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Posts Tagged ‘Seth Godin’

20 MAY, 2014

Seth Godin on Vulnerability, Creative Courage, and How to Dance with the Fear: A Children’s Book for Grownups

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“If you just pick one human you can change for the better, with work that might not work — that’s what art is.”

At the 2014 HOW conference, Debbie Millman, host of the excellent interview show Design Matters and a remarkable mind, sat down with the prolific Seth Godin to discuss courage, anxiety, change, creative integrity, and why he got thrown out of Milton Glaser’s class. She used an unusual book of Godin’s as the springboard for their wide-ranging conversation: V is for Vulnerable: Life Outside the Comfort Zone (public library) — an alphabet book for grownups illustrated by Hugh MacLeod with a serious and rather urgent message about what it means and what it takes to dream, to live with joy, to find our purpose and do fulfilling work.

I had the pleasure of seeing and recording the conversation — transcribed highlights below.

On how moving away from the economy of scarcity is changing the motives for making books:

[You used to] create an item that is scarce, and that thing that you created that is scarce has value because it’s scarce and you can sell it. In the world we live in now, none of those things are true — we don’t know the people that made the internet, we don’t have to pay them. And we type something, or we design something, and it can be seen by hundreds of thousands or millions of people, if it spreads. That’s a whole new way to think about how we make things. So why bother making a book, ever again? What’s the point, if can reach ten times as many people with a blog post as will ever read one of my books? … If I’m going to make a book, there’d better be a reason experientially.

On why he used the format of a children’s book to shake grownups into absorbing a serious message:

I wanted to capture the way [that] I felt as a three-year-old when my mom read me a book. I wanted to capture the way, as a parent, I felt when I read a book to my kids. And that feeling isn’t something we get when we hand a kid an iPad in a restaurant and say, “Don’t bother me.” Something magical happens when we read a book to a kid, when we’re read a book.

So I wanted to steal that feeling — that’s why the format looks like a kids’ book, so that I could get to that part of your head that’s pre-cynical, the part of your head that isn’t yet afraid of what other people are going to think of you, the part of your head that has the bravery to do this work that matters. If I can steal that and get in, that’s my goal.

Anxiety is experiencing failure in advance. Tell yourself enough vivid stories about the worst possible outcome of your work and you'll soon come to believe them. Worry is not preparation, and anxiety doesn't make you better.

On what telling ourselves that we’re limited in our work by faulty others — crappy clients, bad bosses — is really about:

My thesis of humanity is that we are not squirrels. If you watch squirrels in the fall, they all do the same thing — they hide the acorns and stuff, they never help each other out, and they don’t do anything non-squirrel-like. They’re just squirrels — that’s their job. We’re beyond that, I would hope. And if we’re spending a lot of time in squirrel-like behavior, we’re selling ourselves short.

There are so many people in this world that don’t have the leverage and the trust and the promise that we’re lucky enough to be born with. With got this huge head-start, and to use it just to hide acorns feels to me like a cop-out.

When we see the designers that we admire and the people that we look up to, they also have lousy clients. They also have bosses that are pushing them to fit in — but they refuse. Because it’s hard to refuse, and that’s the work. The work isn’t kerning — everyone here knows how to kern… Kerning just gets done for you — that’s not the craft. The craft is looking the client in the eye and saying “No” — that’s the part that computers are never going to be able to do for us.

Vulnerable is the only way we can feel when we truly share the art we've made. When we share it, when we connect, we have shifted all the power and made ourselves naked in front of the person we've given the gift of our art to. We have no excuses, no manual to point to, no standard operating procedure to protect us. And that is part of our gift.

On anxiety and Steven Pressfield’s notion of the Resistance in creative work and the value of being disagreeable — for the right reasons — in the client business:

The discipline … is to first understand that “No” might mean you want to make art, but “no” might also mean you’re hiding — that being disagreeable is a perfect way to hide from criticism, because if you’re disagreeable enough, you won’t have any customers, you won’t have to do anything scary… I think we have to be disagreeable in the service of the client, not disagreeable in the service of the Resistance — that when we’re being disagreeable, we’re doing it on behalf of the client achieving more — not our ego achieving more, not us being more famous, but the client getting more of what he or she wants. That means you have to pick clients not who pay, but who want the things that you want.

Quality, like feedback, is a trap. To focus on reliably meeting specifications (a fine definition of quality) is to surrender the real work, which is to matter. Quality of performance is a given, it's not the point.

A beautiful definition of design:

Design, at its core, thrives when a human being cares enough to do work that touches another — it doesn’t thrive when it gets more “efficient.”

On how what to do, as creative people, when our amphibian brain begins to whisper into our mind’s ear every possible disaster scenario and assuring us of our prospective failure:

That is what we do for a living — we dance with the Resistance, we don’t make it go away. You cannot make it go away — you cannot make the voice go away, you cannot make the fear go away, because it’s built in. What you can do is when it shows up, you say “Welcome! I’m glad you’re here. Let’s dance about this.”

