place your confidence in your own abilities and your own hard work.

I’ll have to find a way to make writing that section of the artist’s and writer’s book more interesting—more moderately difficult–so I can work harder and finish it. We’ll see what happens.

© 2015 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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Writers’ and Artists’ Deadline Problems and What To Do About Them

vincent-van-gogh-74018_640Writers and artists are almost always marvelously productive human beings able to generate huge quantities of work, amounts of work which put people in other walks of life to shame. They are concerned with their production and pay close attention to it—did you write your 500 words today; did you finish painting that corner of the canvas before quitting for dinner? If production falls off, they want to know why, and if good work pours out of them fluently, they want to know why that is happening too.

Hard as I try, I find it difficult to imagine any writer or artist—amateur or professional, novice or expert–who hasn’t had  production deadlines to meet, and it’s not unusual for them to have had problems meeting them at least once or twice, and possibly more frequently than that. You’ve heard it said, and maybe you’ve said it yourself when you’ve been under the pressure of a tight deadline and are having trouble meeting it: “This deadline is important. It’s in the contract, and it’s very clear.”  Think how ominous the word is. It’s not a “lifeline,” but a “dead” line, as though if you exceed it you’re a goner.

You have a task that you’re supposed to finish by 2:00. Or it may be by next Tuesday, or one year from Tuesday. There’s some kind of principle or another—Murphy’s Law–that goes, “If something can go wrong, it will go wrong.” Let’s say you start to work and encounter a setback. You begin thinking, “I’m falling behind.” You’re not worried and you continue on, but you run up against another snag or block that slows you down more. More work, another snag; the ideas just won’t come, or you can’t find a concept for the drawing, or your computer crashes, and it will be a long time before it’s fixed. (I had that problem once and was told there was a backlog and that I’d have to shut down for ten days while I waited for a repair person. But I had a deadline to meet, and I really couldn’t wait ten days. So I called the national president of my internet service provider at that time, calendar-148598_640 (1) AT&T, and had a nice conversation with his personal assistant. I explained to her that I was an author and had a book to get out to the publisher right away, so I needed my computer to work. She was an avid reader which I think helped. A repairman was ringing my doorbell at 8:00 the next morning. By 8:20 I was back at work, everything copacetic, things under control.) Or you move out of your old place into a new place or have a baby, and your work comes to a standstill.  A crack in your confidence then appears. You soon begin to conjure up a grim chain of possible events: “If I don’t finish this assignment-story-novel-report-painting-lithograph on time, this might happen and that and that, and that would be very bad.” And then there are other slowdowns and still more. Eventually you think, “Oh, God, no matter what, I can’t possibly finish on time. My butt’s in a sling. What a predicament.”

Strategies for Freeing Yourself from Deadline Difficulties

  1. Pay not the slightest attention to the deadline. You have only so much attention. It’s not divisible. If it’s on one thing, it can’t be on another. Resist any inclination to worry about the deadline. Fix it in your mind once, enter it on a calendar, then get to work immediately. Whatever attention you devote to fretting about it is that much less you can devote to the job at hand. Yet that’s where your mind should be totally focused. It will be helpful if you are able to be dispassionate and non-attached. Perfectly unworried.

archer-160389_640Archery contests are held at a temple in Japan and the best archers compete. The object of the contest is to see how many arrows the marksmen can shoot from one end of a 128 yard long veranda into a target on the other end in one day. The ceiling of the veranda is very low, and the archer has to shoot without much arch. That requires considerable strength and is exhausting. The record is 8,133, or about five arrows every minute for twenty-four consecutive grueling hours. Now how many arrows would the archer have shot if he stopped to fret about the deadline? Certainly not 8,133.

No matter what, we must refuse to let our mind waver from the job at hand, agonizing less about the deadline, absorbing ourselves in tasks, just shooting our arrows, just punching away at the keyboard, just drawing lines. The more we remain firm and focused, shifting our minds again and again persistently to what is in front of us that needs doing, the higher the quality of the work we produce will be and the sooner the work will be accomplished.

