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Posts by Miranda

Dec 31

4 Comments

Your Creative Intentions: The Monday Post ~ December 31, 2012

“Tomorrow is the first blank page of a 365 page book. Write a good one.”
~Brad Paisley

Creative New Year

As we ring in 2013, there’s no better time to recommit to a regular creativity practice. Regularity — a daily practice, if at all possible — is one of the best ways to stay in touch with how you make meaning. Take stock of 2012 and outline your intentions for 2012. Can a regular creative practice be part of those intentions?

What are your plans for creative practice this week? Given the specifics of your schedule, decide on a realistic intention or practice plan — and ink that time in your calendar. The scheduling part is important, because as you know, if you try to “fit it in” around the edges, it generally won’t happen. An intention as simple as “I will write for 20 minutes every morning after breakfast” or “I will sketch a new still life on Wednesday evening” is what it’s all about.

Share your intentions or goals as a comment to this post, and let us know how things went with your creative plans for last week, if you posted to last week’s Monday Post. We use a broad brush in defining creativity, so don’t be shy. We also often include well-being practices that support creativity, such as exercise and journaling.

Putting your intentions on “paper” helps you get clear on what you want to do — and sharing those intentions with this community is a great way to leverage the motivation of an accountability group. Join us!

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If you’re an artist or writer with little ones, The Creative Mother’s Guide: Six Creative Practices for the Early Years is the essential survival guide written just for you. Concrete strategies for becoming more creative without adding stress and guilt. Filled with the wisdom of 13 insightful creative mothers; written by a certified creativity coach and mother of five. “Highly recommended.” ~Eric Maisel. 35 pages/$11.98. Available for download here

Dec 24

3 Comments

Your Creative Intentions: The Monday Post ~ December 24, 2012

“Art is not an end in itself. It introduces the soul into a higher spiritual order, which it expresses and in some sense explains.”
~Thomas Merton

Monday_Post_December_24_2012

If you celebrate Christmas, you may not be reading this until Boxing Day, at best. Whether or not the Big Guy in Red comes to your house, the latter part of this week is an excellent time to gear up for 2013 and recommit to a regular creativity practice. Regularity — a daily practice, if at all possible — is one of the best ways to stay in touch with how you make meaning.

What are your plans for creative practice this week? Given the specifics of your schedule, decide on a realistic intention or practice plan — and ink that time in your calendar. The scheduling part is important, because as you know, if you try to “fit it in” around the edges, it generally won’t happen. An intention as simple as “I will write for 20 minutes every morning after breakfast” or “I will sketch a new still life on Wednesday evening” is what it’s all about.

Share your intentions or goals as a comment to this post, and let us know how things went with your creative plans for last week, if you posted to last week’s Monday Post. We use a broad brush in defining creativity, so don’t be shy. We also often include well-being practices that support creativity, such as exercise and journaling.

Putting your intentions on “paper” helps you get clear on what you want to do — and sharing those intentions with this community is a great way to leverage the motivation of an accountability group. Join us!

:::::::

If you’re an artist or writer with little ones, The Creative Mother’s Guide: Six Creative Practices for the Early Years is the essential survival guide written just for you. Concrete strategies for becoming more creative without adding stress and guilt. Filled with the wisdom of 13 insightful creative mothers; written by a certified creativity coach and mother of five. “Highly recommended.” ~Eric Maisel. 35 pages/$11.98. Available for download here

Dec 17

4 Comments

Your Creative Intentions: The Monday Post ~ December 17, 2012

“Some people use things; they destroy. You’re a creator, a builder.”
~Amelia Atwater-Rhodes

Monday Post Frosted Leaves

Despite the holiday mania, stay committed to your regular creativity practice. Regularity — a daily practice, if at all possible — is one of the best ways to stay in touch with how you make meaning.

What are your plans for creative practice this week? Given the specifics of your schedule, decide on a realistic intention or practice plan — and ink that time in your calendar. The scheduling part is important, because as you know, if you try to “fit it in” around the edges, it generally won’t happen. An intention as simple as “I will write for 20 minutes every morning after breakfast” or “I will sketch a new still life on Wednesday evening” is what it’s all about.

