In the last chapter of Art and Fear, the authors share the reason for writing the book.  They were curious as to why so many artists quit doing their art, especially once they obtained their schooling.  Making a list of the reasons, they saw an opportunity to share with others their findings.  The book of Art and Fear has been about confronting the obstacles or difficulties one may find with any part of being on an artist path.  From the beginning recognizing social messages about "what is an artist?" to making an income from art, to having a studio, the loneliness or lack of social support, doing art alone.  The authors questioned why artists need to do art alone.  Other questions also emerged, such as pondering the why’s behind when some artist quit.  Recognizing the lack of vocabulary to assist one with the learning of how to become an artist, is different with the vocabulary one learns in how to draw.  The focus of the book has been to encourage the artist to become aware of these hidden obstacles, and to allow ones own work to be explored.  If one reviews a body of work, patterns emerge, and often a person continues to follow the patterns.  The authors strong encouragement to an artist is to focus one’s work on the things they care about.  To follow curiosity, let it lead one to discover what’s meaningful enough to pull forth through the world of art. 


I encourage you to buy a copy of Art and Fear for a better understanding of your own creative process.  Whether you're a master artist or beginning artist, this is an excellent book.

The authors use this chapter to review conceptual words within an art world, looking to clarify the meanings of:  IDEAS & TECHNIQUE - Ideas and techniques are two areas often confusing for artists.  The authors clearly state that while ideas maybe easy to bring forth, the techniques in which to express these ideas, take time to develop and master.  And sometimes an artist confuses their discovery about their art growth with ONLY focusing on the learning of techniques rather than expressing their own ideas.  The authors believe it is easier to practice technique than to give form to new ideas.   As the authors share “it’s easier to paint the angel’s feet of a master’s artwork than to discover where the angels live within yourself.”  Fear and doubt play a role in limiting an artist ability to express the ideas.  Yet the burden for the artist is to develop the awareness to produce artwork from one’s ideas, through a practice.  The authors remind the reader they find this more appealing rather than providing artwork to show off technique.  CRAFT - While craft and art are often separated in the art making world, the authors give a clearer definition of the two.  Within craft there is a perfection as the same creative act is repeated.  Art is the expression of one’s idea, not necessarily repeated.  For example the authors ask if the Mona Lisa is craft or art.  A copy of the Mona Lisa would be craft, not art.  As the original piece of artwork was an expression of an idea from an artist. Craft is not bad or wrong.  The point the authors are making, is that it is not the job of the artist to make perfection.  It is the job of the artist to express an idea.  For the artist, their work is but an expression.  For craft’s task is to produce perfection over and over.  NEW WORK - While any artist with a body of work can review their earlier pieces of work, the authors suggest that often at times, an artist may see their earlier work as immature.  The artist may become embarrassed by it; being made by a younger, more naive person than where the artist is today.  And while the artist is correct, this judgment the authors share is a normal part of the process of artistic maturity.  Bayles/Orland recommend reviewing older artwork to identify what one was paying attention to at that time of the artist’s earlier development.  And to review their newest work to see what one may not be paying attention to previously.  CREATIVITY - the authors seem to not like the word creativity as it may imply that some people have creativity and others don’t.  They did not use the “c” word in any of their book.  HABITS - While habits help one respond to the familiar automatically, habits also provide the freedom to select what one wants to see.  Habits are a style within one’s artwork — they show off reliable and developed techniques.  While some may view these habits with a good/bad lens, the authors suggest to see habits as providing the sustaining structure within all work.  An artist’s style will permeate throughout a body of work.  ARTS & SCIENCE - The authors remind the reader of the differences within the arts and sciences - as art and science outputs depend upon the questions asked.  While a science experiment can be repeated with accuracy, making the same art piece is not the same.  The experiences, the materials, the artists are different.  The authors use the example of “no one else will ever be in the same position to write Hamlet.”  The time, the materials, the experiences, the artists are different.  Thus in an altered world, our world is altered. And they remind the reader that “the world we see today is the legacy of the people noticing the world and commenting on it in forms that have been preserved.”  SELF-REFERENCE - every piece of art is unique.  And most often is autobiographical.  The authors give examples of Beethoven’s Moonlight Sonata being woven into Shostakovich Opus 147; Escher’s drawing of his hands, drawing hands; and, the differences between Rembrandt’s and Jackson Pollock’s applications of paint … all unique, all recognizable.  They remind the reader, each artist is but a custodian of issues larger than themselves, but that what art they do make, demonstrates what’s important to the artist.  METAPHOR - Becoming aware of things about one’s self, one's style, methods, and what one pays attention to becomes but an expression upon the artist’s canvas. 

I encourage you to buy a copy of Art and Fear for a better understanding of your own creative process.  Whether you're a master artist or beginning artist, this is an excellent book.

The authors breakdown Chapter 7 with regards to the academic world of art into three areas - faculty, student, and books on art.  The general focus for this chapter is to bring attention to the reader the perils of how these three areas impact the academic field.  As for teaching or instructing in artmaking, the authors share some obstacles which are seldom acknowledge from within a structured educational process.  These two areas are -1) the student who is striving to gain an education to produce their best artwork and get an art job, and 2) an instructor who is striving to share the information of how one makes their best artwork, all the while, still producing artwork for themselves. 

While there’s no one right way to learn art making, the socially approved path they are questioning in this chapter is the logic of obtaining a higher educational degree in art.  The authors lay out their concerns in this manner as they see a cycle perpetuated over and over —  While a student might learn under the nurturing space of having the freedom to make their art while attending school, upon graduation they would need to find a job.  Not many jobs for full time artist.   Artists tend to be self-employed or end up turning to "sales jobs" in order to make an income.  They create by doing other people’s art, using their skills but not in a full-filling way to complete their own artwork.  Or they turn to teaching art, as their higher degree gives them the credibility to do so.  Then their focus begins to change with building the resume to get the prestigious art job.  While self-employment or teaching careers are typical, they don’t stay doing their artwork as the authors state - “the discouraging truth is that the rest of the world neither cares whether you make art, nor has much interest in buying it if you do.”  Society does not view making art as a real job, as some consider having a real job comes with a salary.  However there is one job that society does value for artists — teaching.  And the cycle begins again.  

The authors frustrated by how books on art rarely share about the making of art, but more are focused on the "genius" of art makers.  They suggest this is an area that may mislead potential artists in directions more toward not making art as they might compare themselves to what they are viewing in the book.  The artwork in books are meant to be inspirational to those who read art books.  Yet too often, one becomes discourage as they do not learn the HOW of making the artwork that is portrayed the books.  The premise, they see, is to admire the “genius" of the artist and their artwork.  The authors redirect the reader to focus on their OWN voice, their OWN art, and taking the courage of association with other artists to release their potential creative offspring.  The authors point out that most art books focus on genius of a particular artist but do not discuss how to find your own inner voice or portray it. 