  1. Remember that some time pressure actually enhances performance. There are many things we would never have completed if we hadn’t had a deadline to prod us. In school you had papers to write or a drawing to do. You were forewarned: it was due in four weeks. If you were like most students, you put it off for three weeks, six days and 19 hours. You stayed up the night before and, bleary-eyed and rendered useless the rest of the day, turned it in on time. There you are; you obeyed another principle: work tends to expand to fill the time available for its completion. So had you just one week, you would have finished it in one week, and would have finished it on time had you had only five hours.
  2. Bear in mind, however,  that unrealistic deadlines create too much pressure, and too much pressure interferes with performance. You worry. You tighten up. You lose focus. After a while when you’ve fallen behind, you find yourself beginning to pay more attention to the deadline than to doing well what needs doing. The need to finish on time gets more urgent and you start taking shortcuts. You really don’t want to, but you’re lowering your usually high standards and getting sloppy and the work’s quality is falling off.
  3. If you have any say in the matter make the deadline reasonable. Realistic deadlines motivate performance. I’ll confess: I’m a naturally excitable person, and I used to get very stirred up and to be too optimistic about reaching any deadline that I set. At times my staff had to work ridiculously long hours and on weekends and holidays and even while they were sick to meet them. So I devised a simple precaution which I called “the kick.” When I was asked by a client to estimate how long a job would take, an associate would kick me under the table. That was the signal to increase my estimate by 30%. Never let your enthusiasm exceed your better judgment. Can you use some version of the kick?
  4. Choose deadline-beating thoughts, not worry-creators. You are inwardly free to replace one thought with another whenever you want. Instead of, “I’m losing ground,” replace it with, “I’m making progress. I’m whittling this baby down,” or “Every time I stop to look at the clock (or the calendar) I’m wasting time.” “I’m going to have the focus of those archers.”
  5. Accept the deadline as an exciting challenge. When I was working on a particular book, as I turned in one chapter after another, the editor thought, “This is pretty good stuff, and it’s getting better and better. This book is going to make money.” She told the publisher, “I think we have something.” The publisher then said to her, “The longer his book, the larger the cover price we can charge. Have him double the number of words we contracted for (from 60,000 to 120,000 words). And let him know since the book is so good, we’ll want an earlier pub date. Finish with it as soon as possible.” So the length was doubled and time pressure increased. Rather than the usual “cut, cut, cut” I had to think “add, add, add.” I could have renegotiated, but accepted the new terms as a challenge and didn’t ask for any more time. I just worked longer hours (an extra writing shift every night), and everything went well.
  6. In some cases, renegotiate the deadline. When you do not see the time constraint as challenging, but rather as completely unrealistic, renegotiation makes sense. No one wants you not to meet the deadline.
  7. Overcome the causes of the snags and slowdowns. For example, often a person’s failure to meet a deadline isn’t that person’s fault at all, but of someone else’s failure to meet their deadline. If you can help them overcome their snags it will help you overcome yours.

I don’t think American novelist Thomas Wolfe (1900-1938)—that master of language–ever met a single deadline his entire career. When you’re as talented as Wolfe, you can get away with murder. Until you can get away with murder too, you will have to find effective ways to handle your deadlines, striving never to be late.

© 2015 David J. Rogers

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

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

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

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Imagination and Creative Success

The mind imitates what it first imagines.

Writers and artists often reflect on their careers and wish they were doing better—were more skilled, had made more progress, and were experiencing important successes more often. All the while they are wishing, they are in possession of a highly refined ability that may hold the answer to their wishes. When we possess the potential to perform something, if we vividly and in detail imagine ourselves performing it successfully, our potential will be released and we will perform nearly the same way during the actual performance as we did in our imagined performance. This insight—this technique—can help a writer or artist achieve greater success.

Nadejda Sarbatova2

Painting by Nadejda Sarbatova

If there is one unique skill writers and artists possess in abundance, it is making vivid visual images. Images are the basis of the writer’s and artist’s work. They think in images, and the central problem is how to put the image of the thing—the poem, the book, the play, the painting, the sculpture, the building—into a tangible form that satisfies the creator and also appeals to an audience. Can you write a description of a character’s face or of the leaves on a tree or paint them without the ability to visualize images of them in your mind and then to make facsimiles of those images in words and pigments, words and pigments that will recreate for the reader and viewer the very images you had salvador-dali-32079_640imagined? Surrealist Salvador Dali liked to use in his work images that came to him when he fell asleep—you can understand why–so he would sit at a table while sleepy, prop his chin with a spoon, and then wait to be awakened when he fell asleep and the spoon fell.

Images also affect the writer’s audience because the audience thinks in images too. Even the smallest image is like a photograph the audience mentally sees. In poetry the just right image can make a poem, but just one wrong image can ruin it—that’s how sensitive readers are to images. In her book, The Creative Habit, dancer/choreographer Twyla Tharp tells the story of the difficulty director Mike Nichols was having getting Annie ready for Broadway. A scene that was supposed to get laughs was failing, so Nichols asked famed choreographer Jerome Robbins to fix the scene. Robbins looked at the stage and pointed to a towel hanging at the back of the set. He said, “That towel should be yellow.” The change was made and thereafter the audience laughed at the scene.

Remembering is at the core of a writer’s repertoire of skills, the writer’s stock in trade. And it is composed of images—remembrance of things past. Artists who paint in studios paint from memory of the landscape, the sunset, the garden. Images, imagination, and intuition go hand in hand. Novelist Thomas Wolfe’s ambition was to turn even the most minor experience he had ever had in life and every image he remembered into words—“those thousands of things which all of us have seen for just a flash…which seem to be of no consequence…which live in our minds and hearts forever.”

table-92514_640So it should not be difficult for you to use your highly-developed image-creating and image-remembering powers to help you achieve your goals—to visualize yourself working diligently to achieve them, and then achieving them with great success. What first occurs in your imagination is a rehearsal for reality. Turn that to your advantage.

The research and practical experience showing that imaginative practice—mentally visualizing performing an action the way you wish to perform it—can actually improve performance—and substantially–is overwhelming. That your mental images can do that is a stunning insight. I can vividly imagine myself running a mile in 3:47, but I will never be able to do it, nor will I ever sing a Puccini aria on the stage of the Metropolitan Opera though I can picture that too. They are beyond my physical capabilities. But when something is within the range of our capabilities–and that range is much broader than we usually believe it to be–the images we hold can have a startling effect on actual performance such as becoming a better and more financially successful writer and artist.

