Julia Cameron’s book, The Artist's Way, comes from her willingness to share with others a way of seeing how we are all creatives. As a person in recovery, she found her GOD, “good orderly direction” through a creative avenue. In teaching others the HOW to get back to using these creative skills we all come equipped with, she is but a guide to others on their own life journey and discovery of their own creative skills and resources. What I like about her work is the way in which she offers this material. Her Basic Principles, or more like the Ten Commandments of Creativity, begin to lay the groundwork of her tenants for a creative recovery. For example - Creativity is the natural order of life. Life is energy, pure creative energy.
Cameron strongly suggests using her basic tools of
1) morning pages,
2) an artist date, and
3) creativity contract.
Cameron strongly suggests using her basic tools of
1) morning pages,
2) an artist date, and
3) creativity contract.
The morning pages are a way to dump the thoughts that flood our brains daily. They are not to be paid attention too … much like the man behind the curtain in the movie, “the Wizard of Oz.” They are to be used as a purge of thought, to allow the right brain the freedom of being inhibited with messages that increase doubt, judgment, or resistance, and typically prevent you from any creative exploration. Once free from these thoughts, exploration can follow curiosity’s hand to see what might be discovered.
An Artist Date, is another form of exploration without being contaminated with other overflowing thoughts. It’s just for the creative mind to find the peace in discovering what a person might find from self-nurturance.
And the Creative Contract is an offer of a document to hold your intention in following through in a creative process. An integrity ceremony of sorts or ritual to hold in giving yourself permission to play and explore life. She has structured her book to be a self-guided, 12-week creative recovery journey by reading a chapter each week.
An Artist Date, is another form of exploration without being contaminated with other overflowing thoughts. It’s just for the creative mind to find the peace in discovering what a person might find from self-nurturance.
And the Creative Contract is an offer of a document to hold your intention in following through in a creative process. An integrity ceremony of sorts or ritual to hold in giving yourself permission to play and explore life. She has structured her book to be a self-guided, 12-week creative recovery journey by reading a chapter each week.
RULE NUMBER ONE
"Every creative’s need -- support"
Cameron begins chapter one with a reminder of every creative’s need -- support. Most often this type of creative support is redirected to other “more important” life tasks such as education or career. Parents, family, teachers, and friends may offer some creative support in a child’s early years, yet as a child grows, the advice typically turns toward avoidance of their dreams to prevent failure. It is at this point, the author suggests, the shadow artist begins. For many families, careers within the arts are counterintuitive to a social and economic reality. In other words -- you can’t make money in the arts. The sad part of this as a story for many people, is the child begins to believe this as a truth, never questioning or researching for themselves. Unquestioned beliefs become the foundation work Cameron urges her reader to explore, to further uncover their own creative potential.
Her first mandate in chapter one is to “protect the artist child within.” She reminds her readers to care for the child, as any child beginning to start out life has developmental stages -- crawling, baby steps, walking, running, etc, and that “stumbles are normal.” Cameron offers a list of negative core beliefs and asks her reader to review to see which ones may be true for them. Her reminder that negative beliefs are “beliefs, not facts.” These beliefs contribute to the fear in which a person is prevented from exploring any creative measure. She prompts the reader to reframe these negative beliefs into positive alternatives. For example, negative beliefs about artists are: drunk, crazy, broke, irresponsible, etc. And for positive alternatives for artists can be: sober, sane, solvant, responsible, etc. This chapter is devoted to changing a person’s perspective through looking at old beliefs, and creating a willingness to do something different. Through setting up daily tasks, Cameron sets the tone for the rest of her book. Creating new habits to support the emerging artist within.
Her first mandate in chapter one is to “protect the artist child within.” She reminds her readers to care for the child, as any child beginning to start out life has developmental stages -- crawling, baby steps, walking, running, etc, and that “stumbles are normal.” Cameron offers a list of negative core beliefs and asks her reader to review to see which ones may be true for them. Her reminder that negative beliefs are “beliefs, not facts.” These beliefs contribute to the fear in which a person is prevented from exploring any creative measure. She prompts the reader to reframe these negative beliefs into positive alternatives. For example, negative beliefs about artists are: drunk, crazy, broke, irresponsible, etc. And for positive alternatives for artists can be: sober, sane, solvant, responsible, etc. This chapter is devoted to changing a person’s perspective through looking at old beliefs, and creating a willingness to do something different. Through setting up daily tasks, Cameron sets the tone for the rest of her book. Creating new habits to support the emerging artist within.