I encourage you to buy a copy of Art and Fear for a better understanding of your own creative process.  Whether you're a master artist or beginning artist, this is an excellent book.

In Chapter 6, the authors focus on the everyday, ordinary problems what they call "the outside world."  They distinguish the outside world as where the completed artwork begins its journey.  And these have their own set of problems which are common with all completed artwork.  When an artist begins their work, what sits in the background is the audience for tomorrow.  Their intention with this chapter is to bring the reader awareness to support the development and growth of the artist, as some artist prepare for the audience, as it is safer and more reliable to make art that will be accepted, rather than make artwork that may be rejected or censored.   They also caution the reader that in finding a healthy artwork community is rare as competition may be difficult waters to navigate through.  Healthy artists, they remind, are one that "fulfills their own potential,"  and uses competition to make their artwork better.  They are not in competition with other artists.  One common obstacle within competition is the measurement of where an artist stands within their community.  They suggest to use competition to gauge one's own artwork, not for better or worse, but for "ways in which it is similar or different," to previous works of one's own artwork to see how the artist is developing.

I encourage you to buy a copy of Art and Fear for a better understanding of your own creative process.  Whether you're a master artist or beginning artist, this is an excellent book.

Chapter Five begins with a reminder to the reader to be aware of what one puts into their artwork ...shows.  If one hold back, hesitations keep them from making art.  One has to be clear of their intentions to order to build the muscles of "informed passion," that is where one finds themselves in full acceptance of any obstacle presenting itself.  Rarely does one's artwork at a finished product looks like it did when conceived.  Creativity is evolving with ideas, experiences, materials, etc.  And even the obstacles may influence one's artwork.  The authors remind the reader that artwork is bound by where it is in that moment.  Part of the creative process for many artists is an absence of creative flow.  To help the reader get back they suggest playing, being around a creative community, reviewing obstacles/disappointments, or old materials.  But more importantly, to return to the daily habits of practicing play and exploration.  They authors also suggest to the reader to review the tools they use to make art, as the familiarity may keep them stuck.  Keep finding the artwork which wants to released.   Keep diligent to the artwork one is meant to do. 

I encourage you to buy a copy of Art and Fear for a better understanding of your own creative process.  Whether you're a master artist or beginning artist, this is an excellent book.

Art rarely emerges from committees, the authors suggest. Where art loses the potential to take form is within the artist’s perception of how others will receive their work, and confusing another person's priority with their own.  Real or imagined, the critic is with us constantly. We carry within our own heads, these imagined voices and societal views of what art is or is not. Each paralyze an artist to make new and unique pieces of work. The problem has been to not only teach art, but to teach how to view the critics; the criticism anticipated is not personal.  It is through understanding, acceptance, and approval in which artists learn how to move beyond the critic’s grip of holding back potential.

To be understood is a basic human need.  And when one caters to the fears of others, they become dependent upon the audience for approval of their art making.  In the process, the artist does not follow their own path but rather fall into patterns of resistance.  There are easy ways to find acceptance by making art that others want rather than exploring the new worlds one's imagination may present.  The authors caution this is not a sustaining course of action as it may stunt the artistic development.  They also give a clear distinction between acceptance and approval - "acceptance means having your work counted as the real thing; approval means having people like it."  As these two go hand-in-hand, they throw this back to an "audience-related issues."  Meaning, when the control for approval and acceptance is left external, rather than internal -- the artist accepts and approves of the art, there is less likely a rejection would affect the artist.  Again the authors caution the artist to not court approval of others as it sets up the artist to continue on work on artwork to please others. 

I encourage you to buy a copy of Art and Fear for a better understanding of your own creative process.  Whether you're a master artist or beginning artist, this is an excellent book.

The authors in chapter 3 on Fears About Yourself outline their understanding of how to review these fears that pop up in the beginning of any creation.  Fears fall into two categories: 1) fears about yourself (your abilities, who you are, etc.), and 2) fears about your reception of your artwork (how your artwork will be viewed by others).  For some, fears may prevent them from doing their best work.  And the fears one has about how others may see their work, also limit their own work.  Again, a focus on the product of artwork, not the process of making art, prevents someone from doing their best work as their attention is only on the outcome.  

The chapter provides a quick understand of how some fears —  pretending, talent, perfection, annihilation, magic, and expectations — are all illusions preventing the artist from doing their best work.  One suggestion the authors give is to “ask your work what it needs, rather than asking what you need.” As a person’s work lets them know what they need within their working methods, their discipline to their work, their strengths and weaknesses, their habits, and their willingness to embrace what shows up.  The authors give some quick suggestions on these fears:

• PRETENDING: keep pretending until you know, keep doing the work
• TALENT: the concept of talent is a delusion; keep learning from your work
• PERFECTION: Perfection invites paralysis. Imperfection is a common ingredient within all artwork. 
• ANNIHILATION: stay aware of old messages feeding you are nothing when artwork is not produced; you are never nothing.  Continue to make QUANTITY of artwork, as you have a higher likelihood of making quality. 
• MAGIC:You don’t need to have what other artists have; you need to have what you have.  Do your work.
• EXPECTATIONS: Unrealistic expectations are everywhere in life; expectations about the artwork provides messages in what you do make.  Look there for a guide to competence.  

And finally, there are lessons to earn from these perceived fears about your artwork.  Ask the work what it needs rather than what you need.  Set aside your fears, listen and learn.

I encourage you to buy a copy of Art and Fear for a better understanding of your own creative process.  Whether you're a master artist or beginning artist, this is an excellent book.

To survive as an artist, the authors suggest, confronting the fears that have been pervasive.  Most people quit even before they begin. Yet what is common is the emotional ground they all stand upon -- FEAR, the perception of the unknown.  Artist who have moved past this emotional field, on to a higher understanding, have learned how NOT to quit in spite of the the fearful routines.  For some artists embrace curiosity consistently to move within their work. Fear, as the authors suggest, will alway be part of this cycle for a new idea.  Stopping and starting are part of the process. Quitting is much different than stopping…as quitting only happens once. The stop/start is part of the process of developing a piece of artwork.  One might not have all the access to the data needed to finish the piece.  