There’s no arena in which the effects of inner images on performance is as widely recognized as athletics. In one landmark study that looked at the effects of imaginative practice on actual performance, basketball free throw shooting was looked at. Participants were divided into three groups. The performance of each participant was measured on the first and last days to see if the experiment led to any improvement. One group practiced shooting for twenty minutes each day for twenty days. A second group didn’t practice at all. The third group spent twenty minutes a day not actually shooting–not touching a basketball at all–but just imagining themselves shooting free throws successfully; standing at the free throw line, looking at the rim, bending their knees, etc. When they “saw” themselves missing, they imaginatively corrected their aim. The group that practiced actually shooting improved their performance by 24% over the twenty days. Not surprisingly, the second group that hadn’t practiced at all didn’t improve at all. But the group that hadn’t actually shot one ball, but practiced in their imagination alone, improved in scoring almost as much as those who actually shot the ball—23%.

golf-163637_640(1)Golfers were divided into three groups. Before putting, Group I imagined the ball rolling into the cup. Group II practiced every day, but made no use of imaginative practice. Group III imagined the ball missing the cup. The performance of the group using imaginative practice of the ball rolling into the cup improved 30% between day one and day six. The group that practiced every day, but made no use of imaginative practice also improved, but only 10%. The group that imagined the ball missing the cup showed a decrease of 21% over the six days. These experiments weren’t really “about” free throw shooting or sinking putts at all. They were about the impact of practicing in your mind on your actual performance.

Mental patients have improved their condition by imagining that they are perfectly normal and then behaving in exactly the way they imagine. Hospitalized patients took a personality test. Then they took the same test a second time. The second time they were instructed to answer the questions not as they normally would, but as they would were they a typical, well-adjusted person on the outside. To do that they had to form and hold in mind an image of how a well-adjusted person would act. Seventy-five percent showed improved test performance. Some of the improvements were dramatic. Imagining how a normal person would act, many began to act like, and feel like, a well-adjusted person functioning in the outside world. That affected their recovery.

The famous concert pianist Arthur Schnabel took lesson for only seven years compared to the twenty or twenty five years many pianists take. And while even the most successful concert pianists generally spend hours every day piano-302122_640practicing, Schnabel hated practice and spent little time on it. He was asked how he could practice so little and be so great. “I practice in my head,” he said. Mozart made very few corrections on his compositions. Before he began to put notes on paper he already had a complete mental picture of what they would be. He wrote:

…provided I am not disturbed, my subject enlarges itself, becomes methodized and defined, and the whole, though it be long, stands almost complete and finished in my mind, so that I can survey it, like a fine picture or a beautiful statue, at a glance.

  • Hold clearly and steadily in mind throughout the year, throughout the day, images of what you aspire to—the writer or artist you wish to be; to produce exceptional work, to write beautiful or persuasive or moving text, to draw or paint more skillfully than ever. It is first in your imagination that you launch yourself toward your highest aspirations. Decide what they are, and then vividly imagine what you want to have happen. Then pursue them with determination in the way you have vividly imagined them.
  • Regularly, for fifteen minutes every day (weekends included) imagine the actions you want to take:

Vividly

In specific detail

Step by step

Over and over.

Repetition fixes an image of the ideal performance in your mind.

  • Imagine that writing or painting come easily to you—the ideas are clear, the words and brushstrokes come out of you without effort, fluently, as if on their own. Now there they are on the page and canvas exactly as you want them.
  • Imagine you’ve found the solutions to artistic problems that till now you haven’t been able to solve. Imagine that you have overcome obstacles that have been blocking you.
  • Delete from your mind every image of failure such as imagining yourself receiving a rejection from an editor or gallery and add only images of success. Do that continually and relentlessly. Get rid of images of yourself as a failure, not competent, not up to the writer’s or artist’s tasks—discouraged, disappointed, weak.
  • When an image of failure enters your mind—as it will (you are human)–replace it with a more optimistic image of success. If you visualize yourself failing, you sabotage yourself and increase your chances of doing that, just as putters who visualize themselves missing the hole are prone to missing the hole. You are actually practicing failure.
  • It isn’t necessary to be relaxed when you’re visualizing. In fact, some tension, some excitement, makes you more alert and focused.
  • Visualize yourself working as skillfully as you would like in the ideal work setting you would like, during the hours you would like, for the length of time you would like.
  • Then, focus your mind on the task ahead of you often. Think of it again and again. Then, immediately before you perform it, clearly visualize yourself performing the action perfectly—the right words, the right imagery, the right form and technique, right style, the meanings you intend.
  • Do it–whatever it is—precisely the way you have imagined doing it. Images, no matter how vivid, will come to nothing unless you translate them into actions that conform to the images, so let the images guide you.
  • Be enthusiastic and confident. Enthusiasm and confidence add zest to your images.
  • Combine your images with thinking aloud. For example saying aloud as you are visualizing, “I will work smoothly and efficiently. Everything will go well. I don’t anticipate problems, but if there are any, I’ll be able to solve them.”