Share your intentions or goals as a comment to this post, and let us know how things went with your creative plans for last week, if you posted to last week’s Monday Post. We use a broad brush in defining creativity, so don’t be shy. We also often include well-being practices that support creativity, such as exercise and journaling.

Putting your intentions on “paper” helps you get clear on what you want to do — and sharing those intentions with this community is a great way to leverage the motivation of an accountability group. Join us!

:::::::

If you’re an artist or writer with little ones, The Creative Mother’s Guide: Six Creative Practices for the Early Years is the essential survival guide written just for you. Concrete strategies for becoming more creative without adding stress and guilt. Filled with the wisdom of 13 insightful creative mothers; written by a certified creativity coach and mother of five. “Highly recommended.” ~Eric Maisel. 35 pages/$11.98. Available for download here

Dec 13

8 Comments

Coach, You Gotta Walk the Talk

CommunityAs a creativity coach, I have an obligation to walk the talk. It’s important to me that my coaching strategies come not just from training and books, but from real-life experience and an active personal practice. If I were to champion the virtues of an early morning creative practice, for example, while I was secretly sleeping until noon and hadn’t flexed a creative muscle in years, I’m pretty sure that most of you would call me a fraud. And I’d have to agree.

In this vein, I recently came to an important decision.

I often work with clients who struggle with extreme shortages of time but are seemingly unable to edit anything out of their schedules. Looking in as an outsider, it’s not hard for me to identify items that might merit the chopping block in order to free up time for creative work. While I can make gentle suggestions, ultimately, those decisions can’t come from me; they have to come from the client’s own shifting perspective. That shift requires looking at everything with openness and a willingness to see beyond “I can’t.”

This year, like many of my clients, I found myself in the position of having too much to do — way too much to do — and being unable to see how I might do less. “But it’s all good, important, relevant stuff!” I told myself. “I’ve already gotten rid of the obvious things!” (Volunteering for the PTA, for example. Duh.)

Many of you know that in January of this year, I opened Open Studio Groton, a brick-and-mortar studio here in Massachusetts, with my dear friend and business partner Ellen Olson-Brown. Open Studio was launched as a place where people in our community could connect, create, and grow. Looking back over the year, we have an amazing collection of successes to celebrate. Connections have been made over ideas, projects, and conversations. Artwork, manuscripts, businesses, friendships — all were created in our cozy little space. Individuals connected and grew in their own ways: some developed into stronger writers through our writers’ workshops and writers’ groups, some became more flexible yogis through Buddha Nest Yoga, some enjoyed our other diverse offerings, from blacksmithing to writing a personal creed. Four talented artists had shows in our space. Personal friendships were formed; our community grew stronger.

To our surprise, our little experiment turned out to be sustainable. We hit the black in late spring, even while we were still refining our elevator speech. (“What *is* Open Studio, anyway?”) But over the months, we often scrambled to keep all of our many studio balls in the air. The marketing alone, as with any business, was a considerable undertaking. (“Crap! I need to write that press release within the hour!”) Other areas of my life were neglected this year. One of you dear readers even wrote to me to inquire about what happened to my formerly monthly newsletter — which was just one of several sacrifices (my garden, my sanity, and the folding of clean laundry were a few others) that I didn’t want to make.

Ellen and I both have other businesses to take care of (in addition to coaching I own an editorial services business — and Ellen is a children’s book author and children’s yoga instructor). Open Studio made so much sense, bringing together so many of our passions — and it still makes sense. But in the space of a week this fall, we went from planning 2013 to acknowledging that if the two of us wanted to stay sane, we needed to pull back, take stock, and reaffirm our primary commitments.

It isn’t easy to let go of something when it’s relevant to your life work, the community supports your efforts, and you’ve already launched on your planned trajectory. But the inescapable truth is that there are only 168 hours in the week. When there are too many things to fit in your box, you have to take something out. In this instance, you can’t actually get a bigger box. It’s really that simple.