The authors further suggest an artist QUITS when they lose the destination for their work... A place where their artwork belongs.  One place to keep their destination is with friends, within a community rather than a museum. They are encouraged to hang with other like-minded people who share the world of art making and are able to share in-progress work with each other.  For some art students, there is a gradual decline of students working in their field.  The authors point toward the Critic as a potential contributor to this absence.  Their argument of what would society do if the same was happening in the medical field and med students not continuing on in their field. There would be an investigation. Why is there not one for arts field? The main point of their argument is the loss of art students continuing in their field is the absence of continued support after art school. More importantly the authors reinforce artists finding a community to support their continued growth with challenging the fears and not quitting.  All might fall into laziness or other patterns of resistance such as with deadlines, irritations with materials and surroundings, or a narrow focus on comparing self to others. The three areas to pay attention to is 1) the vision, 2) knowledge of materials, and 3) uncertainty. The authors suggest what holds an artist often from completing a project is “undisciplined imagination.”  Artist don’t dream about making great art someday … they dream about having made great art.  

The euphoria is on the finished task, not the process. The process can and often becomes frustrating not because the process is slow, but because the artist imagines it to be fast. In this part of the growth process, the authors suggest an artist contributes to their own suffering by holding on to beliefs, and unwilling to question the interjecting fears that come with any project. Most often materials are easily mastered. It is an artist’s belief about their potential with the materials, the uncertainty, the risk of insufficient information.  Materials have potential and are reliable, but the limits are placed within the artist’s hands in their ability to use the materials with sufficient knowledge. The authors end the chapter with “tolerance for uncertainty is the prerequisite to succeeding.” The ability to work through the creative process with uncertainty is essential to having a successful strategy with completing artwork. Holding a project with control or a need for certainty limits a person’s ability to embrace the upcoming mistakes and surprises along the way, as completing art is taking a chance with the desired outcome.


I encourage you to buy a copy of Art and Fear for a better understanding of your own creative process.  Whether you're a master artist or beginning artist, this is an excellent book.

The authors David Bayles and Ted Orland introduction their book with a statement of what “good art” is  — “a common and intimately human activity," not the geniuses arts of the world such as Mozart.  Yet for some art makers, the difficulties they face limit their ability to freely express their creative energy.  This book is dedicated to helping the reader find their own creative pathway.  The authors begin with questions of how and why art gets made as most creative projects are often left unfinished.   A person first has to master one’s fears about their creations as there will be work made that no one cares whether it is made or not, but the artist.  Art today, they suggest, is working within the uncertainty, living with the doubt and contradictions within their audience. These fears must be addressed to find the means to nurture oneself as “talent” is hardly a dependable tool to advance one’s abilities.  The authors go on to clear up the misconception about craft easily being taught, while art remains a gift.  They reinforce this as a false belief passed along in fear of perseverance to the necessity of the hard work one has do to achieve mastery. To find the nourishment from artwork, one has to find the meaning from the artwork itself. Artwork involves skills that can be learned. The first of which is to accept self, following one's own voice, and making their voice distinctive.   People have their own way of interpreting artwork. This is not the task for the artist. The authors address this point — for the artist is to learn how to make their work by making their work, and only they will care about it.  It is through perseverance that an artist takes on an identity. One of the pervasive fears for an artist is that if one makes art that is considered flawed, then they are a flawed person. And even worse is if one makes no art, they are not a person.  And for most  everyone what matters is the product - the finished piece of artwork. But for the artist, what matters is the process - it is the experiences which shape the work. The authors offer a possible goal of completing artwork as it is to “teach you how to make the small fraction of your artwork that soars.” These are a few of the fears to be worked through and when done, seem to provide benefits to a person’s self-discovery to successful art making. 

I encourage you to buy a copy of Art and Fear for a better understanding of your own creative process.  Whether you're a master artist or beginning artist, this is an excellent book.

I have a huge appreciation for Shaun McNiff’s work on the creative process. From his works of Trust the Process, Art Heals, and Imagination in Action, and as well as with many other authors' descriptions of the creative process, all of these authors have reinforced my own theory of what the creative process is … 

• time
  
• access to materials and resources
• willingness to explore
• willingness to accept failure
• openness to the ambiguity
• non-linear
• final.
  

In this book, McNiff reinforces each of these points. TIME is the dominating factor for any creative process. We created paints that dry faster. We want to speed up the process to get on to the final product… Before 1816 if one wanted a picture of themselves, one had to make an appointment with a portrait artist. Now we have cell phones with camera’s inside them. Trust the Process gave more definitive answers with regards to time, with an emphasis on every thing takes a practice. Time is what most beginning creators have difficulty with as McNiff stated throughout his book the old beliefs one has about creating. It takes time to practice learning how art materials work, writing music notes, creating dance steps, or writing sentence structures for clarity. All require the discipline of a daily practice to experiment, a willingness to explore what works and what does not.  And if one IS a seasoned artist, to review one’s environment as though they were a stranger, seeing it with fresh eyes.  If something does not work, to experiment. To try new materials.  To look for other resources in assist with creating. McNiff emphasized creating with what one already has at their disposal.  He discussed how criticism, no matter whether provided by one’s self or others, is to be used to see what works and what does not. That’s it.  It’s not to be misused as a person is a failure because they did not create a masterpiece.  In several chapters, he reminds one to be open to the ambiguity of the creative process, through a willingness to play and explore, letting it guide one’s discovery of what expression is to be delivered to the world. Trust the process: creativity has the intelligence to lead. Every experience has something to offer.  And just because one thing shows up, does not mean we get to assume success will follow.  While McNiff did not discuss directly in this book, the creative process has an end.  Everything we create, at some point comes to a grand finale.    

Why I love this book  -  I see the creative process as a template for understanding one’s life.  Everything takes time.  We might not always have access to all the materials and resources to create our lives as we think they should be.  Learning how to use what we ALREADY have access to, and being open to exploring new ways of learning with whatever shows up.  Every experience we have becomes a part of our learning about being a spiritual being having a human experience.  We are a work in progress.  And learning to trust this process, especially when old messages resurface reminding us of our failures.  Learning how to accept what is, no matter what shows up.  And just because I think my life should be a certain way, I’m learning that it is going they way it is.  My task is to begin a daily practice with a focus cherishing what does show up, as at some point, there will be an end.


I encourage you to buy a copy of Trust the Process for a better understanding of your own creative process.  Whether you're a master artist or beginning artist, this is an excellent book.