Add Feelings

youth-570881_640The technique of adding feelings is adding emotions of successful achievement to what you have visualized as though you’ve already succeeded. This is a very effective motivational technique. You’re not interested now in the mental images of the way you will achieve the goal. Rather you’re letting yourself feel what you will feel when you have reached the goal—or solved writing or artistic problems or made progress. Having done those things you’ll feel satisfaction, pleasure, pride, a sense of accomplishment and self-confidence; you’ll feel relieved, and possibly excited, overjoyed, elated, and thrilled. Whatever you imagine you will feel then, feel it now in anticipation. Don’t wish and hope you’ll succeed, but treat success as an accomplished fact. It’s done, and you have already succeeded and are glowing with positive emotions. Feel the physical sensations of that glow, that sense of warmth, the excitement, the energy, the heightened perception, the sharpness. Imagining what you will feel when you succeed fuels your motivation to succeed because that is how you want to feel. Congratulate yourself: YOU DID IT and now you are enjoying the feelings.

Every day—once, twice, three times, four times — let yourself feel the strong emotions you’ll feel when you’ve succeeded.

© 2015 David J. Rogers

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

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Luck: How Artists, Writers, and Other Creative People Can Get It

In the arts here in America and everywhere else, the causes of success are ability, confidence, persistence, resilience—and good luck. A guarantee: with high ability, high confidence, high persistence, high resilience, and enough good luck, you will achieve your artistic goals, whatever they may be. Let’s have a look at luck, the most difficult cause to account for.

painting-284546_640An artist’s and writer’s career may take shape over a long period of time—ten years, fifty years–and incidence of good or bad luck occurs many, many times. In 1921, in New York, a good friend introduced William Faulkner, 24, to Elizabeth Prall, manager of the Doubleday book store, and she hired Faulkner as a clerk—a stroke of good luck for Faulkner because Prall married Sherwood Anderson, one of the most popular authors in the country. Elizabeth invited Faulkner to dinner (good luck) and he and Anderson liked each other (good luck) from the start and spent many hours together, talking and drinking, and Anderson became Faulkner’s mentor (good luck). Mrs. Anderson asked her husband if he would recommend Faulkner’s book to his publisher, and Anderson said he would (good luck) as long as he didn’t have to read it. He did, and his publisher did put out the book (good luck), and Faulkner’s career was on its way, a Nobel Prize in store for him twenty-eight years later.

Chance shapes your life throughout your life, affecting the career you settle into, who your friends are, who your life partner is, where you live, the school you attend and education your receive, your genes and personality–the very fabric and quality of your existence. Some episodes in your career were extremely lucky, but other episodes couldn’t have been unluckier. The Academy award winning actor, the late Philip Seymour Hoffman, went into theatre in high school because the girls happened to be so good looking. What if they hadn’t been? Would he have become an accountant?

alexander-the-great-35767_640Gamblers speak of people who are lucky and those who aren’t, and consider luck to be in the person: “She’s lucky but he isn’t.” And so do military people. Even the most scholarly and erudite studies of warfare usually discuss luck. The Macedonian Alexander the Great referred to his good luck as a “star” that guided him to great victories. I suppose it did. He conquered most of the known world before the age of thirty.

The book Creativity by psychologist Mihaly Czikszentmihalyi describes how much good luck figured in the career of a successful (and fortunate) artist “whose work sells well and hangs in the best museums and who can afford a large estate with horses and a swimming pool.” The artist “once admitted ruefully that there could be at least a thousand artists as good as he—yet they are unknown and their work is unappreciated. The one difference between him and the rest, he said, was that years back he met at a party a man with whom he had a few drinks. They hit it off and became friends. The man eventually became a successful art dealer who did his best to push his friend’s work. One thing led to another. A rich collector began to buy the artist’s work, critics started paying attention, a large museum added one of his works to its permanent collection.” His career was made.

When I wrote Fighting to Win about how people today could achieve fulfillment by applying the wisdom of ancient Japanese warriors, my timing could not have been luckier. At the precise time it came out Americans were infatuated with and trying hard to learn more about the Japanese culture, and the book took off.

In college I read Englisman Gerard Manley Hopkins’ poem “God’s Grandeur,” and was impressed with its beautiful language. For some reason years later (before Amazon.com and before the internet) I suddenly had the urge to read a book studying Hopkins’ imagery so that it might affect my imagery. Wherever I traveled across the world—and I did extensively–I visited new and used bookstores, and in every bookstore I browsed for such a book, but never found it. Once I was to give a speech in Rock Island, Illinois. It’s a small city in the western part of the state that I had never visited before. I discovered that the hotel I was to stay in had just been built and had opened its doors only a few days before. It had hosted a conference for fire fighters–its first guests. They had left just the day before. I arrived very late at night and was given the only available room. I entered the room, laid my bags on the bed, and then noticed something in the trash basket. Apparently it had been left by one of the firefighters and the maid had overlooked it when she cleaned the room. There it was: fifteen years after I’d read him: a full-length book on the imagery of Gerard Manley Hopkins—a lucky break, a book that helped me.

books-683901_640Another time, I’d been writing and researching fifteen or sixteen hours a day on fifteen or twenty cups of black coffee for many months to meet a book deadline, neglecting my wife, neglecting my children, concerned only with putting enough words on a page every day to satisfy me—words, words, words, words–an abstract existence. That night I’d had it; I couldn’t work another minute; couldn’t drag from my agonized brain another word. I quietly left my home at about 3:00 a.m. and walked the streets trying to decide if I wanted to continue leading a grueling, neglectful life like that or follow a more conventional life, committing myself to “a regular nine-to-five job.”

