Why Writers and Artists Are So Intense

I wanted to know why artists and writers are so self-absorbed.

Then I wanted to know why writers, painters, and other artists bloom late.

In popular posts I addressed those questions. Now I want to know why so many writers and artists are intense and have intense personalities.

 

Waking, Wanting To Get Going

I was excited waking up at 3:00 A.M. yesterday, and I was not thinking of going back to sleep. I wanted to finish some poems where I had left off the night before. I thought, “Let my wife–a calmer, less excitable person–sleep; I love to work and I have work to do.”

Then I started thinking that it was likely that other creative people I know–good friends in the arts–at that very moment also were waking early and were anxious to get to work on their project, that we are similar–we resemble each other in regard to the emotions we bring to bear as we live and work–that we are all creative and we are all intense and excitable. Certain qualities endear creative people to me. One is their intensity.

It seemed to me then that intensity and excitability were a pattern, a hard and fast characteristic of myself and my artful friends, and come to think of it, of many of the famous writers and artists and other creative people I have been reading about, studying, admiring, and writing about all my life. Their intensity made them different.

The Feeling of Intensity

What does intensity feel like?

Intense writers and artists do everything intensely–experiencing, feeling, thinking, and imagining. They are significantly different human beings from other writers and artists (and agents and family members and co-workers) who are not intense. They feel their emotions strongly. They soar high with elevated emotions, and they plunge into dark moods, at times their moods changing so fast as to be bewildering. In contrast, people who are not intense the way so many writers and artists are feel their emotions more mildly and without such major fluctuations between the high moods and the low moods. Differences in intensity between people who work closely together or live together may cause conflicts.

Some writers and artists feel that they are being flooded by waves of joy, that their every cell is being excited. Some writers and artists–perhaps you, certainly I–revise their work tirelessly, at times almost maniacally, ten times, twenty times, thirty times, until they are satisfied the work is the best they can do. Only then can they stop themselves.

The intensity of writers’ and artists’ personality is a powerful element of their creativity. The wonderful poet John Keats thought that intensity–not intelligence or any other quality — in and of itself is the most powerful creative element of all.

Intensity and the Arts

Intensity is a quality found in many creative people that facilitates artistic pursuits. Abbe Dimnet said that the creator’s intensity will be reflected in the quality of the work: “The experience of most artists is that the quality of their production is in keeping with the intensity of their wish.” Henry James wrote: “It is art that makes life, makes intensity, makes importance.” Horace said, “Painters and poets alike have always had license to dare anything.” It is their intensity that gives them strength. Keats said, “The excellency of every art is its intensity “ A problem every writer and artist faces is maintaining in every phase  of their story or painting  the intensity that keeps it going and energizes the  creator’s every gesture and the work’s every detail.  They must be able to generate and sustain intensity as they work.

Emotional Intensity and Over-Excitability of Many People in the Arts

“Emotional intensity” of the kind I am describing is a quality that Polish psychologist, psychiatrist, physician, and poet Kazimierz Dabrowski found when he studied intellectually or artistically gifted people. The degree of a person’s emotional intensity is a stable characteristic. Some people are intense; some are not. Just as self-absorbed artists and writers can’t help being self-absorbed any more than they can help having the color eyes they do, intense artists and writers can’t help being intense.

Dabrowski recognized that, as I thought, creative people experience an intensification of experience much beyond what other people experience. Dabrowski considered the intensity of their emotions, their sensitivity and emotional extremes–their “over-excitabilities”–to be part and parcel of their makeup. Every aspect of their personality is intense.

They are “spirited,” and are also more sensitive, perceptive, energetic, and persistent than other people. They possess what I have called “inner” skills such as persistence, confidence, and courage that not everyone has but that lead directly to success in the arts. Dabrowski identified five “overexcitabilites” exhibited by more people in the artistically gifted population than in the general population.

The Five Dimensions of Intense Writers’ and Artists’ Lives

1. Sensual

Sensualists, intense writers and artists seek an enhanced sensory and aesthetic pleasure in seeing, smelling, tasting, touching, hearing, and sex. They delight in beautiful objects and in sounds of words, and in form, color, and balance. Negatively, they may overeat and be sexually over-indulgent.

2. Psychomotor

Intense people have a surplus of energy, are competitive, enjoy intense physical activity such as fast games and sports, often are compulsive talkers–they may jabber–and act impulsively. They may have nervous habits. They may bite their nails or have nervous twitches.

3. Intellectual

They enjoy intensified activity of their mind in their curiosity, concentration, and in their capacity for sustained intellectual effort, avid reading, asking probing questions, and making keen observations. They can vividly recall what they see with their eyes (that fundamental necessity for writers and artists) and may be detailed planners.  They are tenacious problem-solvers. They search for truth and understanding. They think about thinking and love theory and analysis. They are logical and independent thinkers.

4. Imaginational

In speaking and writing, intense writers and artists often use images and metaphors, are given to poetic and dramatic perceptions, and are skilled at inventing. Some can make up fantasy worlds of their own and imaginary companions and are attracted to magic and fairy tales. Under emotional tension their imagery can mix truth and fiction. They may have elaborate dreams and illusions. They cannot tolerate boredom. They may lack self-judgment and be overly-critical.

5. Emotional

The feelings and emotions of over-excitable writers and artists are intensified. They are given to extremes of emotions, complex feelings and a large range of emotions and have an awareness of the feelings of others. They have heights and depths of emotions that others lack. At times their mood soars. And it also may plunge. Their moods change quickly.

They may have strong physical expressions of over-excitability such as tense stomach, sinking heart, pounding heart, sweaty palms. Intense writers and artists experience euphoria, enthusiasm, and ecstasy, but also shyness, timidity, and obsessiveness.