In these last three chapters, McNiff begins to summarize how he sees the creative process, beginning with a daily practice of connecting with the creative spirit. Setting aside a time of day devoted to examining the ordinariness of life. Being open and a willing participate to the direction the process takes one, exploring inconsistencies along the way. He states that his “excessive self-consciousness,” was a “major inhibitor” to his own creative journey. He discloses that it was through is own willingness to accept his experiences, the difficulties, the ups/downs of life, that he had to keep showing up for the learning, no matter how difficult the lesson. Giving up and surrendering were also part of the process, and learning to trust the process had information on where he needed to go. For a creative, there is the battle of the process or the product. He sees the product of a creative as their off-spring. Neither right or wrong. The product is but an expression of one’s actions. And no matter the medium, there will always be some form of critique, whether it is one’s self or another. He offers the reader a method in understanding the psychological insights criticism has to offer. One method is not to pay any attention to any criticism as well as condemning those that offer judgments of one’s creations. This keeps one in the possible fearful position of hearing any message about one’s artwork as negative, rather than guiding. He suggests the best place to find critique is in an environment that is safe, respectful and nurturing. To remember that mistakes are part of the creative process, to be part of the practice of any creative process in the learning of what works and what does not, to remain flexible in the growth in review of attitudes, opinions, experiences, or ideas. Part of the process of criticism's role is to strengthen one’s own critical eye for the creative process to work together in things taking form by a call to attention. Criticism is to be used as direction, not judgment for who one is, or what they have created. But more to offer a freedom of direction with their expression. He leaves the last chapter with a call to connection through expression. He engages the reader to find what creative expressions reveal about themselves. And some difficulty people find with expressing is the fear that others may know more about them through their creative abilities than they desire. There is a responsiveness to the creative process as “creations of the imagination carry imprints of their makers.” He shares that what we make carries along with it a part of our humanness. Yet he steers the reader to remember that it is not that one leaves their imprint on their artwork, but how their artwork left an impression up on them. McNiff ends his book with a call to stay in the flow on creation, and to trust the process.

I encourage you to buy a copy of Trust the Process for a better understanding of your own creative process.  Whether you're a master artist or beginning artist, this is an excellent book.

McNiff opens the last section of the book on a call to understand that everything in life takes a practice. He encourages his reader to review presenting life challenges, and within a repetition practice, become aware of how new techniques helps one see what works and what does not. But what he found that gives the most satisfying results, is a commitment to a disciplined practice. The necessary ingredient in any practice is time. Time to mature as a creative. Creativity is a process. It is through a willingness to use time, learning “repeatedly," what works and what does not to strengthen the creative muscles.

In Chapter 20, McNiff again encourages his reader to review their environment with fresh eyes. Asking how one environment can be boring to some yet stimulating to another. He suggests the reader consider one’s environment as though they were a stranger in a new land, seeing it for the first time. He presents other reflective exercises in this chapter to strengthen the imagination muscle. McNiff’s intention is to shift the reader’s perspective in how they might “have always done things,” to a view of how the perspective as a stranger changes one’s daily routines. For example, if one creative approach was to draw, he suggests to possibly water color or paint. The focus is to keep changing to the stranger perspective, that seeing something for the first time assists with gaining a better sense of new materials. His hypothesis is that one does the same things over and over to find the familiarity and to possibility avoid potential conflict. Conflict is the agent of change, and useful in development of the creative consciousness. McNiff suggestion for artists to distance themselves from their artwork, as that habit produces more of the same.  The author shares other prompts to expand the reader’s ability to see in new ways their creative growth.

There are reoccurring themes in one’s artwork. Repetition creates a focus to find variations and strengthens the creative muscles toward innovation. In chapter 21 McNiff takes the reader through various reflection methods to experiment with their creative expression, no matter whether it’s painting, song writing, or writing music. He states Picasso was not worried about the repetition within his own works. Yet McNiff cautions, new artists are concerned about “the task of inventing something completely new.” He expands this as it is one of the largest obstacles for a beginning creative, that is the assumption that "creativity always involves the invention of something new.” Creativity comes through the play and exploration of materials, elements, environments, emotions, etc. Much like a river, allowing it to flow - expression is like a river, through which a creative stream flows imagination. Let every river of creation return to the sea of imagination ...to that instinctive source of expression - PLAY.

I encourage you to buy a copy of Trust the Process for a better understanding of your own creative process.  Whether you're a master artist or beginning artist, this is an excellent book.

Chapter 16 opens a new section on "Create with What You Already Have,” to deepen the understanding of the creative process.  McNiff offers his readers to "reinvision what you already do” to build a creative consciousness to what is present.  Yet in society, this is not usually seen as creative such decorating the home, writing a letter, or cooking a meal.  If one is wanting to study creativity, they do not necessarily need to go to an art school, but begin to see how their lives are already living a creative life.  There are dependable forms of creativity such as drawing, painting, dance, singing, etc.  All of which takes a practice.  McNiff shares with the reader how he assists many people to overcome the idea they are not creative or talented.  He suggests to his reader to review where they are most engaged, the areas of their life which are frequently overlooked, and what in their life bothers them the most.  The creative process makes use of life experiences.  McNiff encourages his reader to also review the materials a person may have already access to using.  For example, if one is most engaged at home, look for the ways they have been creative with making the home aesthetically pleasing such as decorating a bedroom or organizing a kitchen.  McNiff reminds his reader that conflicts or tensions are a normal part of life.  He suggests to use the conflicts rather than spend the energy to get rid of them.   He alerts his reader to be aware to use the message of the situation as it may be suggesting how to live another way. His example of a car, with it breaking down, one could write “an ode to the car,” as a metaphor of how to handle other life stresses or disappointments.  All of his exercises he suggests can also be used with paint and brushes.  The theme of this chapter is to bring awareness of one’s limiting self-consciousness, to create an openness to explore the vastness of possibility of what one already knows. 

The next chapter reviews one’s environments and how these impact a creative process or as McNiff calls it a “creative ecology.”  He again calls attention that everything is in a constant interaction with one another.   Societal norms show how we are influenced to take vacations to beautiful places or build homes that are spacious because they support us not only physically but also emotionally.  Our spaces we inhabit evoke an emotional response. And it does not matter whether a space is cluttered or organized as each person has their own response to their environment.  It’s not the quality of the design that makes one space better than the other.  It’s the quality of the consciousness — the ability to adjust and compensate, no matter what shows up.  McNiff offers at least 15 exercises in this chapter to better help the reader determine their own environment for more successful interactions in their own creative process.  

In chapter 18, McNiff urges his readers to do some reflective work on their own childhood.  He states most artist and scientist shared how influential their childhood was for their work - the imagination, their inquisitive, and the wonder originates in the early years.   This chapter offers several prompts to help the reader obtain childhood memories.  McNiff suggest that by returning to these old memories of childhood, the reader begins to open the door to imagination and playfulness we often loose in adulthood.  He also suggests that beginning painters return to their childhood exploration, such as with broad strokes of color and movement.  This allows them to be in the play part of their creative development rather than focused on perfecting the details.  If Picasso and Matisse can return to their childhood, and use these types of childhood qualities, then we might want to also incorporate these techniques in our own creative development.