And so it became clear that while the studio as a business is sustainable, the time that it requires on both of our parts is not. As I sometimes remind clients, “You can have it all, just not all at once.” My threshold for investing personal energy — and time — has to have a finer filter. Because energy, like time, is finite. I am committed to my personal writing practice. I am committed to my coaching work. I am committed to my editorial business. I am committed to my family. I am committed to myself: reading, yoga, breathing. I am committed to moving slowly enough that I can savor where I’m at. Because if I’m not savoring, what’s the point?

The studio will close on December 31 and Ellen and I will turn with renewed focus to all the other things requiring our attention. But we’ll have a few more ounces of focus at our disposal, and a few more minutes at hand. Hopefully, we’ll do a better job with everything that remains. Most importantly, we’ll celebrate the success of 2012, and affirm the value of doing a little less — and doing it well.

Oh, and by the way. Stay tuned for my next newsletter. 😉

(Ellen Olson-Brown contributed more than a few words to this post. Thanks, E.)

Dec 10

4 Comments

Your Creative Intentions: The Monday Post ~ December 10, 2012

“Nothing is so contagious as enthusiasm.”
~Samuel Taylor Coleridge

Monday_Post_bokeh_December_10_2012

This is the moment to deepen, or commit to, your regular creativity practice. Regularity — a daily practice, if at all possible — is one of the best ways to stay in touch with how you make meaning.

What are your plans for creative practice this week? Given the specifics of your schedule, decide on a realistic intention or practice plan — and ink that time in your calendar. The scheduling part is important, because as you know, if you try to “fit it in” around the edges, it generally won’t happen. An intention as simple as “I will write for 20 minutes every morning after breakfast” or “I will sketch a new still life on Wednesday evening” is what it’s all about.

Share your intentions or goals as a comment to this post, and let us know how things went with your creative plans for last week, if you posted to last week’s Monday Post. We use a broad brush in defining creativity, so don’t be shy. We also often include well-being practices that support creativity, such as exercise and journaling.

Putting your intentions on “paper” helps you get clear on what you want to do — and sharing those intentions with this community is a great way to leverage the motivation of an accountability group. Join us!

:::::::

If you’re an artist or writer with little ones, The Creative Mother’s Guide: Six Creative Practices for the Early Years is the essential survival guide written just for you. Concrete strategies for becoming more creative without adding stress and guilt. Filled with the wisdom of 13 insightful creative mothers; written by a certified creativity coach and mother of five. “Highly recommended.” ~Eric Maisel. 35 pages/$11.98. Available for download here

Dec 3

7 Comments

Your Creative Intentions: The Monday Post ~ December 3, 2012

“At night, never go to bed without knowing what you’ll write tomorrow.”
~Ernest Hemingway

Winter Sunrise on Fields - Frosty Dawn

This is the moment to deepen, or commit to, your regular creativity practice. Regularity — a daily practice, if at all possible — is one of the best ways to stay in touch with how you make meaning.

What are your plans for creative practice this week? Given the specifics of your schedule, decide on a realistic intention or practice plan — and ink that time in your calendar. The scheduling part is important, because as you know, if you try to “fit it in” around the edges, it generally won’t happen. An intention as simple as “I will write for 20 minutes every morning after breakfast” or “I will sketch a new still life on Wednesday evening” is what it’s all about.

Share your intentions or goals as a comment to this post, and let us know how things went with your creative plans for last week, if you posted to last week’s Monday Post. We use a broad brush in defining creativity, so don’t be shy. We also often include well-being practices that support creativity, such as exercise and journaling.

Putting your intentions on “paper” helps you get clear on what you want to do — and sharing those intentions with this community is a great way to leverage the motivation of an accountability group. Join us!

:::::::

If you’re an artist or writer with little ones, The Creative Mother’s Guide: Six Creative Practices for the Early Years is the essential survival guide written just for you. Concrete strategies for becoming more creative without adding stress and guilt. Filled with the wisdom of 13 insightful creative mothers; written by a certified creativity coach and mother of five. “Highly recommended.” ~Eric Maisel. 35 pages/$11.98. Available for download here

Nov 30

3 Comments

Panster versus Plotter

planning_the_journeyDuring November, the interwebs were abuzz with National Novel Writing Month (NaNoWriMo), the literary marathon during which participants bang out a 50,000-word novel in 30 days. A debate always emerges during NaNoWriMo, centered on a process question that is relevant to writers and artists alike. Which is better: pantser, or plotter?