But Dabrowski found that inner forces were at work in them also, forces that generated overstimulation, conflicts, and pain, and often set them out in a search for a way out. One way out may lead to inner growth and transformation, another may lead to results such as addiction.

Examples of Famous Intense Writers and Artists

Who could be more intense than poet Walt Whitman who expressed a wish to have “one hour of madness and joy,” “to feed the remainder of life with one hour of fullness and freedom,” “To have the feeling today or any day I am sufficient as I am.” Who more intense than novelists Charles Dickens with his phenomenal storehouse of drive that enabled him to work on a multiplicity of books, speeches, plays, travels, and social projects at the same time without ever tiring?

Or Thomas Wolfe whose monumental goal was nothing less than to describe in the millions of published words that poured out of him uncontrollably, as from a spigot, every experience he had ever had? And Gustave Flaubert, a pioneer of a modern writing style, who agonized rewriting his novels and stories to perfection? Or intense painter Vincent van Gogh who produced a masterpiece a day, or Claude Monet, who for his artistic experiments could paint thirty or forty canvasses of exactly the same scene.

There are drawbacks to a writer or artist being over-excitable and intense. But the advantages of being a writer or artist who is intense and has the powerful energies, the drive, and many other qualities that facilitate success in the arts far outweigh the negatives. The creative’s intensity is reflected in the quality of the work they produce–more intensity, better quality work.

If writers and artists are asked to identify the important characteristics they would l really like to have that would positively affect their career, they will be wise to identify intensity.

An intense writer or artist trying to create a vision they perhaps alone perceive is fortunate.

 

© 2023 David J. Rogers

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Finding Fulfillment in the Arts

People in every walk of life and in every hemisphere on earth–in cities, on deserts, in towns and villages–long to create something. My nine year old grandson is a talented artist and cellist studying architecture. His six year old sister takes dance and will begin taking piano lessons in the fall. Their forty two year old father was an excellent cellist in his youth and was inspired by the performance of a famous cellist to return to it last year. My wife, is a former cellist, and has taken up water colors and has returned to the piano. I write every day. I have for many years, and when I am not writing I am thinking about it and planning what I will write. We are representative people no different from millions of others with whom we share the globe because the current era is an Age of Heightened Creativity. Little children and women and men of all ages are bent on having creative experiences. They will not let their creative instincts be stifled.

I think it is worthwhile to look at what happens to creative people who have turned to art for fulfillment.

If You Are to Be an Artist, a Decisive Moment Occurs

A decisive moment occurs early in your life or later—an experience happens—and if you are to be an artist, you become aware that this art is the direction that fits you as no other direction will. You feel that it will lead to fulfillment that you probably would not enjoy were you to follow another route. You’ve had a crystalizing experience in a critical moment when you were first focused and organized toward an artistic purpose you knew was right for you and which you wished to pursue further, a sudden attachment to an artistic field that brought with it a motivation and a sense of knowing what you wanted to do in life.

It became a permanent part of your entire being–an idea, a theme, or an image that became a guiding force in your life. You may not be conscious of it, but it starts you out in a creative direction, and gives you a sense of moving steadily in that direction, of heading straight toward something concrete and specific. Making a living in art is difficult and so most artists must find financial security other than in art. But whatever your occupation if you are to be an artist you will define yourself first as an artist, an accountant, HR manger, or English teacher second.

Nature Cooperates With Gifted People

In his Confessions Saint Augustine wrote, “People travel to wonder at the height of mountains, at the huge waves of the sea, at the long course of rivers, at the vast compass of the ocean, at the circular motion of the stars, and they pass by themselves without wondering.” Artists may be guilty of being so totally absorbed in their work that they neglect their health and their families, but are rarely guilty of passing by themselves without wondering. They wonder insatiably about themselves, and explore themselves continually. They do not always understand how it happened that they are more gifted than others but are fascinated by what capabilities they discover in themselves that make their art possible.

Nature equips artists for the creative pursuit that most suits them, making available to them what often will be their most highly developed skill, their core capability, and with an aptitude for a particular art–for painting rather than writing, or acting and not dancing, for example.

Noted composers and performing artists in musical fields–so sensitive to sound and tone—possess what the Germans call Horlust–“hearing passion.” Writers–particularly poets and lyrical writers–have a word passion (they adore words), and painters adore colors and shapes, often from the cradle.

The Self-Absorbed Artist

Artists are absorbed in themselves and smitten by their craft for many practical reasons: first of all because the task of being creative is not like any other tasks.  Art comes from the mind of the one person you are, and your duty is to probe that mind’s depths and breadths every time you create. You must plumb from it words, or music, or colors that will be shaped into a finished work with your name on it that will be passed on to an audience who will think, “This is the creation of… (your name); no one else’s. I wonder what they’re like.”

The Inner World of Artists

In a poem poet Emily Dickinson said that the soul selects her own society and shuts the door. Often what is sacrificed and left outside the artist’s closed door is the world of ordinary life–of Wordsworth’s “getting and spending,”

Jean Paul Sartre said, ‘Rather than face the real and terrifying risks of becoming, many human beings prefer not to develop behind the structures, rules, and patterns that society gives them.” Those things may have little or no importance for creative people. Marcel Proust said, “Those who have created for themselves an enveloping inner life pay little heed to the importance of current events.”

What is inside the shut door is the artist’s rich inner life from which creative products pour–without stopping if the artists explore themselves more and more deeply. Transformation of what is inside the artist into what is outside is the overriding goal –to make a book, a painting, a song or a symphony — that is completely as the artist wishes and offering it out to be shared with an appreciative world.

To Artists We Remember Best, Their Art Is All-engulfing.

If you are an artist you are the embodiment of your art. There can be no separating one from the other–art, artist–the work, the producer of the work.  You are a daughter or son, citizen of a country, lover, and teacher, true, but you’re also an artist and that artist’s identity may be your center of gravity.