It was a cool pleasant night—very dark—with a filmy mist in the air. Should I continue a writer’s life, or shouldn’t I? Should I just finish this book and then give it all up? Then I noticed ahead of me something lying on the sidewalk precisely in the middle of a pool of bright white light cast by a street lamp as though that object lying there had been placed there very carefully for me and me alone to see. I went to it and bent down and picked it up. It was a book—of all things a book. You see: I could not get away from the written word. I took this as a sign that, like it or not, a writer’s life—imperfect, isolated, much too demanding–was my destiny and that it was futile for me to think it would ever not be at the center of my existence. That I could ever get away from it. That was another lucky break because writing and reading has brought me so much fulfillment.

lantern-451233_640I have what I call my “Research Angel” which I rely on. I am writing and researching for hours every day and have been for many years, but my research is totally unsystematic. I begin with no notion whatever of where I am going but go ahead anyway as though quite content to wander on and on in a deep forest without worrying about how—or if ever– I’ll get back home. I’m trusting my Research Angel—based completely on a confidence in good luck—to steer me to the information I’ll need. The Research Angel has never failed me, and has taken me to unexpected discoveries and new directions in my life, just as it led me to the Hopkin’s book and the book lying in that pool of white light at four that early misty morning.

In Chases, Chance and Creativity medical researcher James Austin identifies four kinds of chance that affect creative activity:

  • Blind luck that doesn’t depend on any personal characteristics of the creator
  • The good luck that follows “persistence, willingness to experiment and explore”
  • Chance that allows the creator because of his training to grasp the significance of something overlooked by everyone else.
  • Serendipity

Lucky people—lucky artists and writers, lucky actors and dancers—-follow certain principles. They:

  • Are good at creating and noticing chance opportunities. They are relaxed, not anxious, people who are aware of their surroundings. Anxiety makes you blind to opportunities. Lucky people’s perceptions are sharper than unlucky people’s. They see opportunities the unlucky person doesn’t notice.
  • Are intuitive and respect hunches. Artists are on intimate terms with intuition. Half the decisions artists and writers make are intuitive—to use that color rather than this; that word rather than another.
  • Are open-minded and flexible in their thinking. Another characteristic of creative people.
  • Have optimistic expectations. They don’t just hope to be lucky; they expect to be. They are confident they’ll be lucky again. Positive expectations create lucky events. Good things happen to people with optimistic expectations. People with optimistic expectations are happier and healthier.
  • Are extremely resilient and able to quickly recover from bad luck. They see the positive side of bad fortune: “I fell down the stairs and broke my foot. It could have been my neck.” “I failed that time and it was very painful for me, but I learned so much that helped me succeed the next time.”

Be ready to take advantage of good luck, and when your luck is bad don’t let it get the better of you, but be aware that bad luck can change to good luck, and may in the blink of an eye. Be alert, strong, and opportunistic whatever may happen. Think strategically. Be ready. Be able to say, “This now that is happening to me is good luck and it may change my life.”

fish-582695_640Create the conditions for good luck to occur—set the stage. Be like a swimming fish waving its tail and stirring up the sand at the bottom of the tank. Get out, be spontaneous, meet new people, make contacts and seek people out. Form friendships. Do things you’ve never done before. Break away from your routines. Take chances you wouldn’t usually take. Don’t resist, don’t be afraid. Be bold, not timid. Experiment, explore. Be intuitive and pro-active and look for opportunities. Let good luck happen to you. Then chase the opportunities where they lead.

On a scale of 1 to 100, how lucky a writer or artist would you say you are?

Not Lucky                                                 Pretty Lucky                                       Very Lucky

1                                                               50                                                      100

Ask yourself, “In what areas of my creative life would I like to be luckier?”

What will you do now to make yourself lucky?

I will:

1.

2.

3.

4.

5.

Napoleon was looking for a subordinate to add to his staff. One after another his high-ranking officers described a particular candidate whom they talked glowingly about at length. Impatiently, Napoleon said, “Yes, yes, I know he is brilliant, but is he lucky?”

Yes, yes, I know you’re brilliant too, and prodigiously talented, but are you lucky? Do you behave like a lucky person? Do you foster good luck? Do you have the mind and expectations of a lucky person?