A pantser, as the name implies, is one who flies by the seat of his or her pants. No outline, no roadmap, no limits. Pantsers feel constrained by outlines; many say that planning strips away their creative mojo. On the flip side, plotters prefer to know precisely which direction they’re headed in. A plotter novelist might produce a full set of index cards with each scene in bullet points before relaxing into the writing process. Writers in either camp vehemently defend their preferences (just google “pantser versus planner” and see for yourself).

Of course, neither approach is inherently better than the other. You need to do what works best for you. But sometimes we get stuck in what we think we “should” do, or what we learned from a mentor’s example, or what seems more legitimate. When that happens, it can be difficult to adopt the other method, even if it might be to our benefit.

The only way you’ll really know what works best for you is to try both. If the idea of planning your fiction feels frightening, give it a go. You might find inspiration in the clarity that an outline brings. And if you tend to plan the composition of your painting down to the last square centimeter, you might try purely intuitive work and see if that unlocks anything new.

The value of knowing if you’re a pantser or a plotter by nature—or if you fall somewhere in between—is that understanding your authentic process is part of your identity as an artist or writer. The more you understand (and anticipate) how you work, the more confident you become, and the more you are able to invest in your process rather than the outcome.

What works for you? (And if you participated in this year’s NaNoWriMo, hearty congratulations!)

This piece was originally published in Creativity Calling, the newsletter of the Creativity Coaching Association.

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Nov 26

9 Comments

Your Creative Intentions: The Monday Post ~ November 26, 2012

“If you can give your child only one gift, let it be enthusiasm.” ~Bruce Barton


This is the moment to deepen, or commit to, your regular creativity practice. Regularity — a daily practice, if at all possible — is one of the best ways to stay in touch with how you make meaning.

What are your plans for creative practice this week? Given the specifics of your schedule, decide on a realistic intention or practice plan — and ink that time in your calendar. The scheduling part is important, because as you know, if you try to “fit it in” around the edges, it generally won’t happen. An intention as simple as “I will write for 20 minutes every morning after breakfast” or “I will sketch a new still life on Wednesday evening” is what it’s all about.

Share your intentions or goals as a comment to this post, and let us know how things went with your creative plans for last week, if you posted to last week’s Monday Post. We use a broad brush in defining creativity, so don’t be shy. We also often include well-being practices that support creativity, such as exercise and journaling.

Putting your intentions on “paper” helps you get clear on what you want to do — and sharing those intentions with this community is a great way to leverage the motivation of an accountability group. Join us!

:::::::

If you’re an artist or writer with little ones, The Creative Mother’s Guide: Six Creative Practices for the Early Years is the essential survival guide written just for you. Concrete strategies for becoming more creative without adding stress and guilt. Filled with the wisdom of 13 insightful creative mothers; written by a certified creativity coach and mother of five. “Highly recommended.” ~Eric Maisel. 35 pages/$11.98. Available for download here

Nov 19

3 Comments

Your Creative Intentions: The Monday Post ~ November 19, 2012

“Thanks for this day, for all birds safe in their nests, for whatever this is, for life.” ~Barbara Kingsolver

This is the moment to deepen, or commit to, your regular creativity practice. Regularity — a daily practice, if at all possible — is one of the best ways to stay in touch with how you make meaning.

What are your plans for creative practice this week? Given the specifics of your schedule, decide on a realistic intention or practice plan — and ink that time in your calendar. The scheduling part is important, because as you know, if you try to “fit it in” around the edges, it generally won’t happen. An intention as simple as “I will write for 20 minutes every morning after breakfast” or “I will sketch a new still life on Wednesday evening” is what it’s all about.

Share your intentions or goals as a comment to this post, and let us know how things went with your creative plans for last week, if you posted to last week’s Monday Post. We use a broad brush in defining creativity, so don’t be shy. We also often include well-being practices that support creativity, such as exercise and journaling.

