Antifragility in Creativity
The journey through creative professions is often romanticized as a path of passion and inspiration. Due to the intellectual effort and high expectations of others this is one of the most challenging paths. The crude reality is a complex blend of struggle, resilience, and constant adaptation. But perhaps this thrill of challenges and adversity truly ignites the spark of creativity, not the comfort of stability found in other professions? Renowned figures like Werner Herzog, Nassim Taleb, Srikumar Rao, and Slavoj ?i?ek have delved deep into these complexities, revealing that perhaps the essence of creativity lies not in the pursuit of happiness but in embracing the unpredictable and often tumultuous journey. The question remains: how to manage oneself in a world that is anything but predictable, while harnessing the true power of creativity?
Debunking Myths in Creative Careers
The issue of creativity and its management is interesting because many harmful myths have grown around it. One of them is the saying, "Do what you love" (implying that the rest will fall into place). However, if you are seriously planning a career as a writer, musician, or filmmaker, following this advice may not be the best choice. Performing at a concert is a huge pleasure for a singer, but it's just the tip of the iceberg of their duties, which include: rehearsals, travel, staying in hotels, maintaining a media presence; and the price for it is less contact with loved ones and a loss of part of their private sphere, to name a few.
Relying solely on your faith in your talent and the belief that (sooner or later) someone will discover you may lead you to wait indefinitely. Ignoring market realities carries the risk of not only financial problems but also greater frustration due to the results achieved. In practice, it is very rare to achieve financial independence solely based on creative work. Working in unstable conditions can ultimately be much less creative when it turns out that you spend more time making ends meet. Some people never learn that lesson, blindly following the law of diminishing returns.
Alex Soojung-Kim Pang in the article "Are you creative? Then ‘Do What You Love’ is terrible advice" writes that many recognized creators, even after publishing their works, have not given up their daily, non-passion-related jobs to this day. Having a stable job unrelated to creativity, they find time to create in the evenings, on weekends, or during holidays. The author emphasizes that waiting for inspiration is also counterproductive. The secret lies in being systematic, then the Muse will find the right path on its own.
The Balance Between Stability and Passion
Renowned writers such as John le Carré, Stephen King, and J.R.R. Tolkien demonstrates that they transitioned to full-time dedication to their passion only after stabilizing their position in the market. They garnered a group of devoted fans and secured representation from agents or other entities, which helped manage the influx of new projects. Meanwhile, other writers continue to balance dual careers, working 'two jobs' in the hope of securing an advance for a book package. This approach sometimes involves self-deceptive tactics, such as dressing for success, or adhering to the adage 'fake it till you make it.'? All in all, repeating an intention like a mantra might become a self-fulfilling prophecy.
German director Werner Herzog shares a similar view, emphasizing that climbing the hierarchy ladder in the film world is a waste of time. Starting from being a set attendant, through being an assistant, to pulling cables on the film set will only frustrate you if you have bigger ambitions. Herzog argues that instead of waiting for the system to finance your project (and dictate the terms of execution), it is better to start acting on your own, even if it means working as a taxi driver, a butcher, or a hospital watchman. Besides providing for one's livelihood, collecting firsthand experiences - following the example of Ernest Hemingway or Joseph Conrad - will provide much more inspiration for your creativity.
Nassim Nicholas Taleb is an experienced trader and author of thought provoking bestsellers, among which “Fooled by Randomness” and “The Black Swan” are the most famous. In "Antifragile: Things That Gain from Disorder" he writes about how relying solely on one source of income in the constantly changing conditions of economic life is short-sighted. Contrary to what we may think, we are unable to control - let alone predict - technological developments or economic crises. Those who are able to survive various types of shocks, and even develop thanks to them, are like the "strongest gene," and Taleb calls them antifragile.
According to Taleb, an important aspect for survival is optionality. This means having the possibility (not the necessity) to take advantage of a certain option. If this option works out, we will be on the winning side; if not, we will be on neutral ground because we will not lose much. Becoming attached to a salary in a permanent position can become a flashpoint for a major crisis in the event of a larger shock, if we do not diversify our sources of income. Thus, diversifying activities helps to reduce risk.
While the principles of antifragility and embracing creative struggles are compelling, it's crucial to acknowledge the diversity of paths in creative careers. Traditional routes, characterized by structured environments and conventional career progressions, have undeniably led many to success, highlighting the value of institutional support and the varied nature of creative processes. It's important to recognize that creativity doesn't always flourish in adversity; for some, stability and predictability can be just as nurturing. Moreover, the glorification of struggle risks oversimplifying the intricate challenges artists face, including mental health issues and burnout. Not everyone has the privilege to balance a stable job with creative endeavors, and for some, financial constraints might necessitate a choice between economic security and artistic passion.