Your art is always somewhere in your mind. It is being processed–being worked up into a properly embellished work–and it is impossible to extract your personality from the work. You cannot be hidden even if you wished to hide. Creative works are the products of the whole person: your intelligence and courage, talents, training, and commitments, your energy, and your memories.

Novelist Henry Miller said, “I don’t care who the artist is, if you study him deeply, sincerely, detachedly, you will find that he and his work are one.” Novelist Joseph Conrad said, “The writer of imaginative prose stands confessed in his works.” Pablo Picasso said, “It is not what the artist does that counts, but what he is…What interests me is the uneasiness of Cezanne, the real teaching of Cezanne, the torment of van Gogh, that is to say the drama of the man.” Artists may try to eliminate themselves from the work, but they can’t. Henry James said that the artist of a work “stands present on every page of every book from which he sought so assiduously to eliminate himself.”

Poet W.H. Auden wrote, “Speaking for myself, the questions which interest me most when reading a poem are two. The first is technical: ‘Here is the verbal contraption. How does it work?’ The second is, in the broadest sense moral. What kind of guy inhabits this poem? What is his notion of the good life or the good place? His notion of the Evil One. What does he conceal from the reader? What does he conceal even from himself?” William James said it is the amount of life in the act of creation which artists feel that makes you value their mind.

How Is Creative Excellence to Be Identified In a Person?

As a creative you’re specially endowed with (and may have been born with) not only “creative stuff” but with an assortment of personality qualities that equip you specifically for the writer’s, painter’s, actor’s, composer’s, architect, or dancer’s role. And it’s that identity that gives you the sense that you’re a person with a definite life task—to write, dance, paint, etc.–to create something that comes from your mind, your spirit, and your muscles.

What does a person need to be creative: an active, complex, and excitable mind, and a combination of such inner qualities as curiosity, obsessiveness, doggedness, and endurance.  Plus an openness to experience, and an abundance of physical strength and energy. And a high tolerance for ambiguity.

“Develop an interest in life as you see it; the people, things, literature, music—the world is so rich, simply throbbing with rich treasures, beautiful souls, and interesting people. Forget yourself” (Henry Miller).The most interesting thing in art is the artist’s personality. Artists need intensity: “Nothing is at last sacred but the intensity of your own mind” (Ralph Waldo Emerson).

Artists must be people of action because their main goal is production of works over which they think and sweat. Jean Paul Sartre said, “There is no reality except in action” and said, “Man is nothing else than his plans; he exists only to the extent that he fulfills himself; he therefore nothing else than the ensemble of his acts.”

Artists must be feeling beings because whatever the art may be, the artists’ aim is to express emotions. “Every day I attach less and less importance to the intellect. Every day I realize more that it is only by other means that a writer can regain something of his impressions, reach, that is, a particle of himself, the only material of art” (Marcel Proust). When they are denied the expression of emotions they experience conflict and tension that must find an avenue of relief.

According to critic Malcolm Cowley “Genius is energy–mental energy first of all, but sometimes…physical, emotional, and sexual energy. Genius is vision, often involving the gift of finding patterns” (where others see a random collection of objects.) “Genius is a memory for essential details. Genius…is the capacity for brooding over a subject until it reveals its full potentialities…Genius is also a belief in oneself and the importance of one’s mission, without which the energy is dissipated in hesitations and inner conflicts.”

Besides genius, a creative person has to have talent: technical skills, self-critical ability, and notions about how to present their work so that it appeals. The only obligation that art can be held to is that it be interesting.  Who will be the judge of that? Composer Igor Stravinsky preferred the general public: “I am convinced that the spontaneous judgment of the public is always more authentic than the judgment of those who set themselves up to be judges of works of art.”

The Artist’s First Notable Work

The “years of silence” artists often experience is the period when they–even those who are highly gifted–have few tangible successes, or none at all. But that period is not wasted or unimportant. It is a crucial period of growth when the artist acquires knowledge and experience that through practice will culminate in the artist’s first notable work.

What follows then is the full flowering of the artist’s capabilities. Those capabilities become automatic. Then there usually is a rapid increase in the artist’s production of his or her best works that continues for years. There need not be a period of decline. Many artists produce popular works into old age.

Children and adults may drop out, but those who turn to art may well be playing the cello or dancing or painting, only getting better and enjoying their art perpetually–all their lives– with fond memories of what they accomplished and of the exciting people they met on the path they took.

 

© 2021 David J. Rogers

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

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The Swing of the Advantage

I know this much about you: at one time or another your chances for a better life, once very high, changed and seemed dim. Your spirits plummeted because whatever advantage you once held had slipped away. On another day you regained the advantage. Then your spirits instantly soared, and you were the one thing you had always wished to be: happy.

The swing of the advantage–to you or away from you–is something that-occurs in every aspect of your life and mine from childhood through old age. The advantage is like a ball passing back and forth between you and life. No one ever holds the advantage all the time. The advantage can swing to you or away from you at any time. Sometimes you hold the advantage, and an ideal life and great achievements in your career or personal life seem so near you can touch them with your fingers. Then you suffer a setback, a crisis, or a major problem, and you’re driven down into the dark depths of discouragement. You have lost the advantage, and your need now is to get it back.

Then you shake off discouragement and take decisive action. Once you’re in action, opportunities appear like jewels you pick up off the ground. The advantage is yours once more, and a better life unfolds like the petals of a rose. Your dreams are no longer mere fantasies but facts that you now incorporate into your life You turn directions, changing into a new being. For example, the success you wanted was to publish a book. You work hard. Your book is published, and now the identity that will never leave you is yours: “published author.