I encourage you to buy a copy of Trust the Process for a better understanding of your own creative process.  Whether you're a master artist or beginning artist, this is an excellent book.

McNiff opens Chapter 13 encouraging readers to begin in “playful exploration” without expectation of the outcome.  He suggests that "being present" is one of the essential skills an artist can use within a creative process. Play does not focus on the outcome.  When one holds a view of play as "a waste of time or money" he cautions the reader to being aware of making critical statements as this statement tells the reader they are viewing their creative process from the end product perspective.  For some people, being present to play is difficult as they are “reluctant to risk opening themselves to the unknown.”  In other words, they think ‘better to not try than to try and fail.’  McNiff suggests that “free play” is the best way to achieve a practice of presence, as there are no hold to the desire of the outcome.  Play will always act as a container for our expression.  Life matures to an unrelenting exchange between play and technical proficiency. 

In the next chapter, McNiff invites creativity into the workplace, asking the reader to explore how creativity would transform their organization.  He shares how as dean of a graduate school was able to shift his own thinking about his role and the challenges he faced.  He was able to apply a creative process to explore a more satisfying work environment.  He first suggests to “re-invision what we take for granted.”  He offers other suggestions such as sifting one’s attitude, changing perspectives, embracing mindfully, and “sit with what you have and dream with it in a new way.”   Creativity is not something that is exclusively to an individual.  But rather allowing creativity the opportunity within the workplace to interact in different ways to solve problems.  

The chapter on Vision, McNiff offers how one action often leads to another.  Creativity makes use of everything - internal and external influences, and even adversity.  He states “visions are a sense of possibility and never rigid scripts. They grow from a person’s longing and interactions with the world.” Our lives are consistently moving in and out of creative inspiration, shaped by the experiences one has.  The creative process flourishes within a challenging environment.  He asks the reader to review their own life for phases of adversity, lost opportunities, or outrageous achievements.  To review what was learned from missed opportunities in order to gain insight and influence a future sense of direction. 


I encourage you to buy a copy of Trust the Process for a better understanding of your own creative process.  Whether you're a master artist or beginning artist, this is an excellent book.

In the third section McNiff titles “every experience has something to offer,” and breaks down the next six chapters into bite size nuggets of discovering the HOW to use one’s experiences to improve their lives.  He begins chapter 10 with where one has power -- it is through a cumulative effect of individual actions that contribute to lasting changes or improvements to society. McNiff is less impressed with what people want to do, and more impressed by what actions they have taken.  While we might have celebrated artists such as the Monet’s or the Shakespeare's in our world, it is the other experiences of their lives we may never have any knowledge to what made them take action. For example, what had to set the stage for Shakespeare to do his writing? What was it that motivated him into action? His action of contributing to poetry, plays, etc., changed the world.  Never underestimate one’s ability to contribute to the creative process of a civilization. McNiff suggests to his readers to immerse themselves in the doing, with repetition. To be aware of old messages which may pop up to limit one’s creative efforts. It is through this shift of seeing one’s creative contribution to a community, does one move to being significant in making our world a little bit better.  One caution of patience to the process, as McNiff states that “even experienced creators find it difficult to accept” the gestation period, especially when there are “few signs of progress.” In other words, creativity is non-linear. It is through a commitment of immersing oneself in daily play do they have new insights to what creativity has to offers them.

The next chapter, McNiff takes the reader forward with a review of HOW to see the world - that is that for each person, one sees their world through their own lens; their own perspective.  Within one’s perspective, one chooses what to see and what not to see. McNiff urges his reader to put aside their perspective to become open to other ways of seeing. It is through this exercise does one begin to see the patterns and themes which influence day-to-day personal living.  He guides the reader to review metaphorically how shapes/patterns, images as guides, or the colors in one’s life create meaning. He encourages the reader to review how these qualities have influenced their creative style in playing with the various of mediums for expression. At the end of this chapter, McNiff brings to light that through this distillation of life’s multitude of forms of expression, it is the practice of broadening one’s perspective to see the influences and their contributions.  There are many choices at one’s disposal, but it is the ability to see the possibility of expression through a wider consciousness.

Chapter 12 begins with a focus on the arrangement of things as McNiff suggest for the reader to sit and observe things as they are.  For example, reviewing the things in one’s home may display the express of what one holds valuable. He urges his readers who may not view themselves as creative to remain open to viewing things in one’s life, as these things often influence person’s initiative in a creative expression. In paying close attention to what they hold as valuable, begins a “collaboration with the forces outside” themselves.


I encourage you to buy a copy of Trust the Process for a better understanding of your own creative process.  Whether you're a master artist or beginning artist, this is an excellent book.

McNiff starts off the 8th chapter in section 2 with a reminder to his reader of the unique and individual styles of creativity.  Yet no matter what the style is, there will always be obstacles to impede the development which are similar in any creative process.   No matter what the creative block is, he suggests ACTION begins the process. Most of the blocks start with thoughts - “i can’t do this,” “I’ll fail,” “it won’t work.”  The “control tower” is only in the mind. Moving other body parts such as with drumming, may begin to unblock the mind into action. Unrealistic expectations, procrastination, depression, or low self-confidence, doubt, frustration and discontentment may impede the creative process.  It is through the action of stepping out of the mind-set of beginning and ends, to practice daily some sort of creative expression. He suggests visiting other creatives just as Picasso did and was welcoming to others to visit his studio. Creativity is but the appetite .. blocking it begins the malnurishment.  

In the next chapter, McNiff begins the HOW to nourish the creative self through a call to active experimentation with different roles in order to shift a person’s thinking.  It is through this action of doing something, with some consistency, does a move occur. As well as relinquishing the belief of any attempt to be perfect. He asks the reader to consider their type of creative on pg 84 such as “the solitary dreamer,” “the energetic team player,” “the organized planner,” etc.  He suggests when one of these types of creative characters takes over, it is usually when a person becomes stuck or blocked. An openness to recognizing the typed, and a willingness to experiment with other types, does one move more toward cultivating a better understanding of their own creative process. At the end of the chapter, he warns the reader to be aware of any inflexible attempts at change could harden the resistance.  The reader would need to be remain flexible, curious, and willing to explore what is behind each block in order to not to arrest the creative process.

I encourage you to buy a copy of Trust the Process for a better understanding of your own creative process.  Whether you're a master artist or beginning artist, this is an excellent book.

