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The War of Art Break Through the Blocks and Win Your Inner Creative Battles
By Steven Pressfield
Warner Books Copyright © 2002 Steven Pressfield All right reserved. ISBN: 0446691437
Chapter One RESISTANCE IS INVISIBLE
Resistance cannot be seen, touched, heard, or smelled. But it can be felt. We experience it as an energy field radiating from a work-in-potential. It's a repelling force. It's negative. Its aim is to shove us away, distract us, prevent us from doing our work.
RESISTANCE IS INTERNAL
Resistance seems to come from outside ourselves. We locate it in spouses, jobs, bosses, kids. "Peripheral opponents," as Pat Riley used to say when he coached the Los Angeles Lakers.
Resistance is not a peripheral opponent. Resistance arises from within. It is self-generated and self-perpetuated. Resistance is the enemy within.
RESISTANCE IS INSIDIOUS
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. It will reason with you like a lawyer or jam a nine-millimeter in your face like a stickup man. Resistance has no conscience. It will pledge anything to get a deal, then double-cross you as soon as your back is turned. If you take Resistance at its word, you deserve everything you get. Resistance is always lying and always full of shit.
RESISTANCE NEVER SLEEPS
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.
RESISTANCE AND PROCRASTINATION
Procrastination is the most common manifestation of Resistance because it's the easiest to rationalize. We don't tell ourselves, "I'm never going to write my symphony." Instead we say, "I am going to write my symphony; I'm just going to start tomorrow."
RESISTANCE AND SELF-DOUBT
Self-doubt can be an ally. This is because it serves as an indicator of aspiration. It reflects love, love of something we dream of doing, and desire, desire to do it. 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.
RESISTANCE AND FEAR
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 our 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.
Resistance is experienced as fear; the degree of fear equates to the strength of Resistance. Therefore the more fear we feel about a specific enterprise, the more certain we can be that that enterprise is important to us and to the growth of our soul. That's why we feel so much Resistance. If it meant nothing to us, there'd be no Resistance.
Have you ever watched Inside the Actors Studio? The host, James Lipton, invariably asks his guests, "What factors make you decide to take a particular role?" The actor always answers: "Because I'm afraid of it."
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.
(Conversely, the professional turns down roles that he 's done before. He's not afraid of them anymore. Why waste his time?)
So if you're paralyzed with fear, it 's a good sign. It shows you what you have to do.
RESISTANCE CAN BE BEATEN
If Resistance couldn't be beaten, there would be no Fifth Symphony, no Romeo and Juliet, no Golden Gate Bridge. Defeating Resistance is like giving birth. It seems absolutely impossible until you remember that women have been pulling it off successfully, with support and without, for fifty million years.
PROFESSIONALS AND AMATEURS
Aspiring artists defeated by Resistance share one trait. They all think like amateurs. They have not yet turned pro.
The moment an artist turns pro is as epochal as the birth of his first child. With one stroke, everything changes. I can state absolutely that the term of my life can be divided into two parts: before turning pro, and after.
To be clear: When I say professional, I don't mean doctors and lawyers, those of "the professions." I mean the Professional as an ideal. The professional in contrast to the amateur. Consider the differences.
The amateur plays for fun. The professional plays for keeps.
To the amateur, the game is his avocation. To the pro it's his vocation.
The amateur plays part-time, the professional full-time.
The amateur is a weekend warrior. The professional is there seven days a week.
The word amateur comes from the Latin root meaning "to love." The conventional interpretation is that the amateur pursues his calling out of love, while the pro does it for money. Not the way I see it. In my view, the amateur does not love the game enough. If he did, he would not pursue it as a sideline, distinct from his "real" vocation.
The professional loves it so much he dedicates his life to it. He commits full-time.
That's what I mean when I say turning pro.
Resistance hates it when we turn pro.
Someone once asked Somerset Maugham 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."
That's a pro.
In terms of Resistance, Maugham was saying, "I despise Resistance; I will not let it faze me; I will sit down and do my work."
Maugham reckoned another, deeper truth: that by performing the mundane physical act of sitting down and starting to work, he set in motion a mysterious but infallible sequence of events that would produce inspiration, as surely as if the goddess had synchronized her watch with his.
He knew if he built it, she would come.
Excerpted from The War of Art by Steven Pressfield Copyright © 2002 by Steven Pressfield Excerpted by permission. All rights reserved. No part of this excerpt may be reproduced or reprinted without permission in writing from the publisher.