[…]

What we need to do is say, “What’s the smallest, tiniest thing that I can master and what’s the scariest thing I can do in front of the smallest number of people that can teach me how to dance with the fear?” Once we get good at that, we just realize that it’s not fatal. And it’s not intellectually realize — we’ve lived something that wasn’t fatal. And that idea is what’s so key — because then you can do it a little bit more.

On reconciling making art with making a living and how the sacrifices that art necessitates clash with our chronic discomfort with uncertainty, using Patti Smith’s time as a starving artist as a humbling example:

There’s a collision of the cultural and the Resistance and many other things, which is: “I would like to make art, but I’d like to do it while making a steady income, and I want to make sure that steady income is respected by everyone around me and has no uncertainty associated with it.” Well, there’s a good reason not a lot of people make art, and that’s one of them. If you read Patti Smith’s book about her and Robert [Mapplethorpe] called Just Kids … she was homeless for years — HOMELESS! — living on bread from the garbage can, sleeping in the park, to make her art. And what’s fascinating about the first third of the book is never once does she say, “I’m a homeless person.” She says, “I’m an artist who hasn’t found her muse yet.” She’s on her way to being an artist and the homelessness is a temporary moment…

But what the industrial economy seduced us into believing is that the deal was simple: You work your day doing something you’re not proud of, and you decompress at night with television and whisky, and on weekends you can go for a run. Right? Do that forever, and forty years from now you’re dead — that’s the deal. And we sold that deal to a lot of people.

Gifts are the essence of art. Art isn't made as part of an even exchange, it is your chance to create imbalance, which leads to connection. To share your art is a requirement of making it.

On the difference between those who want more and aren’t getting it and those who want more and do get it:

It’s back to this idea of what are we truly afraid of. I am more afraid of settling — I am more afraid of not giving what I can give — than I am afraid of doing it. And so when we’re sitting quietly, there’s a debate we have to have with ourselves all the time, which is: “What is my work?” And if “My work is to have more impact,” I don’t think we start by asking — I think we start by giving… Once you get hooked on that, culturally, then doors open — doors open because your work precedes you. You are your work — not your resume, but the ruckus you have made before, the people you have touched before…

Can you name someone who has built a life around that who’s a failure? I can’t!

Zabaglione is a delightful Italian dessert consisting mostly of well-whipped foam. It takes a lot of effort to make by hand. Each batch comes out a little different from the previous one. It's often delicious. It doesn't last long. It's evanescent. And then you have to (get to) make another batch.

On creative courage — something Millman herself has addressed beautifully — culminating with an exquisite addition to history’s finest definitions of art:

For the [creative person], what’s going on outside is trivial compared to what is going on inside… Don’t try to change the structure of the outside world [hoping that] then you’ll be fine, then you’ll be creative and then you’ll be brave. No. First, figure out how to be creative and brave and courageous, and the outside world will change on your behalf…

It’s always the same case — it’s always the case of you’re a human, trying to connect to another human. And if you just pick one human that you can change for the better, with work that might not work — that’s what art is.

The full conversation is well worth listening to, and V is for Vulnerable is an unusual delight in its entirety.

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22 MAY, 2013

How to Hone Your Creative Routine and Master the Pace of Productivity

By:

“When you work regularly, inspiration strikes regularly.”

We seem to have a strange but all too human cultural fixation on the daily routines and daily rituals of famous creators, from Vonnegut to Burroughs to Darwin — as if a glimpse of their day-to-day would somehow magically infuse ours with equal potency, or replicating it would allow us to replicate their genius in turn. And though much of this is mere cultural voyeurism, there is something to be said for the value of a well-engineered daily routine to anchor the creative process. Manage Your Day-to-Day: Build Your Routine, Find Your Focus, and Sharpen Your Creative Mind (public library), edited by Behance’s 99U editor-in-chief Jocelyn Glei and featuring contributions from a twenty of today’s most celebrated thinkers and doers, delves into the secrets of this holy grail of creativity.

Reflecting Thomas Edison’s oft-cited proclamation that “genius is one percent inspiration, ninety-nine percent perspiration,” after which 99U is named, the crucial importance of consistent application is a running theme. (Though I prefer to paraphrase Edison to “Genius is one percent inspiration, ninety-nine percent aspiration” — since true aspiration produces effort that feels gratifying rather than merely grueling, enhancing the grit of perspiration with the gift of gratification.)

In the foreword to the book, Behance founder Scott Belsky, author of the indispensable Making Ideas Happen, points to “reactionary workflow” — our tendency to respond to requests and other stimuli rather than create meaningful work — as today’s biggest problem and propounds a call to arms:

It’s time to stop blaming our surroundings and start taking responsibility. While no workplace is perfect, it turns out that our gravest challenges are a lot more primal and personal. Our individual practices ultimately determine what we do and how well we do it. Specifically, it’s our routine (or lack thereof), our capacity to work proactively rather than reactively, and our ability to systematically optimize our work habits over time that determine our ability to make ideas happen.