 

© 2015 David J. Rogers

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

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

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

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Salesmanship for Artists and Writers: The Inner Skills

A goal always on an artist’s and writer’s mind is to generate consistently high-quality work, and a continuing question he/she wrestles with is “how can I do that?” Answering that question is bottom-line, and it’s a complicated question that creative people are trying to answer all their careers, and is one whose success in answering distinguishes one from another. Shakespeare produced better text than anyone else; Michelangelo better art; Mozart better music. But creating high quality work is just one of a writer’s or artist’s skills among many others. It’s naïve to think that the best artist is necessarily the most successful artist. To succeed, the writer, painter, actor, composer must accomplish much more than generate excellent work.

Professional artists and writers have careers to manage and responsibilities and expenses. Food must be put on the table. A life of financial risk and the threat of going broke can keep them on their toes and motivate them or it can be paralyzing. To many writers, artists, and performers, their work is not a hobby and is not just a craft and not just an art, but a hard-nosed, deadly serious, ferociously competitive war of survival requiring the skills of the showman and unabashed, unapologetic self-promoter. Those are roles that seem unnatural to many creative people and make them uneasy and unsure of themselves.

color-palette-207082_640Inhibitions are hard to hide, and research and everyday experience alike bear out that many writers—many artists; many creators of all types, many “inner-directed” people in general—are haunted by them, and know better than anyone that they are, and don’t want to be, and wish they weren’t. And everyone on the globe—the most powerful, the most famous, the most accomplished–is inhibited sometimes. It will be impossible to reach your creative goals if your inhibitions are powerful. They are impediments that can prevent even the most talented and gifted writers and artists from achieving the successes they are aiming for. And that can happen, and I’m sure it does, more than we realize or care to admit.

Working in solitude—the lifestyle of the creator–is a way of hiding from inhibitions because inhibitions involve interactions with other people. In fact, one of the main reasons creative people have chosen a creator’s life rather than a more typical life is to be able to work alone, secluded, sheltered, untouched, and away from other people; hidden from the world. But when writers and artists come out of hiding into the clear light of day, so to speak, some essential tasks require that they do something about their inhibitions—give in to them, or overcome them.

When my first major book was published, I was surprised to learn that not every author is sent by the publisher on a publicity tour to promote their book because they “don’t come across” to audiences, and that, it seems to me, is a direct result of inhibitions. One publisher jokingly asked if I would go on tour to promote other of their author’s books; so many writers didn’t come across. Also, every writer and every artist of every type eventually realizes that talent and skill are not enough to guarantee success, though that would be the artist’s ideal world, but that you’d better learn the skills of marketers and salesmen, skills that inhibited people do not perform well. But to survive, they must learn to. Or they may perish, giving up completely, or will go only so far, and will reach a plateau, and will not reach the career peak they otherwise could. All creative work involves showmanship and salesmanship.

hands-545394_640When I was a business consultant for many corporations, I trained hundreds of people to be high-excelling marketers and sales people, and time and again witnessed before my eyes the growth of awkward and inhibited, tongue-tied, self-doubting people into fluent, persuasive, uninhibited people confident and comfortable with themselves. Such a transformation is possible for anyone. Every artist’s and writer’s skill, including marketing and selling—foreign though they may seem–is learnable.

After reading my Fighting to Win: Samurai Techniques for Your Work and Life, which lays out practical strategies for living a more vigorous assertive (and hopefully happier) life, a shy, soft-spoken, self-doubting artist/illustrator called me and said she wished she had a samurai like those she had seen in the book to help her market her work (which had won awards) to galleries, clients, magazines, and publishers, and I said, “You don’t need another person. Become a samurai yourself.” She took that to heart and acquired marketing and sales skills coupled with her new self-confidence, and now her lovely work seems to be everywhere.

The Basic Problem

People weighed down with inhibitions don’t express their genuine personalities. That’s the basic problem. Inhibitions such as shyness, self-consciousness, dreading new experiences, feelings of inferiority and inadequacy, guilt that’s out of proportion to the event that caused it, feeling ill at ease with strangers and in social situations, difficulty getting along with others, and excessive modesty are psychological obstacles that affect writers, and artists of all kinds time and again. These “maladies” are based on being too concerned with how you’re coming across, of what people are thinking of you, or trying too hard to impress others. Inhibitions result in excessive caution and carefulness.

Some people aren’t inhibited enough. You probably know some. They’re too impulsive, too rash, too inconsiderate, too outspoken, too hard-headed, too much of a boring windbag everyone wishes would shut up. But the more general and serious problem is being too inhibited.

Many specialists believe that some inhibitions are genetic. But it’s a myth that once your genetic blueprint is established at birth it is set forever. I know a sculptor who was shy all her life, but decided at the age of thirty she wasn’t going to be shy anymore, so she stopped being shy, just stopped. Many inherited traits can be changed by changing behavior.

