The War of Art: Winning the Inner Creative Battle

“Resistance will tell you anything to keep you from doing your work. It will perjure, fabricate, falsify; seduce, bully, cajole. Resistance is protean. It will assume any form, if that’s what it takes to deceive you […] Resistance is always lying and always full of shit.”

Pressfield employs his typical frankness to vilify Resistance as an evil and cunning force. This quote underlines his exploration of Resistance’s many manifestations, and encourages the reader to be vigilant about how they may be generating Resistance in their own lives. Pressfield combines highbrow language—“protean”—with more colloquial prose—“always full of shit.”

“Henry Fonda was still throwing up before each stage performance, even when he was seventy-five. In other words, fear doesn’t go away. The warrior and the artist live by the same code of necessity, which dictates that the battle must be fought anew every day.”

Pressfield questions the idea that artists stop being afraid about their work. He argues that being creative is not about becoming fearless, but about continually conquering fear as it arises. Here, Pressfield introduces his analogy in which he compares artists to warriors, as fighting Resistance is also a kind of “battle.”

“I once worked as a writer for a big New York ad agency. Our boss used to tell us: Invent a disease. Come up with the disease, he said, and we can sell the cure. Attention Deficit Disorder, Seasonal Affective Disorder, Social Anxiety Disorder. These aren’t diseases, they’re marketing ploys. Doctor’s didn’t discover them, copywriters did. Marketing departments did. Drug companies did. Depression and anxiety may be real. But they can also be Resistance.”

Pressfield questions American culture’s approach to mental health treatment, claiming that some symptoms may simply be the result of Resistance. The above lines emphasize Pressfield’s belief that Resistance can have significant consequences for people, engendering depression or anxiety. It also helps him lay a foundation for his argument that American culture is too focused on relieving discomfort and should be more committed to discipline and self-mastery. Again, Pressfield uses short, declarative sentences for emphasis. He also uses repetition for emphasis, repeating “did” at the end of three sentences: “Doctor’s didn’t discover them, copywriters did. Marketing departments did. Drug companies did.” (Emphasis added.)

“Certainly I wouldn’t be writing this book, on this subject, if living with freedom were easy. The paradox seems to be, as Socrates demonstrated long ago, that the truly free individual is free only to the extent of his own self-mastery. While those who will not govern themselves are condemned to find masters to govern over them.”

Pressfield introduces The Importance of Discipline and Self-Mastery by referencing Socrates, whose philosophy explored the paradox of freedom. Pressfield encourages the reader to create disciplined habits around their creative projects to overcome Resistance and consistently practice their craft.

“Grandiose fantasies are a symptom of Resistance. They’re the sign of an amateur. The professional has learned that success, like happiness, comes as a by-product of work. The professional concentrates on the work and allows rewards to come or not come, whatever they like.”

Pressfield examines the psychology behind Resistance, and identifies “fantasies” as a symptom of Resistance. These lines tie in with Pressfield’s argument that Resistance is a function of the Ego. When fantasizing about material success and validation, artists indulge in their Ego rather than focus on doing the work. This passage underlines Pressfield’s belief that real artists work hard and are not motivated by possible rewards.

“Don’t get me wrong. I’ve got nothing against true healing. We all need it. But it has nothing to do with doing our work and it can be a colossal exercise in Resistance. Resistance loves “healing.” Resistance knows that the more psychic energy we expend dredging and redredging the tired, boring injustices of our personal lives, the less juice we have to do our work.”

With his usual no-nonsense tone, Pressfield attacks the notion that artists must pursue healing as a prerequisite to being creative. By dismissing the “tired, boring injustices” of people’s lives, Pressfield tries to motivate his reader to separate their personal problems from their creative pursuits. He uses conversational language: “Don’t get me wrong” and his characteristic short sentences.

“The artist committing himself to his calling has volunteered for hell, whether he knows it or not. He will be dining for the duration on a diet of isolation, rejection, self-doubt, despair, ridicule, contempt, and humiliation.”

Pressfield acknowledges the pain and uncertainty artists face as they pursue their craft. These lines somewhat contradict his other claim that overcoming Resistance will help artists feel better and relieve their “symptoms.” While hyperbolic or exaggerated, this passage shows how Pressfield avoids romanticizing the artist’s life, and aims to prepare the reader for the difficulties inherent in the creative process.

“The sign of the amateur is overglorification and preoccupation with the mystery. The professional shuts up. She doesn’t talk about it. She does her work.”

While Pressfield believes in the “mystery” and spirituality behind creative inspiration, he argues that one should not become too distracted by this aspect of their work, and instead focus on being productive. He believes that the inspirational muses or angels are kindest to those who work the hardest, which helps him support his advocacy for hard work.

“The professional self-validates. She is tough-minded. In the face of indifference or adulation, she assesses her stuff coldly and objectively. Where it fell short, she’ll improve it. Where it triumphed, she’ll make it better still. She’ll work harder. She’ll be back tomorrow.”

Pressfield argues that one should not depend on others’ validation. By painting a picture of a “tough-minded” artist, he provides a role model to aspire to as one becomes more emotionally resilient for the sake of their craft.

“There’s no mystery to turning pro. It’s a decision brought about by an act of will. We make up our minds to view ourselves as pros and we do it. Simple as that.”

Though Pressfield believes in supernatural forces, such as angels and muses, he argues that embracing one’s craft is a choice, “an act of will.”

He insists that the decision is a “simple” one and encourages the reader to avoid overthinking or overplanning, both of which can indulge Resistance.

“What I call professionalism someone else might call the Artist’s Code or the Warrior’s Way. It’s an attitude of egolessness and service. The Knights of the Round Table were chaste and self-effacing. Yet they dueled dragons.”