McNiff reminds his reader creativity manifests itself through the ordinary lives of those who are willing to "find the time to create.”   In examining the mannerisms of artists, these are some of the common threads connecting each one - a willingness to explore, and a daily habit of following what is curious to them, all the while they live their ordinary lives of being a homemaker, a teacher, librarian, banker, or insurance executive, etc.  The difference is they are willing to dedicate themselves to the expressive imagination ...consistently!  McNiff’s chapter on the many ways of creating, begins to confront the ideas society has with the assumptions made about “talent.”  Talent is a label with a fixed idea. He asserts that talent is “the most crippling obstacle used against you,”  placing a hierarchy in a license to create.  Those who are declare talented to create are deemed worthy and unquestioned of the title.   All the while, we miss other creations, never to be viewed or witnessed mostly due to a lack of training and a belief system that holds others from even beginning.  We, as a society, must learn that “something significant is always moving inside..” a person.  When a person is given access to materials, resources, time to experiment and play, one begins to deliver the creativity within.  He ends the chapter with an offering of developing the reader’s own creative profile; a simple exercise to open the mind to view one’s own creative spirit.  This may assist with an attitude shift from “I can’t” to “I can,” thereby unleashing the power of imagination to flow freely and uninhibited.

In his next chapter, he brings his reader back to “creation requires attention and complete focus.” When nothing happens, nothing happens.  Creativity requires a commitment to begin, no matter where you are, and to practice daily.  There will always be obstacles in the way, and one of the biggest principles a creator must deal with is --  learning to work with limits. These limits offer insight in how to remain focused, improvise with what you have, and increase the imagination muscle.  There will be periods of frustration. There will be times of not knowing how to proceed. There will be blank pages or blank canvases. Yet this emptiness does not mean there is nothing.  It is a space waiting for creative forces to take shape. An incubation. Creative ideas “emerge through the movement of painting or writing.”  Practice and play give form to emerging creative energy.  An art teacher so equivocally reminds her students that most people when making something creative, want to create something on the same level of Monet or Renoir.  But what most students fail to remember is they too had “shitty work,” and we needed to begin our own. It is through this practice of doing, of seeing what works and what does not, we open our attention and develop our focus as if it was a meditation.  It is through this repeated practice does one develop the skills.

McNiff offers in his next chapter a fundamental creative skill of “reframing” as in its ability to “constantly re-vision the world” as everything goes through a renewal or recycle phase.  The same with any idea with looking for new ways to explore or seeing the world.  Our ability to expand our creativity requires the skill to reframe situations, to change perspectives for alternative ideas.  When we do not respect the different ways of viewing the world, we limit our vision and possibility, and create negative circumstances.  So in other words, our greatest impediment to change is fear when one wants to protect their integrity.  Rather than looking at ourselves as flexible-beings with the ability to entertain contradictory positions, one become overly attached to our ideas and opinions.  McNiff gives an example of placing a rock in the middle of the floor.  He instructs the reader to move around the rock to change their perspective.  He suggests for the reader to begin to notice the changes in the rock from the different vantage points.  He also asks the reader to imagine the rock looking at them. And he asks his readers to review all perspectives and how one normally makes interpretations of data -- to latch onto a singular interpretation rather than imagine what is possible from so many different perspectives.

​​I encourage you to buy a copy of Trust the Process for a better understanding of your own creative process.  Whether you're a master artist or beginning artist, this is an excellent book.

McNiff reminds his readers of the basic tenant of life - if nothing happens, nothing happens.  One must engage with the creative process through the act of doing something on a repetitive basis.  For some this might be an easy process and yet for others, they might need a midwife to assist them with the delivery of their creative offspring.  Each person starts with what they know and build upon their knowledge through a learning of techniques. “As a rule,” McNiff states, “the process of emanation occurs on its own schedule and not on ours.  Creative insights perversely appear when we are occupied with something else.”  One can teach creativity techniques, not creativity.  It is through these connections of ideas our minds generate is the precise skill creativity gathers and absorbs.   Just as a child matures, so does an artist. Over a period of time a person broadens their understanding of what works and what does not.  It is through this perspective of wonder and discovery and a willingness to put aside the judgment of one’s creations, the individual begins to flourish as art requires experimentation much like childhood.   Everything depends upon the quality of attention and attitude we take to which we apply our own perceptions. 


McNiff opens his third chapter with “The Mistake is a message that calls for attention.”  Part of our socialization has distorted this message with a focus on one should not make a mistake rather than understanding the intention of the message.  It is when a person obsesses about the mistake, they miss the message it is calling attention to...for example, cleaning up only the water found at the floor of kitchen sink rather than turning off the faucet.  The mistake is the overflowing water found on the floor. The message the mistake was giving direction to is the faucet was left on. The same is within any creative expression. McNiff alerts his reader to be aware of how we perceive our mistakes as we might already have a framework as a reference.  Many people do not begin any creative endeavor as they fear making a mistake may mean “they are a mistake.”  Their perception of “not doing something the right way,” is a normal condition of our socialization.  Imagine never having been aware of any mistakes you have made. Mistakes are guides for what works and what does not.  Even in an artmaking world, mistakes can become the necessary shift to lift our creative inhibitions much the way Picasso began with his work - to make use of them in novel ways.  McNiff suggests to his readers "everything can be put to use in within the creative process,"  - recycle, reduce, reuse, even one's beliefs about our abilities to create.

​​I encourage you to buy a copy of Trust the Process for a better understanding of your own creative process.  Whether you're a master artist or beginning artist, this is an excellent book.

Shaun McNiff begins the introduction with a description of how hungry people are for creative expression and when they give themselves permission to create are amazed by the outcome.   He outlines his book, Trust The Process, as a guide for those seeking the “ways” of the creative spirit -- in the many forms of disciplines such as painting, writing, movement, drumming, and performance.  He alerts his reader to “the ability to relax in periods of uncertainty and to trust that the creative intelligence will find its way.”  As well as to be open to the ambiguity when in an absence of creative resources.  Trust the creative process knows where it needs to go. This book will expand the reader’s perception of creativity with a way to review artwork as resting places of generated ideas.  The author suggests these new ways of seeing are “guides and sources of illumination,” to keep not only the beginner going once they start creating, but also to assist the experienced artist with a more concrete practice.  McNiff ends the introduction with a broader brush stroke in understanding the creative process as a deeper method of reflecting on living a creative life.  

Creativity has many avenues in which to present itself into the world -  music, painting, dance, the written word… ultimately creativity is just an idea manifesting itself no matter whether its in a concert hall, museum, kitchen or in an office.  Yet the reader is reminded how our society likes to put creativity into specific boxes ... give it labels such as artist, musician, or chef. And along with these specific labels, we have different views of what creativity is and what it is not.   McNiff uses the next 3 chapters to review the unknown, the emanation, and the mistakes and distortions of the creative process.