Strategies for Conquering Inhibitions: Be Yourself; No One Else

  • Realize that inhibitions are not a fate. You can get rid of inhibitions.
  • Be indifferent to the reactions of others. There is such a thing as a healthy and liberating disregard for the opinions of others. Don’t stop to think of how they are judging you. Don’t worry what they’ll think of you if you do or say X. Just do and say X. Don’t give a damn what they think.
  • Don’t exaggerate your embarrassment. Why are we so ready to say that this embarrassed me or that embarrassed me, even over the silliest things. When you’re feeling embarrassed ask yourself if what is embarrassing is all that important in the grand scope of things. It isn’t.
  • Overcome self-consciousness. Self-consciousness is really other-consciousness. To believe that every eye is on you is an error. Most people could hardly care less what you look like, what you’re wearing, what you’re saying, and what you’re doing. They’re preoccupied with what they look like, and what they’re wearing, saying, and doing.
  • Never try for a contrived effect. You’ll rarely go wrong if you’re sincere. The people who make the best impression are the very people who aren’t trying to make a good impression. You can’t be fooled by a phony for very long. For example, job interviewers encounter legions of applicants who behave the same as everyone else. Then an applicant appears who lets his or her sincerity come through. She stands out and the interviewer is impressed, and she gets the job. If you’re sincere you’ll favorably impress people, even if you’re not trying to impress them.
  • Be like a baby; be authentic. A baby isn’t pretentious, artificial, or superficial, but just what he or she is. A baby expresses honest feelings and isn’t the least bit inhibited.
  • Be more spontaneous. When you’re anxious about a situation, your spontaneity flies out the window. When you’re spontaneous–with a friend over a beer for example, or your family around the table–you’re not on guard for fear of making a mistake. Your spontaneity gives you courage.
  • Be fast. Do what you’re thinking of doing or saying before an inhibition appears.
  • Speak with greater verve, and louder than you normally would. Inhibited people often speak softly and in a monotone. Raising your voice and speaking in a louder and more energetic voice can free you from social inhibitions.
  • Look people in the eye. Don’t avert your eyes.
  • Be “larger than life.” You might have noticed that people who are self-confident and persuasive literally seem larger. Stand up straight and expand your chest as an exercise. Develop the habit of physical expansiveness.
  • When talking with others stand closer than you think you should, be physically involved, and be friendly. Particularly persuasive and socially comfortable people tend to stand a little closer than most people do. Gesture, smile, move your hands and your eyes. If you expect the other person to like you and you behave accordingly—as though they already do– you will be proven right in almost every instance.
  • Recognize your right to be imperfect. If we were perfect our lives would be very dull– we would be very dull– and we would still find something in ourselves to complain about. And others would always find something in us to complain about too. We shouldn’t think we have to be perfect to be worthwhile.
  • Don’t second-guess yourself. Inhibited people wonder if they did the right thing: “Maybe I shouldn’t have said that. Maybe I hurt her feelings. I probably should have put it differently,” when more than likely the person spoken to has no memory of what was said or didn’t think it was all that significant.
  • Forgive yourself– for making a mistake, for being too timid, or for saying the wrong thing or making a stupid remark. Perhaps you felt awkward or were intimidated, or self-conscious, or were inauthentic and insincere, etc. Forgive yourself. Then get right back into action and be genuine, be yourself, no one else.

 

© 2015 David J. Rogers

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

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

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

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Boredom and Burnout: What To Do When Artistic Work Stops Being Fun

barbed-wire-345760_640During World War II prisoners of war often contracted “barbed wire disease.” It was not the result of maltreatment, but of lack of stimulation. Ships’ crews, explorers, and people in monasteries contract it too. It is characterized by irritability, restlessness, pessimism, and boredom. Nothing excites them. They lack vitality, freshness, energy, and verve. Writers and artists—often those working on a project steadily for a long time, especially without feedback—may develop a form of barbed wire disease.

They go flat and their work becomes a burden and its quality suffers grievously. When work is drudgery creativity quickly declines. You’ve experienced that, sometimes for considerable periods of time, and sometimes to the extent that you don’t want to face the work and so you avoid it, entering a stage of total non-productivity about which you feel miserable. No two ways about it, you’ve now come eye to eye with a major obstacle.

I’m sure I am not the only serious writer who after working steadily and intensely for a long time writing, writing, writing, writing experiences a “word nausea” when you become sick of the sight of written words. For a time you cannot write; nor can you tolerate reading another word. When you’re experiencing a writer’s or painters barbed wire disease, keyboard-313373_640you can always imagine a more exciting place to be, a more exciting thing to be doing, and exciting people to be doing it with. Sometimes the disease spreads and everything turns gray and seems boring beyond belief. When you’ve burned out and bored you “kill time,” hoping the barbed wire disease will blessedly pass.

Here’s what you can do:

Strategies

If your interest starts to decline make the “boring” task a game. In my first writing job I wrote grant proposals for an organization. I wrote many, many of them. At the beginning, the proposals were quite long and the success rate quite high. Millions of dollars were raised. Writing grant proposals every day from 8:30 to 5:00 is a ritual that is not nearly as stimulating as writing a poem or novel, as you can imagine. They are dry, and after a number of them you burn out. I needed a more interesting, more challenging goal. So then my goal became to raise the level of funds the organization received as a result of my proposals relative to the length of the proposal—to write the shortest possible proposals for the most money. Eventually the proposals were extremely short, but just as successful.

How could you make your work a game, a contest? One way is to monitor your daily production and make the aim of the game to produce more every day compared to the previous days. Every hour I monitor the number of words I’m producing and look at yesterday’s tallies.