“The Swing of the Advantage” is a concept from my print best seller Fighting to Win: Samurai Techniques for Your Work and Life (now available as an eBook). From the twelfth through the nineteenth centuries Japanese samurai (bushi) were fighting men and women in service of a lord, a “daimyo.” They were the greatest warriors who ever lived, and based their expertise on physical, psychological, and Zen spiritual insights and techniques that they acquired through as demanding training as there has ever been in any discipline. Their skills were legendary. Fighting To Win prescribes their spiritual/psychological insights and adaptations of their techniques for overcoming obstacles to a productive and fulfilling life.

Samurai tactics never changed. They are a philosophy and life style–a “kamae,” a battle stance or posture,” a “Way.” They are “zan totsu“–which means “rushing straight ahead into action”  and “mo chih ch’u,” which is “going ahead confidently without hesitation.” The samurai were conditioned to confront, not avoid, difficulties, to embrace them, to race directly and swiftly to what you fear most. Were we to rush into our fear without hesitations many of our problems would be dispensed with quickly. When you approach your life and your work mo chih ch’u, fearlessly, your strength increases fourfold and you go straight to your goal.

Samurai were taught “Trust only movement” and “Test your armor, but only test the front” because you are not in action–in your everyday life, in your occupation and other pursuits–to run away and hide from “inner dragons.” Dragons are the sum total of all your fears, anxieties, and inhibitions. Seeking freedom from dragons, samurai “strike through the dragon’s mask.”

You can use this samurai concept of the swing of the advantage to gain victories. Like samurai you can face up to difficulties and rush to the attack—confronting and overcoming obstacles, not hesitating, not hanging back, but solving problems–dispensing with useless patterns  of thought and action that have led you from your goals rather than to them. Then you will be filled with the exhilarating surge of the powerful energy (“ki’) of a man or woman on the attack. You are not looking back, not fearful of facing up to what lies ahead in the fog of life, but committed in spirit and mind to the  action in front of you not tomorrow, but in this single fleeting moment of time, gaining back the swing of the advantage before this moment ends.

Let’s say you’re afraid to take a chance and the opportunity slips away. You’ve given up the advantage. But then you take the chance and succeed. You’ve seized the advantage back. Sometimes your diet is going well. But at other times you ravenously raid the cookie jar Once again fattening food has gained the advantage and your self-esteem and health are in jeopardy. But then you get a little angry and recommit yourself, and achieve your target weight. You have regained the advantage.

Prescriptions

• Recognize and be prepared for swings of the advantage–sometimes to you and other times away from you. Because you and I are alive, neither of us is a stranger to the swing of the advantage.
• Make the loss of the advantage only a temporary impediment. Say to yourself, “Oops, there goes the advantage.” Then quickly, without stopping to bemoan your plight, use your determination, spirit, and decisive action to get it back. And when it swings back over to you–when you have solved a longstanding problem, for example, or overcome an obstacle that has stopped you for as long as you can remember–don’t stop to congratulate yourself. Don’t stop at all. When you’re gaining ground on a better life say, “You can’t escape me. I’m on your trail.” Just keep moving in the only direction that matters–forward toward your goals.
• Don’t delude yourself into believing you have the advantage when you don’t. Life is to be looked at in one way–squarely in the eye–and a fool’s paradise is hell in disguise.
• Maintain a powerful spirit–confident and daring–that cannot be stopped however far away from you the advantage has swung. It couldn’t matter less how often you’ve lost the advantage or how far away from you it swings, only that you have it when it matters most.

Application

Is there any area in your personal or professional life right now in which the advantage has swung away from you? What will you do to get the advantage back? Whatever it is, don’t delay. Run straight toward it zan totsu–boldly.

 

© 2020 David J. Rogers

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

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Guidance for Reaching Success and Fulfillment in the Arts

If you are a regular reader of this blog, you know a primary interest of mine is in the inner skills needed to achieve success, especially for those in the arts. Even the most superb techniques of craft will take you only so far without additional skills. I’m talking about inner skills of the heart and spirit, including persistence, confidence, durability, patience, courage, vitality, intensity, flexibility, and so on. What follows are some insights into those inner skills.

Run Through the Tape

Why what I’m going to say now is true, no one has been able to figure out, but almost all people relax their efforts when they get close to achieving even their most important goals. They struggle and struggle and then seem to get lazy and disinterested. They are like a sprinter who runs fast to the tape and slows down or stops. But good coaches advise runners to “run through the tape.” Whatever you do, don’t relax just when you’re getting close to success, but persist in applying your utmost energy

Talk to Yourself: Increase Your Drive

When you’re facing difficulties or your motivation is faltering and you’re losing interest, talk to yourself about your need to work on and reach the goal. Whether you are an amateur or professional, a novice or expert, tell yourself that it’s important that you complete the tasks and get to the goals: “I’m feeling a little tired and want to quit for the day, but it’s important to me that I finish writing this article, so I will just continue working.”

Value Failure: Don’t Be Afraid of It

Why are you and I so afraid of failure? Many people live in terror of it and feel they must never fail, but always succeed, trailing clouds of glory. Yet failure can be a blessed life-changing event. If you experience only successes, you come to expect quick and easy results, and your sense of confidence is easily undermined if you suffer a setback. Setbacks and failures serve two useful purposes: Not only do they show us that we need to make changes and adjustments in order to gain the success we are seeking, but also they teach us that success usually requires confident, persistent, skilled, focused effort sustained over time. Once you set failures aside and become convinced that you have what it takes to succeed, you quickly rebound from failures. By having courage and sticking it out through tough times, you come out on the far side of failures with even greater confidence and commitment.

Seek Feedback, Not Crticism

The effect of feedback depends both on its source and on the way the creative person interprets it. If an expert judges the value of a beginner’s work based on the expert’s standards or tells the beginner what he or she should be doing, the feedback may be seen as controlling. That kind of feedback negatively affects creative performance. Useful feedback is empowering rather than controlling and doesn’t have a negative effect because it is viewed as useful information–not criticism. Feedback designed to evaluate reduces creativity and motivation, but informative feedback increases them. Both the person giving the feedback and the person receiving and interpreting it play a role in making it informative, and thus useful.

