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Open up the swipe file. Start making stuff. You might be scared to start. Guess what: None of us do. They just show up to do their thing. Every day. Have you ever heard of dramaturgy? Another way to say this? I love this phrase. There are two ways to read it: 1. Pretend to be making something until you actually make something. I love both readings´┐Żyou have to dress for the job you want, not the job you have, and you have to start doing the work you want to be doing.

I also love the book Just Kids by the musician Patti Smith. You know how they learned to be artists? This old touristy couple is gawking at them. Creative work is a kind of theater. The stage is your studio, your desk, or your workstation. The costume is your outfit´┐Żyour painting pants, your business suit, or that funny hat that helps you think. The props are your materials, your tools, and your medium. The script is just plain old time. An hour here, or an hour there´┐Żjust time measured out for things to happen.

Copy copy copy copy. At the end of the copy you will find your self. In the beginning, we learn by pretending to be our heroes. We learn by copying. Copying is about reverse-engineering. We learn to write by copying down the alphabet. Musicians learn to play by practicing scales. Painters learn to paint by reproducing masterpieces. Remember: Even The Beatles started as a cover band.

We all did. Who to copy is easy. The reason to copy your heroes and their style is so that you might somehow get a glimpse into their minds. And then one day someone will steal from you. Imitation is about copying. Emulation is when imitation goes one step further, breaking through into your own thing. He had to adapt the moves to make them his own.

Our failure to copy our heroes is where we discover where our own thing lives. That is how we evolve. So: Copy your heroes. Examine where you fall short.

In the end, merely imitating your heroes is not flattering them. Transforming their work into something of your own is how you flatter them. Adding something to the world that only you can add. I just try to do them proud, the guys who came before, because I learned so much from them. I loved it. The minute I left the theater, I was dying for a sequel, so I sat down the next day at our old PC and typed one out.

In my treatment, the son of the game warden eaten by Velociraptors goes back to the island with the granddaughter of the guy who built the park. One of them wants to destroy the rest of the park, the other wants to save it. Of course, they fall in love and adventures ensue.

Ten-year-old me saved the story to the hard drive. A few years later, Jurassic Park II finally came out. And it sucked. The sequel always sucks compared to the sequel in our heads. I wanted to hear music that had not yet happened, by putting together things that suggested a new thing which did not yet exist. All fiction, in fact, is fan fiction. Write the kind of story you like best´┐Żwrite the story you want to read. And what do you know, many of these songs eventually became Deerhunter songs.

We crave sequels. Why not channel that desire into something productive? Think about your favorite work and your creative heroes. What did they miss? If they were still alive, what would they be making today? If all your favorite makers got together and collaborated, what would they make with you leading the crew? Go make that stuff.

The manifesto is this: Draw the art you want to see, start the business you want to run, play the music you want to hear, write the books you want to read, build the products you want to use´┐Żdo the work you want to see done. What we do know is that we do not get them from our laptops. Use them. This is why so-called knowledge work seems so abstract.

Just watch someone at their computer. Watch a great musician play a show. Watch a great leader give a speech. You need to find a way to bring your body into your work. Let us give more time for doing things in the real world. And my stuff was just terrible. Writing ceased to be any fun for me. For my first book, Newspaper Blackout, I tried to make the process as hands-on as possible.

Every poem in that book was made with a newspaper article and a permanent marker. The process engaged most of my senses: the feel of newsprint in my hands, the sight of words disappearing under my lines, the faint squeak of the marker tip, the smell of the marker fumes´┐Żthere was a kind of magic happening.

It felt like play. There are too many opportunities to hit the delete key. The computer brings out the uptight perfectionist in us´┐Żwe start editing ideas before we have them. Whereas in my sketchbook the possibilities are endless. Then I pushed the sheets of paper all over my office, rearranging them into piles, and then a stack, the order of which I copied back onto the computer. A kind of analog-to-digital loop. Nothing electronic is allowed on that desk. This is where most of my work is born, and all over the desk are physical traces, scraps, and residue from my process.

The digital desk has my laptop, my monitor, my scanner, and my drawing tablet. This is where I edit and publish my work. Try it: If you have the space, set up two workstations, one analog and one digital.

For your analog station, keep out anything electronic. Scribble on paper, cut it up, and tape the pieces back together. Pin things on the walls and look for patterns. Spread things around your space and sort through them.

Once you start getting your ideas, then you can move over to your digital station and use the computer to help you execute and publish them.

When you start to lose steam, head back to the analog station and play. By side projects I mean the stuff that you thought was just messing around. Practice productive procrastination. Take time to be bored. Creative people need time to just sit around and do nothing.

