Quotes of All Topics . Occasions . Authors
If you were meant to cure cancer or write a symphony or crack cold fusion and you don't do it, you not only hurt yourself, even destroy yourself. You hurt your children. You hurt me. You hurt the planet.
Concerning all acts of initiative there is one elementary truth, the ignorance of which kills countless ideas and splendid plans: that the moment one definitely commits oneself, then providence moves too.
There is an enemy. There is an intelligent, active, malign force working against us. Step one is to recognize this. This recognition alone is enormously powerful. It saved my life, and it will save yours.
Playing the game for money produces the proper professional attitude. It inculcates the lunch-pail state of mind that shows up for work despite rain or snow or dark of night and slugs it out day after day.
The great thing about writing about the ancient Spartans or Athenians is that so much knowledge is no longer extant that no one, except maybe a Cambridge or Oxford don, can call you out and prove you wrong.
As artists and professionals, it is our obligation to enact our own internal revolution, a private insurrection inside our own skulls. In this uprising we free ourselves from the tyranny of consumer culture.
Have you ever wondered why the slang terms for intoxication are so demolition-oriented? Stoned, smashed, hammered. It's because they're talking about the Ego. It's the Ego that gets blasted, waxed, plastered.
If you find yourself asking yourself (and your friends), "Am I really a writer? Am I really an artist?" chances are you are. The counterfeit innovator is wildly self-confident. The real one is scared to death.
As powerful as is our soul's call, so potent are the forces of Resistance arrayed against it. We're not alone if we've been mowed down by Resistance; millions of good men and women have bitten the dust before us.
Someone once asked Somerset Maughham if he wrote on a schedule or only when struck by inspiration. "I write only when inspiration strikes," he replied. "Fortunately it strikes every morning at nine o'clock sharp.
The amateur believes he must first overcome his fear; then he can do his work. The professional knows that fear can never be overcome. He knows there is no such thing as a fearless warrior or a dread-free artist.
There's a secret that real writers know that wannabe writers don't, and the secret is this: It's not the writing part that's hard. What's hard is sitting down to write. What keeps us from sitting down is Resistance.
Do I really believe that my work is crucial to the planet's survival? Of course not. But it's as important to me as catching that mouse is to the hawk circling outside my window. He's hungry. He needs a kill. So do I.
Evolution has programmed us to feel rejection in our guts. This is how the tribe inforced obedience, by wielding the threat of expulsion. Fear of rejection isn't just psychological; it's biological. It's in our cells.
The professional does not permit himself to become hidebound within one incarnation, however comfortable or successful. Like a transmigrating soul, he shucks his outworn body and dons a new one. He continues his journey.
Long-term, we must begin to build our internal strengths. It isn't just skills like computer technology. It's the old-fashioned basics of self-reliance, self-motivation, self-reinforcement, self-discipline, self-command.
No industry is immune and no occupation is safe. All of us need to begin to think in terms of our own inner strengths, our resilience and resourcefulness, our capacity to adapt and to rely upon ourselves and our families.
Resistance cannot be seen, touched, heard, or smelled. But it can be felt. We experince it as an energy field radiating from a work-in-potential... Its aim is to shove us away, distract us, prevent us from doing our work.
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.
Ignorance and arrogance are the artist's and entrepreneur's indispensable allies. She must be clueless enough to have no idea how difficult her enterprise is going to be and cocky enough to believe she can pull it off anyway."
The professional tackles the project that will make him stretch. He takes on the assignment that will bear him into uncharted waters, compel him to explore unconscious parts of himself. Is he scared? Hell, yes. He's petrified.
The more important a call to action is to our soul's evolution, the more Resistance we will feel about answering it. But to yield to Resistance deforms our spirit. It stunts us and makes us less than we are and were born to be.
The difference between an amateur and a professional is in their habits. An amateur has amateur habits. A professional has professional habits. We can never free ourselves from habit. But we can replace bad habits with good ones.
We are all warriors. Each of us struggles every day to define and defend our sense of purpose and integrity, to justify our existence on the planet and to understand, if only within our own hearts, who we are and what we believe in.
The artist must be like that Marine. He has to know how to be miserable. He has to love being miserable. He has to take pride in being more miserable than any soldier or swabbie or jet jockey. Because this is war, baby. And war is hell.
In other words, any act that rejects immediate gratification in favor of long-term grown, health, or integrity. Or, expressed another way, any act that derives from our high nature instead of our lower. Any of these will elicit Resistance.
The part we create from can't be touched by anything our parents did, or society did. That part is unsullied, uncorrupted; soundproof, waterproof, and bulletproof. In fact, the more troubles we've got, the better and richer that part becomes.
It is a commonplace among artists and children at play that they're not aware of time or solitude while they're chasing their vision. The hours fly. The sculptress and the tree-climbing tyke both look up blinking when Mom calls, 'Suppertime!'