Get Feedback Addressed to Your Needs

Tell the person whose feedback you are seeking what you’re trying to accomplish and what kind of help you need from them. For example, an artist might ask what she can do to make a figure look more three-dimensional; a writer might ask for advice on making a dialog more natural. Feedback should always focus on the work–never on the artist.

Persist, Persist, and Persist

Persist until you finish your novel, sculpture or symphony. The work that matters to creative people is finished work. Persistence is an extraordinary attribute that the majority of people do not possess. It separates writers, painters, actors, ballerinas, composers, and performers who have long, successful careers from those who disappear. Potential combined with a focused and tenacious pursuit of important goals is the hallmark of high achievement in the arts.

What it takes to persist is simply to persist, “staying with it longer than you might.” If you persist, most other success factors will automatically fall into place. Persistence is that important.

Have Confidence

Confidence is needed if you are to be successful as an artist. Make it a point to never lose confidence. If you find yourself losing it, use affirming statements, such as “I can do this; I believe in myself.’

The higher your confidence, the higher you’ll set your goals, and the stronger your commitment to achieving them will be. And it is high, challenging goals–not easy ones–that lead to worthwhile creative achievements. You’ll feel serene, for now you can make full, free use of all your talents. You won’t be tentative because you’ll have faith in your problem-solving abilities. You’ll rework problems or you’ll be decisive in abandoning what isn’t working.

Confidence touches every aspect of your being—whether you think about your prospects positively or in a self-defeating way, how strongly you motivate yourself, and whether you persist in the face of adversity and setbacks. It also reduces your susceptibility to discouragement, and enables you to make positive changes in your life.

Gertrude Stein was a writer with supreme confidence. She said to cubist sculptor Jacques Lipchitz, “Jacques, of course you don’t know too much about English literature, but beside Shakespeare and me, who do you think there is?” She said to her friend Pablo Picasso, “There are two geniuses in art today, you in painting and I in literature.

You’ll be very reluctant to give up if you are confident. You’ll make better use of your time because confidence and energy go together: one feeds the other. You will be electric with that rarest of human qualities—INTENSITY. When you face difficult tasks, if you are confident, the challenges will excite you rather than intimidate you. You’ll be more likely to seek help and assistance to improve your performance than the less confident artists or writers who are afraid that asking for help will expose their limitations.

Make Effort a High Value

The most successful people have high career aspirations, are confident, and generally attribute their success to high effort and failure to lack of effort.

They believe that creative success comes mainly from ability combined with hard work, probably over a long period of time. If they fail, the goal becomes even more attractive to them. They get hungrier to succeed. If things don’t turn out well, they don’t believe it’s because they aren’t capable, intelligent, or gifted. It is because they didn’t work hard enough. That brings them hope. Optimism is kept high because effort is a virtually limitless resource. You can always work harder.

Work Harder, Not Less Hard

How expertise is developed in a field is a hot subject these days, including expertise in the various arts. A number of scientific studies comparing novices with experts in most fields support the common sense notion that because of their great knowledge and skill, experts are able to accomplish with almost no effort what non-experts can accomplish only with difficulty or can’t accomplish at all. But don’t be deceived: experts work harder, not less hard than non-experts.

Think the World of Yourself, but Don’t Be Above Asking for Help

Creative people who are the most likely to ask for help are those with a high opinion of themselves, while those with a low opinion of themselves are the least likely, although they may be the most in need of it and would profit from it. Asking for help shows that you’re serious about reaching your goals. Useful feedback can help you evolve and reach high levels of satisfaction and achievement.

The helper may encourage and inspire you, and that may be what you need to push you toward the goal, or they may provide material support. T.S Eliot’s friends subsidized him till he established himself.  Vincent van Gogh’s brother Theo bankrolled him. So without reluctance say, “I would appreciate your help…” I have no problems asking for help, and all my life, I have almost always received the help I asked for and have tried never to deny it to someone who asked me for it.

Focus on Perfecting the Most Crucial Skills of Your Art

It is not possible to describe the complete, complex structure of knowledge and skills the experienced artist has acquired. It is a mistake to think that success in a creative field is attributable to one blessed aptitude such as awesome natural talent, or to three or four aptitudes. Success in the arts is attributable to a combination of many capabilities.  The most prominent creatives focus harder on developing to a high level the most needed skills of their field.  The best predictor of creative success isn’t just time spent working, but the kind of time–the amount of time devoted specifically to improving writing , painting, acting, etc. skills. And not just this skill or that skill, but the five or six specific skills which are the most essential if a person is to become excellent in that field.

For some artists the development time is short–almost immediate. Poets in particular, such as Dylan Thomas at nineteen, may reach high excellence with blinding speed.  For others success occurs only after years of perfecting their craft. Like athletes, artists develop at different rates.

Make Sure Your Skills Match Your Goals

Of special importance to writing, painting, composing and performing success is the state in which your skills perfectly match the goals you’re aiming to achieve. The skills are exactly what’s needed to reach the goals. That’s what you should aim for—a perfect match. It’s foolish to ask yourself to try accomplish objectives you don’t have the skills to achieve, and there’s no thrill accomplishing goals that don’t challenge you. So you must focus on identifying and developing the specific skills you need to accomplish the ends and the fulfillment you aspire to.