He opens his first chapter with the difficulties presented within our society about what constitutes art.  A simple way of understanding creativity is that our creations are only limited by our consciousness. Humans create on a daily basis for survival.  Yet society continues with placing limits on who are creators and who are not. McNiff states that everyone creates daily. Since we all are creators, it takes a mindshift from our socialization to risk experimenting within any creative endeavor, as well as letting go of the notion that we have to know the results before we begin.  Trust The Process sets the framework of how to prepare for the creative rituals. Such as with a child learning to read, the same process cannot be explained, only trusted over focused exercises, preparation, and practice. McNiff equates the same for a creative process. The largest issue is TIME, as it is part of our humanness to want quick results.  Learning patience with the process, and the patterns each person might replicate without an understanding of the process, usually contributes to a “quitting before beginning” outcome.

Several old stories continue to be replicated within our society such as:  1) art has to be profitable, 2) any creation is a waste of time or resources if it’s not made by a master artist, and 3) there are only a few that are considered master artists.  McNiff asks his readers to image if these same stories were applied to education. We more than likely would no longer have elementary or high schools. While we might be able to teach art through learning different techniques, teaching creativity looks much different.  Everything depends upon the quality of attention and attitude we take to which we apply to our perceptions. It is with the flexibility - the ability to change direction, one opens oneself to the expansive discovery within a creative process. In other words, just try it. Step into the unknown.  Play. Experiment. Make no judgments. See what comes from your willingness to engage with creativity.


​​I encourage you to buy a copy of Trust the Process for a better understanding of your own creative process.  Whether you're a master artist or beginning artist, this is an excellent book.

As I began to recreate my life after a destructive divorce back in 1990, I picked up a copy of The Artist's Way at a bookstore.  Desperately I needed to find a pathway back to my creative energy. Cameron’s techniques opened an understanding to how my social enculturation as a child, to conform, led to a maldevelopment of my creativity skills (“we don’t have time to play/draw/paint.”  I most often heard...but that’s exactly what we need to keep our children doing - playing, drawing, painting - creatively into adulthood). Her basic principles on creativity kept me on firm ground being open to the abundance of creativity no matter where I explored.   I ritually used her tools of morning pages for those first 5 years; they have evolved into my own daily journal and reflective writing. I find them extremely valuable as a place to dump the garbage thoughts that automatically generate as well as be conscious to old or hidden messages about me as a spiritual being on my creative journey. My artist dates are usually a walk in nature or strolls through art communities/studios looking to be inspired by what others are working on.  (check out some sweet studio spaces here in Houston 1) https://www.silverstreethouston.com 2) https://www.txrxlabs.org 3) https://www.hardyandnancestudios.com ).   And her artist contract, I use these to take learn expeditions such as with Sketchy - 30 Faces, 30 Days; ICAD - Index Card A Day; or #the100dayproject.  All to stretch my creative muscles, and usually provided within a creative community to share and learn more from others.

The Artist's Way sets the foundation for one to begin a creative process.  First by calling attention to the patterns of old beliefs and negative thoughts a person holds about themselves.  Second, Cameron reminds us that in order to create we must begin, no matter where we show up.  B - E - G - I - N.  It's okay to have work that doesn't sell or isn't your best work, as that too is part of the creative process.  The act of creating is not about selling your work, although that can be a motive, she urges artists to not let money be the deciding motive for one to take action.  I make my artwork for me, to explore what wants to be created - the energy that flows from me out into the world.  Something that now exists, did not before.  I am a creator.  One last thing, a bit of Cameron's creative philosophy is to surrounding yourself with a supportive community.  No matter whether it's family or friends, or being part of an on-line creative community - show up, share, and give.  Grow with the abundance of connectedness.

What I have learned along this way is to be intentional, to play more, to let go of the perfectionist thoughts.  To be open to the creative process no matter where it leads me. To follow along without judgment to see what creative being emerges.  To hold dear that my inner child is learning more about the creative process, and how it supports me as an evolving adult. There is a generosity the creative spirit holds...most of the time I am unconscious to the potential; yet when I open my imagination to accept what is possible, I am always amazed by the abundance that shows up.  It is my hope to pass along these fundamental principles from The Artist's Way, to not only assist my granddaughter with her own creative journey in life, but to all the other sweet souls out there, searching for a place to understand creativity ...a little bit better.

​​I encourage you to buy a copy of The Artist's Way for a better understanding of your own creative process.  Whether you're a master artist or beginning artist, this is an excellent book.

As an artist, Cameron urges her readers to find the best schedule that works for them with creating balance in the making of art as well as making an income.  Money does not lend credibility to an artist - that comes from within. She states that too much focus on the income becomes an abuse to the emerging creator.  Readers are encouraged to find supportive communities to nurture one’s growth. Her readers do not have to be rich, but “richly supported” by those that allow the artist’s work to grow.   Cameron sees creativity, not as a business, but more of a spiritual practice to allow what needs to be created - created. A spiritual practice is not something to complete, or used to compete with others, nor to put off.  It is to be embraced with the question of WHAT NOW. Along this path, the artist begins to practice self-care and respect for their own creative visions or dreams. Toward the end of the chapter, Cameron urges her readers to accept things as they are, “to allow the wrong piece in the room,” as long as they like it.  To not be something they are not - to be real, genuine, authentic. All artists have many ideas of what they want to do. Cameron encourages her readers to take action, to start something rather than talking themselves out of doing it because it would be too hard, too complicated, or not enough time. She suggests to her readers to practice looking for different or broader perspectives, as well as listening for inspiration no matter where it may come from.   She leaves the chapter with the suggestion of creating small rituals such as using the morning pages to ignite the fire of taking action, as these rituals support spiritual growth.


In Chapter Twelve, Cameron ends her book with a focus on building trust or faith within one’s self as her readers are encouraged to renew a commitment to use her tools she’s outlined such as the morning pages, the artist date, etc.  She reminds her readers to pay attention to the forms of resistance that may reoccur. In doing so, this builds trust within one to follow through on the ambivalence when it shows up. Her readers are also instructed to be aware of the mystery of creativity, as “insights may come to us as flashes.”  There will be a gestation period of ideas, to incubate, to grow.  It is through the development and repetitious use of these ideas, does one gains patience with the creative process. Not something to control, but a process to surrender to through cooperation and respect. The growth or maturity of an artist comes through repeated nurturance in the birthing the ideas, allowing creativity to expand through play - not through a forceful experience.  She ends the book with a suggestion to make a list of supportive friends who would be willing to continue the creative nurturance. In her final thought, she suggests to hold onto the intention of being open to what wants to be created and to stand out of its way.