In her second chapter, Cameron describes some common ways a person loses a sense of identity, not only with self-sabotage of doubt attacks, but also with family and friends. She identifies these as “poisonous playmates,” whose creativity is also blocked, to “crazymakers,” who take over a person’s whole life. She expands her reader’s understanding and clarifies the behaviors of crazymakers with giving 10 examples of how these behavior takeover another person’s life such as with expectations of being treated special and blaming others when things go wrong. While it is easy to look for others who prevent us from exploring creatively, Cameron returns her reader’s focus to review how their own skepticism, aka
“secret doubt,” becomes a barrier to the discovery for their own creative paths.
She urges her reader to be open to creative sources, no matter whether a believer or not, that there is a power within the universe, and to shut off the potential, the possible, adds to the self-sabotage. The reader needs to keep the door slightly ajar, keep a willingness to experiment with self-nurturance, open-mindedness, and discovery. Her last area of focus in the chapter is on attention. She contrasts the blocked creative indulging in daydreams, would have’s, should have’s .. aimless in direction. To a recovering creative, focusing attention is a way to connect and survive. Cameron states that “attention is an act of connection.” She concludes the chapter with tasks prompting the reader to continue building growth habits and supporting the child artist within.
“secret doubt,” becomes a barrier to the discovery for their own creative paths.
She urges her reader to be open to creative sources, no matter whether a believer or not, that there is a power within the universe, and to shut off the potential, the possible, adds to the self-sabotage. The reader needs to keep the door slightly ajar, keep a willingness to experiment with self-nurturance, open-mindedness, and discovery. Her last area of focus in the chapter is on attention. She contrasts the blocked creative indulging in daydreams, would have’s, should have’s .. aimless in direction. To a recovering creative, focusing attention is a way to connect and survive. Cameron states that “attention is an act of connection.” She concludes the chapter with tasks prompting the reader to continue building growth habits and supporting the child artist within.
Cameron’s third chapter of The Artist's Way opens with a focus on gaining a sense of internal power through a review of several emotions that may be contributing to self-defeating strategies. She explores anger and shame with an openness to their usefulness as these supportive messages may go unnoticed. For example, she reminds her readers how they have been taught to deal with anger rather than listening to it - “stuff it, deny it, bury it, block it, hide it, lie about it, medicate it, muffle it, ignore it. We do everything but listen to it.” She instructs her readers to be open to the message anger is sending; whether it's about a boundary or respect; it requires some attention to translate into a useful message. Shame on the other hand, she states is a controlling device. Most often is used an attempt from others to prevent a person behaving in an embarrassing way. Or when we do not want to see something, we get mad at the person who shows us. Cameron further expands this definition to her readers to understand the difference in criticism and shame. Not all criticism is shame. Shame, she states “we learn that we are wrong to create,” and may act as a deterrent to attempting any creation. Criticism is to be viewed with intent to give useful information to sort out for ourselves. If a criticism brings up shame, or negative feelings, especially if it is personal or ambiguous, Cameron declares it as useless. She suggests how to tell the difference as a person receiving supportive criticism or when the criticism is accurate, often has a sense of relief with the clarity of knowing what is wrong with their creative piece. She ends her chapter with directives for daily self-care and discovery.
Saying “okay,” to something when it’s not okay.
In her fourth chapter, Cameron prompts the reader to an introspection from their morning pages reviewing the power of holding one’s integrity, toward growth and self-care. One example she shares is the use of saying “okay,” to something when it’s not okay. We begin to neglect or abandon our own care to avoid possible conflict. She returns the reader to the use of morning pages as a supportive way to reach self-clarity. A space to allow all to be said without a threatening eye and to help restore boundaries to support oneself. She reminds her reader to use self-affirming statements when approaching certain problems. At the end of her chapter, she urges her reader to follow the exercises to expand the one’s intention for self-care rather than procrastination. One of her most powerful tools she suggests is "reading deprivation." This is designed to take a week off from reading as a way to force the reader to PLAY as well as to become conscious to the distractions within their life.
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.
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.
Instead of “Why Me,” ask “What Next?”
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.”
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.
We are all creative
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.
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.
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-
https://www.sawyeryards.com/
https://www.txrxlabs.org
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.
Check out some sweet studio spaces here in Houston-
https://www.sawyeryards.com/
https://www.txrxlabs.org
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.