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The Role of Criticism and Public Perception
Authors, artists, and even philosophers fare much better if they are supported by a small group of dedicated admirers rather than a large crowd of sympathizers. This is illustrated by the influence of enthusiastic and influential supporters in the case of Ludwig Wittgenstein and Bertrand Russell. For many of his contemporaries, Wittgenstein was considered a lunatic, although their opinion didn't really matter. What mattered was that he had a group of devoted and very influential admirers like Bertrand Russell and John Maynard Keynes.
Aforementioned Taleb often turns conventional wisdom on its head in his theses. For example, he argues that critical reviews are essential in spreading the word, as in the saying “all publicity is good publicity”. He himself only gained his father's respect after acquiring enemies. Critics can even contribute to the popularization of a work. It's their effort to slander someone that counts, so it's enough for them to write indignantly that a film or album is overrated to automatically generate more interest. For the opposite effect, simply use the word "underrated." Balzac recalled how actresses paid journalists (often in kind) to write flattering reviews, but the cleverest ones wanted to be written about not only in the good light, knowing it would make them more interesting. Forbidden things attract more, and "Madame Bovary '' or "Lady Chatterley’s Lover" succeeded in sales precisely because of this.?
In today's rapidly evolving digital landscape, the principles of antifragility in creativity take on new dimensions. The rise of digital platforms and social media has revolutionized the way creatives work and engage with audiences, offering unprecedented opportunities for exposure and collaboration. Adaptability is key; creatives must be willing to explore new mediums and technologies, from virtual reality to AI-driven art, to stay relevant and innovative. Additionally, the gig economy has reshaped traditional career paths, making it essential for creatives to be more entrepreneurial and proactive in marketing their skills.
In his lecture from Film Spring Open workshops titled "Self-Management in Creativity" Polish business psychologist Jacek Santorski addressed a very interesting topic. He emphasized the value of active responsibility of the creator for their own development, instead of passively reacting to crisis situations. Santorski argues that although optimism is necessary for the success of a project, it should not be exaggerated. He cited examples of victims of positive thinking who were so inspired by the intention itself that they forgot about positive... action. The psychologist also recalled one of the most popular scripts we fall victim to in life. The so-called "drama triangle" which consists of: victim, persecutor, and savior. And although at some point in life each of us happens to play each of these roles, paradoxically the most exhausting is the last one: savior. Moreover, Santorski argues that instead of looking for someone to blame after a failure, it is better to think about what this experience can teach for the future.
The Creative Process: Struggle and Satisfaction
The paradoxes of creative professions have not escaped the notice of teachers from Eastern cultures either. Srikumar Rao, the creator of the pioneering course "Creativity and Personal Mastery" at Columbia Business School in New York and author of the books "Are You Ready to Succeed?" and "Happiness at Work" notes that many teachings can be obtained for free on the Internet, but without the right guide, it's just as easy to get lost in a plethora of choices. In his TED presentation "Plug into your hard-wired happiness" he asserts that you have influence over your actions, but their outcomes are beyond your sphere of influence (which is known among Stoics as "dichotomy of control”). Therefore, when planning to achieve a desired result, sometimes the opposite happens. Rao suggests that instead of focusing on the outcome, it is better to pay attention to the process itself. The goal is just a direction, not a reward. It's the journey (the process) that counts. As he says in an interview: "Suffering begins when we ourselves label a situation as tragic, bad. Until we do that, we do not suffer."
Slavoj ?i?ek, a well-known Marxist philosopher who is also the narrator of the excellent documentaries "The Pervert's Guide to Cinema" and "The Pervert's Guide to Ideology," has a somewhat different approach to happiness in creative work. ?i?ek criticizes systems, religions, governments, but also uses psychoanalysis to search for hidden meanings in films. In the presentation “Why be happy when you could be interesting?” he claims that for a scientist or artist, achieving a state of happiness is not the goal, as it is the process of creative struggle that is most gratifying. This aligns closely with the Peak Experience concept developed back in the sixties by Abraham Maslow. ?i?ek argues that some people love to think about how to solve a problem, and they will suffer with undisguised pleasure for such a challenge. Moreover, it's important to remember that a fundamental principle of storytelling is: no conflict, no story.
To sum up, here are some practical strategies that can empower you to cultivate antifragility and resilience:
These strategies not only build resilience but also ensure that your creative journey is enriched with continuous development and adaptability.
For those traversing the intricate landscape of creative careers, success hinges on their adaptability to unforeseen circumstances, a commitment to continual learning, and a skillful balance between stability and passion. As you progress in your creative pursuits, bear in mind that your most notable achievements are often the result of your ability to master the unpredictable and transform challenges into foundations for success and personal satisfaction. Or, as Marcus Aurelius put it nearly 2000 years ago: "What stands in the way becomes the way".