[…]

Only by taking charge of your day-to-day can you truly make an impact in what matters most to you. I urge you to build a better routine by stepping outside of it, find your focus by rising above the constant cacophony, and sharpen your creative prowess by analyzing what really matters most when it comes to making your ideas happen.

One of the book’s strongest insights comes from Gretchen Rubin — author of The Happiness Project: Or, Why I Spent a Year Trying to Sing in the Morning, Clean My Closets, Fight Right, Read Aristotle, and Generally Have More Fun, one of these 7 essential books on the art and science of happiness, titled after her fantastic blog of the same name — who points to frequency as the key to creative accomplishment:

We tend to overestimate what we can do in a short period, and underestimate what we can do over a long period, provided we work slowly and consistently. Anthony Trollope, the nineteenth-century writer who managed to be a prolific novelist while also revolutionizing the British postal system, observed, “A small daily task, if it be really daily, will beat the labours of a spasmodic Hercules.” Over the long run, the unglamorous habit of frequency fosters both productivity and creativity.

Frequency, she argues, helps facilitate what Arthur Koestler has famously termed “bisociation” — the crucial ability to link the seemingly unlinkable, which is the defining characteristic of the creative mind. Rubin writes:

You’re much more likely to spot surprising relationships and to see fresh connections among ideas, if your mind is constantly humming with issues related to your work. When I’m deep in a project, everything I experience seems to relate to it in a way that’s absolutely exhilarating. The entire world becomes more interesting. That’s critical, because I have a voracious need for material, and as I become hyperaware of potential fodder, ideas pour in. By contrast, working sporadically makes it hard to keep your focus. It’s easy to become blocked, confused, or distracted, or to forget what you were aiming to accomplish.

[…]

Creativity arises from a constant churn of ideas, and one of the easiest ways to encourage that fertile froth is to keep your mind engaged with your project. When you work regularly, inspiration strikes regularly.

Echoing Alexander Graham Bell, who memorably wrote that “it is the man who carefully advances step by step … who is bound to succeed in the greatest degree,” and Virginia Woolf, who extolled the creative benefits of keeping a diary, Rubin writes:

Step by step, you make your way forward. That’s why practices such as daily writing exercises or keeping a daily blog can be so helpful. You see yourself do the work, which shows you that you can do the work. Progress is reassuring and inspiring; panic and then despair set in when you find yourself getting nothing done day after day. One of the painful ironies of work life is that the anxiety of procrastination often makes people even less likely to buckle down in the future.

Riffing on wisdom from her latest book, Happier at Home: Kiss More, Jump More, Abandon a Project, Read Samuel Johnson, and My Other Experiments in the Practice of Everyday Life, Rubin offers:

I have a long list of “Secrets of Adulthood,” the lessons I’ve learned as I’ve grown up, such as: “It’s the task that’s never started that’s more tiresome,” “The days are long, but the years are short,” and “Always leave plenty of room in the suitcase.” One of my most helpful Secrets is, “What I do every day matters more than what I do once in a while.”

With a sentiment reminiscent of William James’s timeless words on habit, she concludes:

Day by day, we build our lives, and day by day, we can take steps toward making real the magnificent creations of our imaginations.

Entrepreneurship guru and culture-sage Seth Godin seconds Rubin and admonishes against confusing vacant ritualization with creative rituals that actually spur productivity:

Everybody who does creative work has figured out how to deal with their own demons to get their work done. There is no evidence that setting up your easel like Van Gogh makes you paint better. Tactics are idiosyncratic. But strategies are universal, and there are a lot of talented folks who are not succeeding the way they want to because their strategies are broken.

The strategy is simple, I think. The strategy is to have a practice, and what it means to have a practice is to regularly and reliably do the work in a habitual way.

There are many ways you can signify to yourself that you are doing your practice. For example, some people wear a white lab coat or a particular pair of glasses, or always work in a specific place — in doing these things, they are professionalizing their art.

He echoes Chuck Close (“Inspiration is for amateurs — the rest of us just show up and get to work.”), Tchaikovsky (“a self-respecting artist must not fold his hands on the pretext that he is not in the mood.”) E. B. White (“A writer who waits for ideal conditions under which to work will die without putting a word on paper.”), and Isabel Allende (“Show up, show up, show up, and after a while the muse shows up, too.”), observing:

The notion that I do my work here, now, like this, even when I do not feel like it, and especially when I do not feel like it, is very important. Because lots and lots of people are creative when they feel like it, but you are only going to become a professional if you do it when you don’t feel like it. And that emotional waiver is why this is your work and not your hobby.

Manage Your Day-to-Day goes on to explore such facets of the creative life as optimizing your idea-generation, defying the demons of perfectionism, managing procrastination, and breaking through your creative blocks, with insights from magnificent minds ranging from behavioral economist Dan Ariely to beloved graphic designer Stefan Sagmeister.

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