It’s a perennial trope that working hard is the only way to get ahead, or be successful—whatever that means in a hundred variations. But some people work hard for a little while and not after, yet still maintain a success rate. Some just get lucky. Some keep working hard no matter how successful they get.
If we never get lucky (enough), what then?
I think it’s important—or rather, it’s meaningful to keep working. But how hard you work is relative. I think what matters most is that you do it. You can always adjust the effort to suit. Because how can you adjust nothing, or get cosmic dice rolling on an empty set?
Work some. We can discuss how hard that needs to be.
Basically, any inch you give will let the dopamine-hungry part of you reach for the easy hits. It’s hard to convince my tired, post-work frazzled self that finishing a creative task will yield a way more satisfying wave of the stuff, but the Internet is heroin.
I just try to keep it in mind. Maybe gradually, pushing back as steadily as you can, you’ll gain a foothold. It feels better, man.
No post actually got uploaded yesterday due to some network issues on my end at home. It does point out the challenges of a consistent daily posting scheme. I’m a bit at the mercy of the Internet gods.
But what’s important, of course, is creating every day, not what makes it to published stage. Cory Doctorow talks frequently about his discipline of a writing schedule. In retrospect, just as he can’t tell which days he felt like he was writing well and which he felt he was writing poorly, I doubt I or anyone else could tell which posts were dashed off very late or after an outage when looked at without dates. The muse and our deftness comes and goes, so we might as well keep the routine internally.
Saying “it could be worse” can invalidate emotions and circumstances. It not that you want to try to always be positive. But “things can only get better” isn’t superior. That’s unrealistic and possibly harmful, too.
But if you say one, remember the other is just as valid. It’s a tempering move, something to brace against while you tackle to tough, real world with your soft feelings and ideas. Feel your feelings and keep moving along, move forward, move even though you’re afraid. Make stuff and make the next stuff better than this stuff. Sometimes that’s enough.
There’s no shortage of creativity coaches out there. Advice abounds on techniques and tools, finding styles, getting inspired and so on. I don’t think it’s stated enough that you should finish your things. People really do get stuck in attempts to make the best thing they can make.
In art school, you often have no choice about finishing pieces, because there’s a bloody deadline breathing down your neck with a fearsome fiery breath, and you’re going to damn well get your ass in gear. I think this is an advantage to paying money for art school. You get a set of projects and have to complete them.
I tend to believe you should:
Work. Exercise your praxis. Do the thing.
Finish the stuff you begin.
Make another thing.
It’s totally true that a lot of would-be artists/writers/musicians never get anything done because they can’t start. They’re so wrapped up in the vision and their (imagined) inability to match it, fear stops them cold. They’re the Never-Good-Enoughs.
Then there are those who start a boatload of things because, hey, art! But they never finish them because it’s hard to get through the boring middle part where you realize it’s a hell of a lot of work to complete things. These are the Forever-Beginners.
One secret I learned pretty fast is that your finished piece will never match your vision—except in extraordinarily rare circumstances. The artists who get a lot of shit done are very okay with this fact, and by getting a lot of stuff done, ironically, they get ever closer to matching their vision to their work.
it happens gradually, but you need things to compare to, and there’s nothing that shows your progress more than the thing you made three years ago, if you kept making things along the way. This is being simply an artist. You’ll learn how long you should take on a piece the more you make.
It’s not that Christmas and Hanukkah and the rest are oppressive, thought for some they are. We have the joy of the season, but there are some amount of blues that come along with cold air and holiday music.
Our job is to keep shifting those feelings into our work. Once anything is a part of your process, whatever you’re feeling is your new platform. Stand there and make the new thing.