Putting your intentions on “paper” helps you get clear on what you want to do — and sharing those intentions with this community is a great way to leverage the motivation of an accountability group. Join us!

:::::::

If you’re an artist or writer with little ones, The Creative Mother’s Guide: Six Creative Practices for the Early Years is the essential survival guide written just for you. Concrete strategies for becoming more creative without adding stress and guilt. Filled with the wisdom of 13 insightful creative mothers; written by a certified creativity coach and mother of five. “Highly recommended.” ~Eric Maisel. 35 pages/$11.98. Available for download here

Nov 15

11 Comments

Writer’s Block: Fact or Fiction?

Writer’s block. Whether or not you’re a writer, as a creative person you know what it feels like to be paralyzed by the page, the canvas, the studio — completely unable to move forward. Whether you feel bereft of ideas and inspiration or are simply unable to realize an existing project, banging your head against your creative work doesn’t ever feel good.

As a creativity coach, I can tell you that the best protection against writer’s block is to show up and do your creative work every day, on schedule. (Those of you who are doing NaNoWriMo this year know that you don’t have the luxury of being blocked.) The force of habit is a powerful antidote for creative paralysis.

But sometimes a block does seem insurmountable. You show up, install your butt in the chair, and gnash your teeth for two hours. You find yourself doing anything and everything aside from your creative work. You spend so much time doing “research” on the web that you can’t even remember what you’re researching. Suddenly you find yourself reading about how yellow was an exceptionally popular color among Latvian car buyers in 1982 and realize just how far you’ve sunk.

Now, if you’ve been procrastinating for months/years, then you’re not doing your work at all, which is a different topic. But what if you are doing your work, merrily rolling along, and then one day — BAM! — you can’t dredge up so much as a line of prose or a square inch of canvas? What’s going on? Should you plow on through with your eyes closed, or give yourself space to percolate and breathe?

I was struck by these two contrasting views of writer’s block:

Toni Morrison: “When I sit down in order to write, sometimes it’s there; sometimes it’s not. But that doesn’t bother me anymore. I tell my students there is such a thing as ‘writer’s block,’ and they should respect it. You shouldn’t write through it. It’s blocked because it ought to be blocked, because you haven’t got it right now.

Thomas Mallon: “My prescription for writer’s block is to face the fact that there is no such thing. It’s an invented condition, a literary version of the judicial ‘abuse excuse.” Writing well is difficult, but one can always write something. And then, with a lot of work, make it better. It’s a question of having enough will and ambition, not of hoping to evade this mysterious hysteria people are always talking about.”

What do you think? I’ve generally been of the mind that there’s no block that can stand up to the bulldozer of a 500-word daily quota. But in recent months, I too have had days when even 500 words were impossible. I had to wait out torture at the keyboard (literally, on my wordcount log, I wrote “hours of torture” next to my piddly 62 words for the day). Thankfully, those periods pass and invariably I return to flow. Still, more often than not, I think there’s a danger in giving writer’s block more credit than it deserves. It becomes too easy to shrug off our work when it gets difficult. Of course it’s difficult; it wouldn’t be worth doing if it were easy, would it? Hitting an uncomfortable patch doesn’t mean that we need to put a “gone fishing” sign on the door and tell ourselves to wait for the muse to return.

As Jodi Picoult put it, “Writing is total grunt work. A lot of people think it’s all about sitting and waiting for the muse. I don’t buy that. It’s a job. There are days when I really want to write, days when I don’t. Every day I sit down and write.”

And one of my favorites, from William Faulkner: “I only write when I am inspired. Fortunately I am inspired at 9 o’clock every morning.”

What’s your view of writer’s block? Where, in your opinion, is the line between being at a creative crossroads and merely giving in to another excuse to avoid your work?

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Nov 12

16 Comments

Your Creative Intentions: The Monday Post ~ November 12, 2012

“Without passion, all the skill in the world won’t lift you above craft. Without skill, all the passion in the world will leave you eager but floundering. Combining the two is the essence of the creative life.” ~Twyla Tharp


This is the moment to deepen, or commit to, your regular creativity practice. Regularity — a daily practice, if at all possible — is one of the best ways to stay in touch with how you make meaning.