​​I encourage you to buy a copy of The Artist's Way for a better understanding of your own creative process.  Whether you're a master artist or beginning artist, this is an excellent book.

Cameron sets the tone in chapter nine with a focus on accurately identifying life’s details.  For example, a blocked artist is not lazy, but BLOCKED. As these are different issues and often are confused as a judgment, she asks her readers to identify the root cause - fear.  She also calls attention to her reader to practice compassion as the artist’s inner child can best be enticed through play rather than a demand of work for the end result. One method most artist employ to produce a piece of artwork is that of “military discipline.”  The rigidness may work over a short period of time; it is, however, not encourage to use as a long-term method for creating. Yet enthusiasm as Cameron suggest to her readers is finding the joy in the task, that is the creative process rather than the end product. Enthusiasm is more sustaining as it is tapping into the flow of life itself.   To follow the path creativity presents - an acceptance to a surrender of the creative process - is a commitment to creative growth. She cautions her reader at the end of the chapter to be aware of Creative U-Turns. In short, she identifies these as returning to old ways an artist may have been blocked in the past. Just like recovering from any other illness, one has to make a commitment toward their physical health, an artist must do the same for their creative health.  Again, Cameron cautions her readers to review for patterns of fear or procrastination, and offers a method of recognizing the beginnings of a potential block. She encourages her readers to review any resentments or fears, and to review the potential gains and losses if not completing a piece of work. Once these have been reviewed, Cameron encourages one to seek creative support by asking others how they might have accomplished the task.

Chapter Ten begins with a reminder that we are all creative.   And we are called to protect this creative energy with attention to the multitude of unconscious methods we may not knowingly contributed to blocked states of being.  She gives several examples such as workaholism, emotional droughts, fame & competition. Cameron gives several tasks at the end of her chapter to assist her reader with nurturing, the self-care, to the artist’s inner child.


​​I encourage you to buy a copy of The Artist's Way for a better understanding of your own creative process.  Whether you're a master artist or beginning artist, this is an excellent book.

As Cameron has done with her previous chapters in identify potential ways an artist may be blocked, she again points out the obvious - the task of artist survival.  When one faces the losses of income, potential, or acknowledgment, etc, she encourages her readers to turn the perceived losses into strengths. To remember that every artist has a child within them.  While they might understand the loss intellectually, emotionally they may require additional support. She further discusses an area of potential abuse to the inner child with the academic / parental criticisms or from any authority figure who may see their tasks as correcting a creative endeavor.  She does not argue the importance of receiving appropriate feedback. Yet when the criticism’s tone is too harsh, or the timing premature, would be like planting a forest only to care for it by removing its roots. She asks her readers to reframe their thinking when experiencing a loss within their art.  Instead of “Why Me,” to ask the question of “What Next?” Another potential block an artist may use is the belief they are too young, or too old to follow their creative path. She encourages her readers to focus on the process of creativity, not the products to be produced - to deny curiosity, we deny one’s growth.  Her last suggestion to her readers in this chapter is to “fill in the form,” in other words, complete small tasks finishes the bigger picture. Cameron reminds her readers to work with what they have rather than narrow the focus on what they don’t have, as “large changes happen in tiny increments.”


​​I encourage you to buy a copy of The Artist's Way for a better understanding of your own creative process.  Whether you're a master artist or beginning artist, this is an excellent book.

Chapter Seven focuses on connection with the self.  Cameron points out how difficult sometimes it is to connect.  She reminds her reader of how her tools of morning pages and artist date assist with the ability to listen to one’s self in training her reader to get past the inner critic.   She refocuses her reader to “get something down, rather than trying to think something up.”  What most prevents an artist of getting something down is perfectionism.  Cameron encourages her reader to not fear mistakes, as there are none. Perfection is a pursuit of the worst in oneself.  As an artist begins any project, often without any awareness to old patterns of thinking, one may stop creating in order to adjust for perfection.  And often, Cameron states, never finishes the project. The ability to hear one’s self takes a practice. Mistakes are a normal part of the creative process.   She encourages her reader to look at risk as if they did not have to do the task perfectly. To do something great, she suggests the reader be willing to risk doing it badly first.  As any artwork toward a creative discovery, moves the ability out of the “thinking” and into action. She suggests to her readers to make a list of the things they would do if they did not have to do them perfectly.  For example, stand up comedy or figure drawing. The world becomes larger when there is a willingness to take risks. One of the emotions that often prevents others taking a risk is jealousy. Yet it’s often the emotion that points the way to what one desires in their life.  Cameron’s exercise of building a jealousy map helps her readers discover the fears that most often hold one back from attempting any creation.


​​I encourage you to buy a copy of The Artist's Way for a better understanding of your own creative process.  Whether you're a master artist or beginning artist, this is an excellent book.

Cameron starts off chapter five with a reminder of the generosity of a creative spirit (or God).  And alerts her readers to how one may be unconscious to the possibility due to some old messages or beliefs.  We might not want to get too far ahead of ourselves and not be able to accomplish what we set out to do; so we hold back with our thinking about what we can achieve.  She identifies this as part of our scarcity thinking. For example, to avoid being disappointed, we hold back on what we hope is possible. She holds firm that creativity is a spiritual issue and one way her readers can make progress is by leaps of faith (holding onto a belief of what is possible).  Cameron asks her readers to review the dreams they might have discounted as impossible and to begin to experiment with writing down some of their dreams, asking the creative spirit questions in the evening and “listening for the answers in the morning.” She further encourages her reader to be open to what is possible.  She also calls attention to the Virtue Trap. That is when a person plays nice for the sake of others, but does not practice the care for one’s self, to nurture themselves as a being creative. The author makes note that a person may defend not being creative with it as a “down time,” and if they are putting other schedules ahead of their own.  This becomes a self-defeating trap of resentment.  Cameron ends the chapter with some daily writing exercises to assist her readers with the practice hearing the ways one may be self-destructive or hold themselves back from receiving these gifts from a creative spirit. 

In chapter six, Cameron encourages her readers to review the self-sabotaging beliefs they might hold, especially about views of money.  These views sometimes limits one’s pursuit of being creative as they might think they would not be able to make enough money doing so. She suggests her readers write down these beliefs; to look for ones that are in conflict, especially those around money as they might contribute to their beliefs about creativity.

I encourage you to buy a copy of The Artist's Way for a better understanding of your own creative process.  Whether you're a master artist or beginning artist, this is an excellent book.
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