 

© 2019 David J. Rogers

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

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Inspiration, Guidelines, and Quotations for Writers, Artists, and Other Creators

Above Vinci by Karin Goeppert

This is my eighth post of quotations about creativity, creative people, and the creative process that I’ve assembled from my reading and writing. These quotes are valuable because writers, artists, photographers, and actors and other performers have expressed interest in them. They are interested in them because insights into creativity and the creative life can be applied to their work, bring them inspiration, and  increase their knowledge and skills, enabling them to produce increasingly better, more sophisticated, and more popular work. That is an urge to improve and excel that animates almost every creative person from the first morning of the first day of their creative life to midnight of the last.

An important reason a creator hungers for information like this is the competitiveness of fields requiring inventiveness: painting is exceptionally competitive; writing and acting are too, and the creator is looking for an edge. Even one idea from these posts may lead to a creative breakthrough that strengthens the creator’s competitive position.

Persistence

The first thing a creator has to learn is not to quit.  Have you thought of quitting? The majority of creators quit. They quit because they think no matter what they do they can’t succeed.  But that can be overcome.  The ideas in this post may help. What they need are new insights showing them that success comes from within a healthy, creative mind and is feasible for them. Then they have to also learn not to be mediocre. Most people don’t want to be mediocre, yet are perfectly satisfied to be mediocre-plus. The quotes may help you not to quit and not to be mediocre. A creator must learn to persist, and then persist more, persisting if need be beyond what seems human capability.

Waterborn by Karin Goeppert

Naturally much is made of a creator’s talent. Thomas Wolfe said about the need to put your talent to use: “If a man has talent and can’t use it, he’s failed. If he uses only half of it, he has partly failed. If he uses the whole of it, he has succeeded, and won a satisfaction and triumph few men ever know.” Almost all people believe that talent is the reason for creative success. But persistence–the art of refusing to give up–may be more vital to a creator’s success than talent. Teachers of the arts often state that the students who will fare best in creative life are not the most gifted but the students who are the most determined to succeed. If they are persistent, less talented writers may have more works published and make more money than the more talented. The same is true of painters. American Jack London received 600 rejections before his first short story was published. He was not considered one of the great writers, but after the publication of that first story he became the most popular writer in the world within one year.

Enlightened creators are confident of themselves and possess what I call “inner skills” that not every creator possesses, returning again and again tirelessly, almost maniacally, to their work. They overcome sometimes enormous obstacles and difficulties that would deter less powerfully persistent people. Painter Pierre-August Renoir’s hands were crippled and rendered useless by severe rheumatoid arthritis and he was unable to paint with them late in his career. But with a strong will he produced some of his greatest works after that lying on his back, painting with the brush between his toes. Even without such extreme obstacles, creative work can be exceedingly difficult. When creative work “goes painfully, when it’s hideously difficult, and one feels real despair (ah, the despair, silly as it is, is real!)–then naturally one ought to continue with the work; it would be cowardly to retreat” (Joyce Carol Oates).

If you are a creator with talent and persistence both, your prospects of success are excellent.

Intensity

Floris Mit Rahmen by Karin Goeppert

Intense people are growing rare in this era. Something is weakening people. But creative people are different.  They tend to live intensely, and have strong beliefs about their creative pursuits: “It is through art and through art only, that we realize our perfection; through art and art only that we can shield ourselves from the sordid perils of actual existence” (Oscar Wilde). That intensity of their emotions and sensitivities is a necessary part of their make-up. They think, feel, and imagine intensely. They are often overstimulated, and at any moment may be flooded with mystical waves of rapture and joy with a sense that every cell of their body is incredibly alive.  “So far as the artist is concerned, the unlimited extent of human experience is not so important for him as the depth and intensity with which he experiences things” (Thomas Wolfe). “It is evident that a faith in their vocation, mystical in intensity, sustains poets. There can really be no greater faith than the confidence that one is doing one’s utmost to fulfill one’s high vocation” (Stephen Spender). The creator has to learn to harness that intensity and aim it to producing quality works.

Creators must have a hunger to experience, to feel deeply, to know, to self-disclose, sharing what they have learned, felt, seen, and heard with anyone who is interested.  “The meaningful difference intellectually between one painter or writer or one actor or director and another is simply the number of things they are intrigued by in a square yard of their experience and the urgency of their hunger to express them”(David J. Rogers).

Risk-Taking

Nothing Ever Stops by Karin Goeppert

Creative works do not come cheap. In order to produce them, creative people, once as ordinary as dishwater, must reshape themselves and not be afraid to branch out into the insecure, the anxious, and the unknown, risking, daring. For the creator risk-taking is not fool-hardiness. It is essential. On what is a memorable creator’s life based if not taking chances because life is short, time is fleeting, and an art that burns inside the artist must be expressed or it will extinguish into nothing. Can you feel it: that hunch igniting your spirit that there is a passion there that has appeared in your writer’s, painter’s, or composer’s life that must be pursued to its conclusion no matter the cost to your time, personal life, or peace of mind? Picasso said that “one must act in painting, as in life, directly.”

Identifying Creativity

How can you tell if you are creative? The pursuit of ways to identify creative people has led to scores of tests. But it has not been possible to demonstrate that creativity tests are valid. “High scores on a creativity test do not signal that one is necessarily creative in one’s actual vocation or avocation: (Howard Gardner). The answer is in the work: Is it original? Does it have a use? Do your artistic peers and the public agree that it is creative? If so, it is creative and having produced it, so are you.

Life of Creators

Hasenheide by Karin Goeppert

Generally, creators’ childhoods have more impact on their creativity than any other period of their lives. “Early in life, the creator generally discovers an area or object of interest that is consuming” (Howard Gardner). Author John Updike said that nothing that happens to you after the age of twenty is worth writing about.  If you knew in childhood what you loved doing and were relatively sure what you would be when you grew up, you were more likely than most people to be creative as an adult.