What are your plans for creative practice this week? Given the specifics of your schedule, decide on a realistic intention or practice plan — and ink that time in your calendar. The scheduling part is important, because as you know, if you try to “fit it in” around the edges, it generally won’t happen. An intention as simple as “I will write for 20 minutes every morning after breakfast” or “I will sketch a new still life on Wednesday evening” is what it’s all about.

Share your intentions or goals as a comment to this post, and let us know how things went with your creative plans for last week, if you posted to last week’s Monday Post. We use a broad brush in defining creativity, so don’t be shy. We also often include well-being practices that support creativity, such as exercise and journaling.

Putting your intentions on “paper” helps you get clear on what you want to do — and sharing those intentions with this community is a great way to leverage the motivation of an accountability group. Join us!

:::::::

If you’re an artist or writer with little ones, The Creative Mother’s Guide: Six Creative Practices for the Early Years is the essential survival guide written just for you. Concrete strategies for becoming more creative without adding stress and guilt. Filled with the wisdom of 13 insightful creative mothers; written by a certified creativity coach and mother of five. “Highly recommended.” ~Eric Maisel. 35 pages/$11.98. Available for download here

Nov 7

1 Comment

Quantity versus Quality: A Tale of Two Artists

Canadian painter Robert Genn has a twice-weekly newsletter that I always enjoy. While Genn writes primarily about painting, his thoughts apply to any creative pursuit, including writing — and we’ve reposted his letters here several times before. The gem below, which illustrates the importance of practice and gets to the heart of what “success” really means, is reprinted by permission.

Because this is a bit personal, I’m not using their real names. They’re both about 40 years old.

“Jack” got a BFA and then an MFA from a Midwestern University. He’s visited many of the major contemporary art museums and follows the work of several “important” contemporary painters. He’s written articles on Philip Guston and others. He subscribes to several art magazines and is “the most knowledgeable art-guy in any discussion.” After university he worked for a while in a commercial art gallery. He sometimes writes me long, well-informed letters. He’s painted eleven large paintings (two unfinished) since leaving school. He’s not represented by any gallery. He thinks you need to move to New York and “get lucky” with a dealer who “really represents you.”

“Jill” took two years of art school and then quit. She pays little attention to other artists. She subscribes to no art magazines but has taken several workshops. Her hobbies include bowling and travelling. At one time she also worked in a commercial art gallery. On two or three occasions she’s written to me. She’s painted “approximately two thousand paintings” since leaving school. She’s represented by four commercial galleries in four, well-separated mid-sized cities.

There’s a great story in David Bayles and Ted Orland’s Art and Fear. Here it is: 

“The ceramics teacher announced on opening day that he was dividing the class into two groups. All those on the left side of the studio, he said, would be graded solely on the quantity of the work they produced, all those on the right solely on its quality. His procedure was simple: On the final day of class he would bring in his bathroom scales and weigh the work in the “quantity” group: fifty pounds of pots rated an “A,” forty pounds a “B,” and so on. Those being graded on “quality,” however, needed to produce only one pot — albeit a perfect one — to get an “A”. Well, came grading time and a curious fact emerged: the works of the highest quality were all produced by the group being graded for quantity. It seems that while the “quantity” group was busy turning out piles of work — and learning from their mistakes — the “quality” group had sat theorizing about perfection, and in the end had little more to show for their efforts than grandiose theories and a pile of dead clay.”

Best regards,

Robert

PS: “Artists get better by sharpening their skills or by acquiring new ones; they get better by learning to work, and by learning from their work.” (David Bayles and Ted Orland)

Esoterica: Both subscribers Jack and Jill are thoughtful and enthusiastic artists. Art is central to their lives. And while success and “being able to function as a full time artist” may not be important to some of us, their current situations are quite different. Jack rents an apartment and makes $2,150 per month (plus tips and benefits) as an airport porter. Jill works daily in her converted garage in a home she now owns. These days she’s averaging $18,000 per month. She has “no benefits.”

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Don’t miss the treasure trove of Genn’s letters here.

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