Pressfield develops his theme of The Artist as Warrior. He argues that the reader will be more productive—and feel better about their work—by considering themselves in service to creativity itself. Pressfield advocates for pursuing one’s craft with both dedication and humility.

“Artists have invoked the Muse since time immemorial. There is great wisdom to this. There is magic to effacing our human arrogance and humbly entreating help from a source we cannot see, hear, touch, or smell.”

Pressfield’s belief in the “Muse” has a long historical precedent in ancient Greek mythology. By referencing “human arrogance,” he explores the benefits of believing in a higher power that provides artists with inspiration and motivation. He asks the reader to ponder whether there could be some real “magic” that has helped artists create their masterpieces.

“When we make a beginning we get out of our own way and allow the angels to come in and do their job. They can speak to us now and it makes them happy. It makes God happy.”

Pressfield connects The Importance of Discipline and Self-Mastery with his views on spirituality and creativity, insisting that artists must take initiative and start their work in order to receive angelic help.

“What does it tell us about the architecture of our psyches that, without exerting effort or even thinking about it, some voice in our head pipes up to counsel us (and counsel us wisely) on how to do our work and live our lives? [...] Are these angels? Are they muses? Is this the Unconscious? The Self? Whatever it is, it’s smarter than we are.”

Pressfield invites the reader to consider how people become creatively inspired, and the role that the artist’s subconscious plays in helping to develop craft. In this passage, Pressfield asks rhetorical questions. By interspersing questions with declarative sentences, he varies the rhythm of the prose.

“The world is entirely new, viewed from the Self. At once we discern what’s really important. Superficial concerns fall away, replaced by a deeper, more profoundly-grounded perspective […] Here’s what I think. I think angels make their home in the Self, while Resistance has its seat in the Ego.”

Pressfield relies on the Jungian notion of the Ego and the Self. He connects his ideas about Resistance to the Ego and presents the contrasting instincts of the Self. This discussion is more psychological than other, more spiritual passages. It emphasizes that the Ego, being afraid of failure and vulnerability, is the ultimate origin of Resistance. This further demonizes Resistance and encourages the reader to develop their “Self.”

“Dreams come from the Self. Ideas come from the Self. When we meditate we access the Self. When we fast, when we pray, when we go on a vision quest, it’s the Self we’re seeking.”

Pressfield encourages one to recognize the importance of the Self in creative pursuits. In contrast to the thinking Ego, the Self is more subconscious and intuitive, and therefore has a role in dreams and visions. He explains the Self’s influence over people and asks the reader to respect the thoughts it produces.

“The Ego hates it when the awakening writer sits down at the typewriter. The Ego hates it when the aspiring painter steps up before the easel. The Ego hates it because it knows that these souls are awakening to a call, and that that call comes from a plane nobler than the material one and from a source deeper and more powerful than the physical.”

By contrasting creativity and the Ego once again, Pressfield encourages the reader to defy their Ego and answer the “nobler” call of creativity. He emphasizes the relationship between the Ego and Resistance and again hints at his spiritual understanding of art and the mind.

“Fear That We Will Succeed. That we can access the powers we secretly know we possess. That we can become the person we sense in our hearts we truly are. This is the most terrifying prospect a human being can face, because it ejects him at one go (he imagines) from all the tribal inclusions his psyche is wired for and has been for fifty million years.”

Pressfield makes the counterintuitive or unexpected argument that artists are afraid of success. He believes that because people have evolved to live in community and define ourselves by our “tribal inclusions,” we are subconsciously afraid to stand out from family and social groups as an individual. This challenges the reader to consider how they have limited themselves to stay in a certain comfort zone. It also emphasizes the personal nature of many art forms, which can emphasize an artist’s individuality.

“For the artist to define himself hierarchically is fatal. The artist must operate territorially. He must do his work for its own sake.”

Pressfield reminds the reader that feeling preoccupied with validation or criticism from others can be “fatal” to an artists’ work and self-esteem. By rooting identity in the practice of craft, and not others’ reception, an artist can overcome this challenge and not lose their sense of self.

“In other words, the hack writes hierarchically. He writes what he imagines will play well in the eyes of others. He does not ask himself, ‘What do I myself want to write? What do I think is important?’ Instead, he asks, ‘What’s hot, what can I make a deal for?’”

Pressfield argues that one should create art from genuine inspiration and interest, and not a logical assessment of the market. This passage denounces writers who respond to trends to make a living from their writing. By attacking “hacks,” Pressfield asks the reader to consider their own interests above others’.

“When the artist works territorially, she reveres heaven. She aligns herself with the mysterious forces that power the universe and that seek, through her, to bring forth new life. By doing her work for its own sake, she sets herself at the service of these forces.”

Pressfield insists that by working diligently with genuine inspiration, artists are empowered by heavenly forces that want to help their art come to life. This encourages one to become an artistic channel for these “mysterious forces.”

“If we were the last person on earth, would we still show up at the studio, the rehearsal hall, the laboratory?”

By asking if one would continue to create art in the absence of an audience, Pressfield asks the reader to consider what their true passion, or “territory,” is in life. He believes that when artists truly love their craft, they would practice it even if no one is there to engage with it.

“When Krishna instructed Arjuna that we have a right to our labor but not to the fruits of our labor he was counseling the warrior to act territorially, not hierarchically. We must do our work for its own sake, not for fortune or attention or applause.”

Pressfield again compares artists to warriors as he references the mythical soldier Arjuna’s lessons on the battlefield. He connects Krishna’s counsel to his claim that artists must pursue their craft for its own sake, and not feel dependent on others’ validation.