The Creative Act: A Way of Being

In Chapter 28 Rubin defines the initial stages of the creative process. In this seed phase or starting point, artists must practice non-judgment and allow phrases, melodies, sentences, shapes, or small observations to seep into their subconscious. The collection of seeds should be approached with awareness and curiosity. Generally, these seeds should be allowed to grow into maturity without ideas about their endings, as it can inhibit the creative potential of an idea. Rubin recommends spending several weeks in the seed stage. No single seed should be preferred in this beginning period. Artists should cultivate a belief that all seeds hold potential.

Chapter 29 takes the seeds of new ideas and plays with them. There is nothing at stake in this process; all ideas should be pursued equally. Rubin advises artists not to edit prematurely, as that effort could shut down avenues of discovery and innovation. Rubin recounts how ancient Chinese alchemists sought the recipe for immortality by mixing saltpeter, sulfur, and charcoal. Instead, they discovered gunpowder. This historical example shows that the results of experimentation cannot be predicted. Moreover, not every seed must develop into perfection. Artists must allow themselves to save seeds that might flourish later. However, paying attention to the body’s natural excitement can direct artists toward the seeds with the most potential for creative expression.

All ideas should be attempted with equal effort. Rubin writes that “[t]he only way to truly know if an idea works is to do it. And if you’re looking for the best idea, test everything” (158). This technique is particularly useful in group work. When collaborating, each individual holds a different approach, and everyone must agree on a direction forward. Allowing people to share ideas without judgment and ensuring that everyone’s voice is heard is a natural method of experimentation.

Chapter 31 describes the craft phase, which occurs after agreeing on a direction for the work. After planting the seed, nurturing it, and letting it grow, the time comes to prune. Rubin recommends paying attention to what can be reduced in art. Further, Rubin suggests that artists consider the necessity of their role after generating the initial idea. Some artists want to be part of the entire process while others thrive in the experimentation or craft phase. Artists need to be self-aware, recognizing when their own egos disrupt the generation of beauty.

Chapter 32 talks about maintaining enthusiasm for sustained progress. The craft stage can be difficult because it requires the curation of the smallest details and the patience to achieve excellence. In some instances, an artist overcorrects and edits a work that ought to be left alone. Another phenomenon that occurs at this stage is called demo-itis—when an artist holds onto their first draft for too long. To avoid demo-itis, artists should only review the work when they are bettering the art. Repeatedly consuming a draft can numb the artist to the emotional registers present in the piece. Momentum can also stall when artists realize that their vision exceeds their technical abilities. Instead of training further, Rubin recommends leaving the work for a while, getting distracted, and revisiting when refreshed. This technique of detachment may make the artists realize that a simpler version is what it needed for excellence. In the craft phase, Rubin suggests that artists maintain their editing or revising momentum until the session ends, even if this process happens out of order. The goal is to complete as much as possible in the allotted time before returning for the challenging edits.

Chapter 33 describes the purpose of art as the personal and unique expression or worldview of the artist. The point of view is the perspective, whether unconsciously or consciously produced, conveyed through the artwork. Rubin advises artists to know the difference between point of view in the art and opinion of the art. Opinion matters much less and only appears after the work is finished. Point of view, however, pervades the art from start to finish, and thereafter for audiences to discern. Audiences may form opinions about the work; artists themselves may form opinions about their own work after finishing. These natural occurrences of criticism matter very little to Rubin. The artist should not preconceive an opinion and instill it into the work at the risk of losing the personal expression of one’s point of view. Additionally, artists should not worry about audience understanding or comprehension, as freedom of self-expression creates great art, not the management of interpretations.

Rubin cites famous artists who mimicked others before carving out their own niche. Being an artist means maintaining a dialogue with past, present, and future artists through study, evaluation, and creation.

Chapter 34 prescribes methods for refreshing and rejuvenating an artist’s creative faculties, including:

• Take small steps
• Change the environment
• Change the stakes
• Invite an audience
• Change the context
• Alter the perspective
• Write for someone else
• Add imagery
• Limit the information (184-189).

Small steps may mean writing one line a day. Changing the environment suggests deliberately altering or moving spaces to spur innovation. Changing the stakes modifies the artists investment in their work. Inviting an audience includes having one or more people observe the act of artistry. When changing the context, Rubin advises finding new meaning in one’s work, for instance, transforming a love song written for a partner into a devotional to God instead (186). When altering the perspective, artists can change the volume of the recording to an extremely loud level to force them to play more delicately. Rubin himself sometimes changes the lighting during performances or recording sessions so the artists’ visual fields change. When writing for someone else, artists can practice creating for their opposite audience. Adding imagery means that an artist paints a picture of a scene that encapsulates the thematic tenor of the art; the connection doesn’t have to be literal but should capture the feeling of the work. Rubin uses the example of telling artists to imagine the aftermath of a battle before hitting record so that the band might create a grander mood for the music. Limiting the information means the deliberate withholding of materials or prior drafts/recordings so that artists enter the composition stage without preconceived notions of the work. Rubin describes one musician making a rough demo of a track but not playing it for the rest of the band. Instead, the musician shares the notation of the piece, allowing the rest of the band to “use the full range of their creativity and decision-making abilities to take the song somewhere new and often unexpected” (189). Rubin encourages his readers to create new versions of these methods and experiment with various ways of breaking the sameness in artistic creation.

Chapter 35 argues that different artwork requires different methods of fine-tuning. There is no foolproof set of rules for the conclusion of a work. Sometimes, the work only needs a minor cosmetic addition, like “putting a frame on a painting” (192). Other times, the work needs to return to the craft or experiment stage because major changes are needed. Once a project comes close to the finish line, Rubin recommends that artists hand it off to mentors, close confidantes, and even strangers for outside perspectives. Rubin’s message is “to listen to understand the person” (193). Sometimes, criticism spurs new creativity; other times, a comment strikes a nerve, and the artist loses faith in the work or patience with the person. In moments like this, the artist should step away and reset. Rubin says that artists should view judgmental or negative feedback as an opportunity to take a moment and assess the validity of the comment. Ultimately, the work should express the artist, who must love it before it is finished: “The work is done when you feel it is” (194).

Artists can also use deadlines to encourage the completion of a work. Some artists become too attached to the unattainable goal of perfection and refuse to let go of the art. Each piece, however, is not the entirety of the person’s being. Instead, it is merely a reflection of the artist at that specific moment in space and time. Rubin warns readers that the longer they hold onto a work, the less time they’re spending on their next great creation. Abandoning the fear of miscommunication with the audience is an integral part of the process when releasing art.