Making a judgment, taking a stand and then acting against an injustice or acting to support excellence is the stuff of the everyman hero. If you are an aspiring artist and you wish to avoid “judgments,” you'll find that you have nothing to say.
Picasso painted with passion, Mozart composed with it. A child plays with it all day long. You may think you’ve lost your passion, or that you can’t identify it, or that you have so much of it, it threatens to overwhelm you. None of these is true.
The working artist will not tolerate trouble in her life because she knows trouble prevents her from doing her work. The working artist banishes from her world all sources of trouble. She harnesses the urge for trouble and transforms it in her work.
If you want to send a manuscript, send it to an agent. And send a letter first, asking permission. Launch it into the real world of cold-blooded commercial response, not into the fantasyland of wishful thinking, cowardice and surrender to Resistance.
F@*# self-doubt. I despise it. I hold it in contempt, along with the hell-spawned ooze-pit of Resistance from which it crawled. I will NEVER back off. I will NEVER give the work anything less than 100%. If I go down in flames, so be it. I'll be back.
Never forget: This very moment, we can change our lives. There never was a moment, and never will be, when we are without the power to alter our destiny. This second, we can turn the tables on Resistance. This second, we can sit down and do our work.
Are you paralyzed with fear? That’s a good sign. Fear is good. Like self-doubt, fear is an indicator. Fear tells us what we have to do. Remember one rule of thumb: the more scared we are of a work or calling, the more sure we can be that we have to do it.
Right now with blogs and the flood of internet access, a multitude of aspiring writers think they're ready for prime time. They're not. Be great. Read. Write. Bust your ass. Learn and find your voice. As hard as you think it is, it's a hundred times harder.
When we make our art a practice, when we make our workspace sacred and enter it daily with respect and high intention, then we elevate our actions (even if they're taking place within the profane arena of commerce) beyond ego and above gimme-gimme ambition.
A contemporary or near-future book is much harder because you can't fake the facts. There are people alive who know much more than you do about the subject. You have to really have your research together - and of course no one can know everything about a topic.
The Kabbalah describes angels as bundles of light, meaning intelligence, consciousness. Kabbalists believe that above every blade of grass is an angel crying "Grow! Grow!" ... I believe that above the entire human race is one super-angel, crying "Evolve! Evolve!"
The last element in drama is high stakes. War, of course, is life and death - survival, not only for the story's characters, but often for the society itself. That's why I'm drawn to stories that are built around wars, even if they're not technically "war stories."
In the hierarchy, the artist faces outward. Meeting someone new he asks himself, What can this person do for me? How can this person advance my standing? In the hierarchy, the artist looks up and looks down. The one place he can't look is that place he must: within.
The professional conducts his business in the real world. Adversity, injustice, bad hops and rotten calls, even good breaks and lucky bounces all comprise the ground over which the campaign must be waged. The field is level, the professional understands, only in heaven.
Ambition, I have come to believe, is the most primal and sacred and fundament of our being. To feel ambition and to act upon it is to embrace the unique calling of our souls. Not to act upon that ambition is to turn our backs on ourselves and on the reason for our existence.
Resistance is directly proportional to love. If you’re feeling massive Resistance, the good news is, it means there’s tremendous love there too. If you didn’t love the project that is terrifying you, you wouldn’t feel anything. The opposite of love isn’t hate; it’s indifference.
Writers think in metaphors. Editors work in metaphors. A great reader reads in metaphors. All are continually asking, "What does this represent? What does it stand for?" They are trying to take everything one level deeper. When they get to that level, they will try to go deeper again.
A great trick that I learned having worked as a screenwriter for many years, the way screenwriters work, is they break the project down into three-act structure: Act 1, Act 2, Act 3. I think that is a great way to break down any project, whether it's a new business or anything at all.
I believe in previous lives and the Muse—and that books and music exist before they are written and that they are propelled into material being by their own imperative to be born, via the offices of those willing servants of discipline, imagination and inspiration whom we call artists.
It can pay off, being a hack. Given the depraved state of American culture, a slick dude can make millions being a hack. But even if you succeed, you lose, because you’ve sold out your Muse, and your Muse is you, the best part of yourself, where your finest and only true work comes from.
Late at night have you experienced a vision of the person you might become, the work you could accomplish, the realized being you were meant to be? Are you a writer who doesn't write, a painter who doesn't paint, an entrepreneur who never starts a venture? Then you know what Resistance is.
There's a phrase you hear in Israel: "We're not Jews, we're Israelis." What that means is that the stereotype we're familiar with here in the States of the Diaspora Jew, i.e. Jews in America or Europe or Russia, etc. does not fit at all with the reality of the homegrown "sabras" of Israel.