sci-fi author, beatmaker

Category: Creative Work/Career Page 17 of 23

Why Breaks Are a Bad Idea

Feel the burn every day.

Feel the burn every day.

I’ve been working on a new novel (if you’ve been wondering why my recent posts have been shorter, that’s the reason). It’s my third attempt at a novel, and hopefully I’ll be happy enough with the results to seek publication. Writing 5-6 days/week is difficult, but also extremely rewarding.

So here’s my realization. It had been a couple years since I stopped working on most recent novel before this one, an alternative-biology mystery. I wrote it without an outline or ending in mind (big mistake for a mystery!), and the end result was filled with plot holes and continuity errors. It’s probably fixable, but after a couple rewrites I decided I was better off taking a short break and starting a new novel project (this time with a proper outline).

Well, that short break stretched into two-and-a-half-years. Which is about the same amount of time between my first attempt at a novel (an adventure story that tried to cram every idea I’d ever had into it; after finishing it I realized I had better just start a blog to give myself a proper firehose outlet). And I had the same stupid idea too — give myself a “short break” before starting the next project.

So I figured out why that doesn’t work.

The Learning Tax (pay it, instead of working around your ignorance and weaknesses)

Learning the Hebrew alphabet, one of my current study areas

Learning the Hebrew alphabet, one of my current study areas

For about a decade, for most of my thirties, I lost touch with active learning.

This isn’t to say that I didn’t learn anything for those ten years. I learned passively, reading nonfiction and news. I had hundreds of fascinating conversations. I worked, and learned by doing (LBD), acquiring new skills by throwing myself into unfamiliar activities (screenplay and novel writing, DJing) and learning on the fly.

Still, my approach to acquiring new skills and knowledge was haphazard. The few times I did dedicate time and resources to active learning yielded large dividends (for example my “DJ bootcamp” experience), but this was the exception, not the rule.

For the most part, I ignored:

Why Money Is Bad For Art

How do you measure the value of your time?

How do you measure the value of your time?

As usual, I’ve been juggling things I need to do, things I want to do, and things I end up doing that are neither, and feeling like there isn’t enough time for all of it.

You might think that the “answer” to this “problem” would be to increase my efficiency (maybe using the Pareto principle, or David Allen’s GTD system). Or, I could reduce the number of commitments and activities in my life. I’m a dad, husband, database developer, blogger, music producer, label runner, event promoter, radio show host, and aspiring novelist — mostly by choice. Nobody is making me pack my dance card that full.

An alternate solution — one that occurred to me after reading Elizabeth Dunn’s essay “Why We Feel Pressed For Time” — is to instead consider and evaluate the conditions and assumptions that lead me to feel pressed for time in the first place.

One of these conditions in affluence.

Dunn hypothesizes that we feel pressed for time because of our high hourly rates (and/or high salaries). People who don’t make as much money feel less pressed for time, because they actually don’t perceive their time as “precious” like high earners do. They’re a bit more casual in the way they spend their time, and they don’t worry about “wasting it” so much.

In Western culture, the more affluent you are, the busier you get. This is a self-imposed psychological trap. Quoting Dunn, “simply perceiving oneself as affluent might be sufficient to generate feelings of time pressure.” (Dunn cites research by DeVoe and Pfeffer that backs up this claim — it’s worth reading her essay).

So why is this bad for art, as my title asserts?

Art takes time. Time where you walk in circles, explore blind alleys, and spend entire mornings working hard only to throw your results into a literal or digital wastebasket.

In my own experience, making art only feels productive about one session in three. In fact you are usually making progress (exploring blind alleys counts), but it doesn’t feel like it.

This feeling was easier to tolerate when I was young and broke. My time didn’t feel as valuable. What else would I be doing? Delivering pizzas? In college, when my part time work earned me about $12/hour at most, I would often spend six to ten hour stretches studying synthesizer manuals and plugging MIDI notes into the sequencer on my MacPlus computer. Now, as a professional freelance consultant and business owner, I find it much harder to dedicate large chunks of time to meandering creative work.

The way to escape this trap is to define my purpose in life explicitly. My chosen life purpose centers around creating artistic works, and I remind myself of this daily. It’s always “worth it” to pursue my life’s work, even if my efforts don’t lead to any kind of obvious gains (piles of gold coins, fancy cheese and wine, the respect and admiration of my peers, and beautiful women wanting me).

If you don’t define your life purpose, mainstream cultural values will seep in and define “value” for you. In today’s environment that means money. Valuing your time only in terms of money will paralyze you as an artist.

Career Sucker Bets

You've earned it!

You’ve earned it!

I’ve had a few hair-tearing ultra-frustrating moments recently in regards to some of my programming work. At times like that I sometimes wonder if I’ve made a “career sucker bet” and gone into the wrong line of work entirely.

After a glass of wine, a good night’s sleep, and successfully delivering the latest iteration of the project, things don’t look so dark. Freelance programming, while it has its challenges, also has massive upsides.

But there are plenty of career sucker bets out there, and if you’re a young person evaluating your career options, here are some things to watch out for:

How To Stay Relevant as an Artist (What to Do When They Try to Put You in the Cupboard)

Try not to end up in here.

Try not to end up in here.

My first dance single came out in 1992 (DJ JD — “1-900”). I was 22 years old. My most recent dance single came out last Wednesday (Yellowcake and Kevin Knapp — Oh Yuki/Waterfall). My dance music career is old enough to legally order a drink at a bar.

At the beginning of your artistic career, the challenge is to make enough noise to be recognized at all. A couple decades later, if you’ve had any success at all, the challenge is to stay out of the cupboard.

Let me explain.

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