The creator’s life, being hard, is not suited to everyone. To succeed you have to be an exception from the norm. To become highly skilled in creative works takes many years of hard work that only a minority of people are equipped for. “The sheer labor of preparing technically for creative work, consciously acquiring the requisite knowledge of a medium and skill in its use, is extensive and arduous even to repel many from achievement” (Brewster Ghiselin). “Writing a book is a horrible, exhausting struggle, like a long bout of some painful illness. One would never undertake such a thing if one were not driven on by some demon one can never resist or understand” (George Orwell).

To live the life of an artist appeals to millions of people, many envious of artists who they think lead “glamorous, exciting” lives. But that life is especially difficult in ways that other lives are not. “The artist’s life cannot be otherwise than full of conflicts…There are hardly any exceptions to the rule that a person must pay dearly for the divine gift of the creative fire” (Carl Gustave Jung).

To accomplish something noteworthy in art requires that you sacrifice at least one other important activity, person, or goal. The hard and fast rule is: to get, you must give up. “A special ability means a heavy expenditure of energy in a particular direction, with a consequent drain from some other side of life” (Carl Gustav Jung). The artist must take time and think very carefully and decide what he/she is willing to give up. What shall it be–this or that?

Influences on Creative Output

Harbinger by Karin Goeppert

Memory is the most significant key to the creator’s gifts. “The poet above all else is a person who never forgets certain sense impressions which he has experienced and which he can re-live again and again as though with all their original freshness…There is nothing we imagine which we do not already know… And our ability to imagine is our ability to remember what we have already experienced and to apply it to some different situation” (Stephen Spender). All creators in any of the arts and sciences possess this kind of memory.

Creative works are the products of the whole person: intelligence and courage, talents and commitments, and unceasing energy: “It is not what the artist does that counts, but what he is…What interests me is the uneasiness of Cezanne, the real teaching of Cezanne, the torment of van Gogh, that is to say the drama of the man” (Pablo Picasso). “I don’t care who the artist is, if you study him deeply, sincerely, detachedly, you will find that he and his work are one” (Henry Miller).

Creative Vision

Many artistic creations are a result of the creator playing with new possibilities that disregard and shatter society’s sometimes restrictive rules of decorum, conformity, and political correctness. Doing that may lead to a kind of liberation: Novelist Henry Miller wrote, “The world would only begin to get something of value from me the moment I stopped being a serious member of society and became…myself.”

The creator must never sacrifice his or her own vision, or water it down for the sake of acceptance,  whatever the opposition to it or how out of the ordinary it may be, and must never be intimidated by anyone, or live in fear of anything for even a moment.

Beneath the Surface by Karin Goeppert

The artist whose beautiful work is featured in this post is Karin Goeppert (www.karingoeppert.com). She says, “Life is a largely subjective experience; but that subjective experience is my bridge to the objective world. And it’s this synthesis of the two that I am trying to capture.” She says of her inspiration and process: “I love experimenting and want to give my works an individual expression. Most of my works are abstracted from nature but I also do non-objective paintings. I am inspired by the beauty and power of natural phenomena, the mystery of nature, its colors and forms. Every painting is a one-of-a-kind work in which I try to combine feeling and thought.”

 

© 2018 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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A Strategy for Defeating Writer’s Block and Painter’s Block

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

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

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

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

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

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

By Drew Coffman

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

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

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

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

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

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

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

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

Going down deeper, inside and under the block

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

Flipping on a light switch

Going around a wall

Crossing a bridge

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

 

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

 

© 2018 David J. Rogers

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

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Acquiring Creator’s Survival Skills

Whether they are five or seventy-five, beginning creators don’t know the first thing about their craft, but don’t know they don’t know. They’re playing, experimenting, discovering, having fun, and are thrilled to be creating, and that’s enough. Then in time, if they are to become more skilled writers, artists, actors, dancers, and so forth, they will realize they don’t know enough about the craft they’ve now become attracted to more seriously.

They want to get better and be more accomplished and have success. So they strive to learn as much as they can about their craft. That drive to get better and better still, to find their one true voice that activates even their deepest creative potentials, to learn, to reach consistent excellence over a long period of time dominates true creators as long as they live.

The more skillfully advanced creators know a tremendous amount about their craft and at times are capable of unique and extraordinary creative feats that make you gasp. Yet, they are incomplete. They realize there are many other things of a non-technical nature to know, having to do with surviving a creator’s sometimes intense, demanding, troubled, uneasy, or tragic existence. Preparation is the key to creative success, whatever the field. Without survival skills the creator is not fully prepared for a creator’s life.

They acquire survival skills or they do not survive: their career ends prematurely, or they crack up, or their talent abandons them, or the production of work grows increasingly difficult, the ease and effortlessness of the master disappears, leaving in its wake frustration and regret. Horace said that painters and poets alike have always had license to dare anything, but when they lose confidence they become afraid.

Three Stages

Stage I: At the start of their careers, would-be serious creators work as though technique and mechanics aren’t especially important. They have a story to tell, a message to communicate, a vision, and that’s all that counts.  They start out full of naïve optimism. Unless they are creative geniuses who have powerful creative intuition that more than compensates for technical shortcomings the result is that the work they produce suffers from creative ailments.

The execution of the work may be dull, awkward, muddled, and show almost no regard for the audience—a failure of craftsmanship. Successes are few. Possibly there are no successes at all. Creators get depressed and doubt their talent: are they good enough or are they fooling themselves that they can produce work that will please them and please an audience? The root difficulty is being blind and deaf to the need for technical abilities. In time that becomes very clear to creators who may come to realize their technique stinks and needs many improvements.

Stage II: Intelligent creators now turn their attention to acquiring techniques so that their work becomes more coherent, less obscure, and less naïve. Technical abilities take over from inspiration.  Creators become preoccupied with acquiring technical knowledge about their craft and the mechanics of producing quality work. They study to ferret out the secrets of the best in the field, read articles, books, and blogs. They take classes, educate themselves (the principal source of a creator’s expertise), find a mentor, locate good teachers, get involved in a writer’s, artist’s, or actor’s milieu, and may go to workshops, conferences, and retreats. They work hard. Their technical skills do improve. They are better creator this year than they were last year.