Focus continually on your overall goal. Success in life is often built on tedium. Tedium can be tolerated if it must be endured to achieve a larger purpose that matters a great deal to you–to write a good book, to have your work in galleries, to be satisfied and successful. The French Pointillist painter Georges Seurat was certainly bored some of the time–perhaps most of the time—when for two years he applied those almost three and a half million tiny dots of various hues to a ten foot wide canvas to paint Sunday Afternoon on the Island of La Grande Jatte, the painting that altered modern art and introduced Neo-impressionism. But that was his purpose, and his boredom was irrelevant to him.

Choose to do what you’re doing. Boredom is often caused by the sense that you’re being forced. But when you declare your right to make a decisive choice and say to yourself, “I’m choosing to do this of my own free will,” your outlook changes dramatically.

Focus on external rewards. When you’re bored, the work has lost its intrinsic value to you so think of other rewards: “I may not be happy with the work but I’m going to make a lot of money, and maybe I’ll win an award.”

Have the intention of doing just what you’re doing, nothing else—no distractions, no impediments, no worries, fears, or self-doubts. Just you and the work. Boredom is caused by the wish that there were something else you were doing: “I wish I were…” at a movie, or making love, or sitting in the bleachers. Make what you’re doing the single thing at that time you have every intention of doing. You don’t change the task. You change your attitude. You can mesmerize yourself with the thought, “This, now, right now, is the one thing in the world I want to do. Nothing could be better.”

Look for something of interest in the work and in the process of working–even if you have to look hard. There is always at least a tiny core worthy of your interest in everything, like the eye of a violet. What is boring for your friend may be the most exciting thing in the world for you. That’s because nothing is intrinsically boring. Physicists and formula-594149_640(1)mathematicians love spending their lives scribbling figures on chalkboards. Would you like to spend your best hours doing that? But people do. And then again many people would find what you love doing—producing artistic work as often as you can—about as unpleasant an activity as they can imagine.

If you tell yourself something is boring that’s just how you’ll find it, so never use that word or any such word. Eliminate them from your vocabulary starting now. Our emotions follow what we’re thinking, including boredom. Instead of, “Oh, man, I can’t stand this anymore,” think, “To say I can’t stand it is incorrect. It’s an exaggeration. I can stand it. I will stand it.” Instead of, “Damn, is this tedious” replace it with an interest-inducing statement: “There is something stimulating here. All I have to do is stay focused long enough to find it. Look—there’s something interesting!” By focusing and absorbing yourself in something, it becomes more interesting. And the more interesting it becomes the more you’ll be drawn to it, the more attention you’ll want to give to it, and the more engrossing it will become.

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

goldfish-537832_640Left alone, the student sat down to look at the fish. It was a fish like any other fish. There was nothing special about it. The student finished looking and sat waiting, but no teacher. Hours passed and the student grew restless. He asked himself why he had hooked up with an old man who was obviously behind the times.

Bored and with nothing else to do, he counted the fish’s scales, then the spines of the fins, then drew a picture of it. In doing so he noticed it had no eyelids. He continued drawing and noticed other features that had escaped him. And he learned that a fish is interesting if you really see it.

Persevere longer with whatever bores you. The person who holds uninteresting ideas in mind until they gather interest will succeed. Many people give up too quickly.

Wait. The sense of boredom may go away on its own without you doing a thing.

Tackle the most interesting part of the job first. Most tasks have features that you find boring and others that you find more interesting. Bodybuilders often start their workouts with lifts they enjoy most. Once started, they go on to the lifts they enjoy less. Try to do the same whatever you’re lifting.

Aim for more difficult goals. If the goals you’re pursuing are too easy, you’ll be bored.

Alter your routines. Sometimes it’s not the tasks that are boring, but the routine of carrying them out. Change your schedule. People need change or they go as stale as old cookies. Much of the time our lives grow stagnant, unhappy, and mechanical for no other reason than that the same things are done in the same way, at the same time, with the same people with no variation, like a broken CD that plays the same phrase over and over. It’s torture. How many times can you follow the same never-changing routines without going nuts?

Stay physically active. Hit golf balls or get down on the floor and do pushups. Creative work requires intense, exhausting mental concentration and benefits from a “physical” break.

Take periodic breaks. Working hard in short, intense, concentrated spurts, with rest periods between spurts proves to be the best way to work.

sisters-74069_640Let your mind wander. Don’t resist. During boredom our minds wander and we daydream, and daydreaming and mind-wandering often lead to the solutions to our problems.

Get yourself temporarily to another project. Most artists have more than one project going on simultaneously—some have many. If one becomes boring, they work on another. Painters work on small paintings as a break from large paintings. Writers alternate research and writing and write short stories to break the monotony of long, uninterrupted work on a novel.

Eliminate what you find boring. Let’s say you’ve tried everything your inventive mind can conjure up and you’re so bored you can hardly breathe. If you’re that bored and that burned-out maybe you shouldn’t do it anymore. Maybe the boredom is a message telling you the book or the sculpture isn’t a good idea after all and you should go on to another. Identify the specific activities that bore you and are burning you out and slice them off like shavings off a stick.

© 2015 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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