Take a really long walk. Stare at a spot on the wall for as long as you can. Get lost. Keep all your passions in your life. This is something I learned from the playwright Steven Tomlinson. Something will begin to happen. I spent my teenage years obsessed with songwriting and playing in bands, but then I decided I needed to focus on just writing, so I spent half a decade hardly playing any music at all.

The phantom limb pain got worse and worse. About a year ago I started playing in a band again. And the crazy thing is, rather than the music taking away from my writing, I find it interacting with my writing and making it better´┐ŻI can tell that new synapses in my brain are firing, and new connections are being made.

While my art is for the world to see, music is only for me and my friends. We get together every Sunday and make noise for a couple of hours. No pressure, no plans. There is a kind of fallout that happens when you leave college. The classroom is a wonderful, if artificial, place: Your professor gets paid to pay attention to your ideas, and your classmates are paying to pay attention to your ideas. Never again in your life will you have such a captive audience.

You can do what you want. Do things just for the fun of it. No public image to manage. No huge paycheck on the line. No stockholders. No e-mails from your agent. No hangers-on. Enjoy your obscurity while it lasts. Use it. If there was a secret formula for becoming known, I would give it to you. There are no shortcuts.

Make stuff every day. Get better. Step 2: Invite others to wonder with you. You should wonder at the things nobody else is wondering about. The more open you are about sharing your passions, the closer people will feel to your work. Remember Bob Ross? Bob Ross taught people how to paint. He gave his secrets away. Martha Stewart teaches you how to make your house and your life awesome. She gives her secrets away. When you open up your process and invite people in, you learn.

I find a lot of things to steal, too. It benefits me as much as it does them. This keeps you on your toes, keeps you thinking about what you can post next. Having a container can inspire us to fill it. Figure out how to make a website. Figure out blogging. Figure out Twitter and social media and all that other stuff. Find people on the Internet who love the same things as you and connect with them. Share things with them. Share a sketch or a doodle or a snippet.

Share a little glimpse of your process. Think about what you have to share that could be of some value to people. Or a link to an interesting article. You have control over what you share and how much you reveal. When I was a kid, all I wanted to do was get someplace where something was happening. Now I live in Austin, Texas. A pretty hip place. Tons of artists and creative types everywhere.

And you know what? They live everywhere. I know them from the Internet. Which is to say, most of my thinking and conversation and art-related fellowship is online. Instead of a geographical art scene, I have Twitter buddies and Google Reader. Tape things up on the wall. Create your own world. Sit at your desk and listen. The whole world will offer itself to you. All you need is a little space and a little time´┐Ża place to work, and some time to do it; a little self- imposed solitude and temporary captivity.

When I was a kid, my mom used to drag me to the mall. Before she did any shopping, she took me to the bookstore and bought me any book I wanted. This went on for years. I read a lot of books. Now I have a car and a mobile phone. I keep my laptop shut down at the airport. I hang out in the library. I always carry a book, a pen, and a notepad, and I always enjoy my solitude and temporary captivity.

When we get home, home is still the same. But something in our mind has been changed, and that changes everything. Where we choose to live still has a huge impact on the work we do. At some point, when you can do it, you have to leave home. You can always come back, but you have to leave at least once. Your brain gets too comfortable in your everyday surroundings. You need to make it uncomfortable. You need to spend some time in another land, among people that do things differently than you.

Travel makes the world look new, and when the world looks new, our brains work harder. Sometimes it still feels like Mars. If we know we need to leave home, where should we go? Where should we choose to live? Personally, I think bad weather leads to better art. When I lived in Cleveland, I got a lot of work done in the brutal months of winter. Down here in Texas, I get all my work done in the wicked hot summers.

The Cleveland winter and the Texas summer last about the same length of time´┐Żhalf the year. It helps to live around interesting people, and not necessarily people who do what you do. I feel a little incestuous when I hang out with only writers and artists, so I enjoy the many filmmakers, musicians, and tech geeks who live in Austin.

Oh, and food. The food should be good. Capture a web page as it appears now for use as a trusted citation in the future. This item does not appear to have any files that can be experienced on Archive. Please download files in this item to interact with them on your computer. Show all files. Uploaded by Lomachenk0 on August 8, Search icon An illustration of a magnifying glass. User icon An illustration of a person's head and chest.

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STEAL Like An Artist

WebAug 8, ´┐Ż´┐Ż Creative!: Free Download, Borrow, and Streaming: Internet Archive. There Is No Preview Available For This Item. This item does not appear to have any files that . WebSteal Like an Artist Nothing is original. All creative work builds on what came before. Collect good ideas. Carry a notebook. Save your thefts for later. Keep a 'swipe file.' . WebNov 10, ´┐Ż´┐Ż There Is No Preview Available For This Item. This item does not appear to have any files that can be experienced on Please download files in this .