Stage III: Then creators realize that technique and mechanics are insufficient–that there are many creator’s survival needs they didn’t anticipate, and are unprepared for, and a whole set of little-discussed survival skills directly related to success and fulfillment that technique can’t help them with.  Serious creators’ lives are full of pressures, strains, dilemmas, quandaries, and problems. Bonnie Feldman was of the same mind when she said in Writing Past Dark: “The bookstores shelves sagged with volumes on technique. A hundred authors explained how to show don’t tell, and why a story needs a conflict. Why hadn’t anyone written a book that would help me?”

What Technique Can’t Help You With

Creator-survivors must be natural, less controlled, less inhibited, less blocked with punishing self-criticism, more expressive and spontaneous. They must be balanced, flexibly-minded, less strained, less anxious–carefree, focused on their work, not themselves –manifestations of good mental health. How otherwise will they ever be able to “snare the spirits of mankind in nets of magic?” Technique will not teach creators those things, yet they are crucial to the writer’s, artist’s, actor’s, and performers’s well-being and productivity.

Technique will not teach you the single greatest survival quality of any successful creative enterprise: a desire to excel that dominates the creator, a need so strong that not much else matters as much. That is an empowering survival skill major creators possess without exception.  Do you possess it?

Technique won’t help you overcome the miseries of self-doubt and discouragement—the creator’s main inner obstacles to success–that dreariness that has ruined tens of thousands of creator’s careers. Technique is terribly important, but it will not teach you the survival quality of simple, unadulterated courage in the face of hurtful setbacks, cruel criticism, and heart-breaking adversity.

Nor will it teach you the necessity of creator’s taking calculated risks, normally the only path to success. It will not teach you the survivor’s drive, high focus, and persistence which may be a more important success factors than brilliant intelligence. These are qualities creators must possess to survive.

Technique will not teach you the daily-needed psychological skills of optimism, powerful motivation, and stamina. Technique will not teach you a single one of psychological and spiritual survival skills that you need to supplement the creative techniques you’ve acquired.

Preparing For Survival

Creators should learn to dialogue among themselves freely, unabashedly, happily in their everyday creative lives about such needed Stage III creator’s inner survival qualities as strength, persistence, will power, commitment, empowerment, sense of purpose, discipline, good creative moods. And ideal creative moods, resilience, enthusiasm, guts, energy and sweat, passion, sacrificing for the sake of your craft, and boldness, doggedness, adaptability, endurance, patience, maintaining at all times a confidence of succeeding, and other dimensions of you, the creator. These inputs will make you a better-prepared.

If you lack those internal skills of the heart and mind you must acquire them just as you acquired creative technique. You can do that. You can acquire survival skills of mindfulness, meditation, and non-attachment.  You can learn to endure rejection and manage stress. You can learn to listen to your body and enjoy your work more. You can become more optimistic and resilient. You can learn tranquility and peace of mind from reading people like the master Vivekananda.  You can read biographies of great creators to see how they overcame adversity. You may wish to read my Fighting To Win which has specific strategies to help you on your path.

Be aware of where you are deficient and what your survival needs are, as “I am not a confident person now; I must work on that.” Then you can set out on a program of self-development designed to better equip you for your chosen creator’s role, your creator’s life path that you may wish to follow till the last breath of your life.

Begin the day by asking, “Am I strong today?” “Will I persist?” “Will I be confident?” “Will I stop doubting my talent?” “Will I adapt and be patient?” “Will I be enthusiastic today?” “Will I be courageous?”

© 2018 David J. Rogers

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

Interview with David J. Rogers

 

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

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

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

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

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

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

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

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

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

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

I want to tell you two stories:

Story One: “The Storekeeper and the Thief”

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

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

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

Story Two: “The Teaman and the Ronin”

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

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

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

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

“No. I wasn’t thinking at all.”

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

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

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

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

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

 

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

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

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

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

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

Option Two: Operating Without a Self-Concept

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

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

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

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

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

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

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

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

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

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

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

 

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

 

© 2017 David J. Rogers

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

Interview with David J. Rogers

 

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

Click on book image to order from Amazon.com

or

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

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

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The Warrior Creator

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

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

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

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

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

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

Japanese Character for Warrior

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

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

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

She said, “I never finished it.”

I said, “You were afraid.”

She said, “I was terrified of it.”

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

The warrior creator is to think what a frail thing life is and is reminded that every day of his/her life may be the last. There is no fear of death. So warrior creators dedicate their lives to the fulfillment of their obligations to others and to themselves. They have an obligation to their art, their craft, and to live with the energy and flexibility that go into a creator’s every work: “Never let the thought of a along life seize upon you, for then you are apt to indulge in all kinds of wasteful dissipation.”

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

 

© 2017 David J. Rogers

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

Interview with David J. Rogers

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

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

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More Inspiration and Information for Creative People

Part 4 in a Series

See also Part 1 and Part 2 & 3

CREATORS WELCOME ALONENESS, LONELINESS

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

 

INTERRUPTIONS, OBSTRUCTIONS, AND TROUBLE ARE A SCOURGE TO CREATORS

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

 

CREATORS ARE COMPLICATED

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

 

CREATORS BETTER ACQUIRE CONSIDERABLE KNOWLEDGE

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

 

CREATORS MUST FIND THEIR AUTHENTIC STYLE, TECHNIQUE, AND VOICE

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

 

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

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

 

CREATORS FOCUS AND WORK HARD

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

© 2017 David J. Rogers

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

Interview with David J. Rogers

 

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

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

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