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Creative Process Quotes

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Creative Process Quotes

“We alone control our final form through our conscious actions. We become the product of the movement of our mind and our physical actions. The joint composition of our personal beliefs coupled with performing purposeful deeds brings forth form and tangible appearance to our thoughts. To discover our special radiance we must gain freedom from all forces of oppression. We must break free from the limitations of a shallow ego in an effort to give birth to our translucent state of creative consciousness.”

“Don't be afraid!" Tim hollered from the car. 'Seek the truth!" "Yeah, seek the truth," Mac said. His eyes moved in his head as if he was trying to understand something himself. And for the first time, I considered that maybe there were no doors after all. Maybe when you look for a man's door, you create it. You create the door that shuts you out. I looked past him and focused on the door I could see.”

“The "if I had time" lie is a convenient way to ignore the fact that novels require being written and that writing happens a sentence at a time. Sentences can happen in a moment. Enough stolen moments, enough stolen sentences, and a novel is born - without the luxury of time.”

“On jealousy: You may also need to deal with jealousy. When someone is jealous, they may try to “take it, break it, or denigrate it.” Criticism can originate from jealousy’s ‘denigrate’ motivation. Criticism can also start from someone trying to take your voice, or spirit, and break it. [p. 96]”

“We are all born as storytellers. Our inner voice tells the first story we ever hear.”

“[Patricia Highsmith] went on to recommend that aspiring writers keep a notebook in which to jot down thoughts or ideas, that they should trust in the power of the unconscious and that they shouldn't force inspiration. In addition, it was important to avoid those who negated the creative process, sometimes people per se. 'The plane of social intercourse,' she said, 'is not the plane of creation, not the plane on which creative ideas fly [...] This is a curious thing, because sometimes the very people we are attracted to or in love with act as effectively as rubber insulators to the spark of inspiration.”

“Certain words, certain expressions. Things like ‘I love you’ and ‘I hate you.’ They’re big traps for actors. They can tempt you away from the connection you’ve developed with your partner and lead you into swamplands of clichéd performing. ‘Love’ and ‘hate’ are powerful words, and for some reason, we feel like we must fulfill them—and other words like them—whenever we say them. But we don’t have to.” Bill turns to Adam. “Actors hit that line—‘you know I’m absolutely crazy about you. Don’t you?’—and go all kablooey. Your head’s saying, ‘How can I not say a line like that without letting love swim into the duck pond? But inside you’re saying, ‘To hell will love! This girl’s really pissed me off, breaking off an important date like that.’ Follow your true inner response. It will never lead you astray. You’ll be bubbling up with impatience and irritation and you’ll say a line like that and it’ll have new meaning. It’ll have your meaning. Remember: Bad actors consciously adjust their inner responses to what they think the lines of the text require. Good actors adjust the text to the inner emotional line created by their sensitized responses to the other actor.” Adam says, “I get it. I was trying to act the words.” Bill nods. “You were manipulating yourself, cutting off our real response in order to live up to what you thought the text demanded of you. But any line can mean anything, and come out of you in any way.”

“Create. Not for the money. Not for the fame. Not for the recognition. But for the pure joy of creating something and sharing it.”

“Catching creativity is like catching butterflies – fast-flying, bright-colored sparks darting here and there, it requires quick wits, good eyes and desire to net them. And once you have them, you need to act fast. An idea, like a butterfly doesn’t last long: it is ephemeral. It is here, and now it is gone – so quick, grab your laptop, your pen and paper, your Dictaphone, your sketch pad, whatever your mode of expression or recording, swoop and catch.”

“On criticism: When you choose voice, you know someone is not going to agree with you. There will be opposition, criticism. There are two ways to deal with criticism: either get a thick skin, or a strong inner core. [p. 95]”

“The artist knows total dependence on the unseen reality. The paradox is that the creative process is incomplete unless the artist is, in the best and most proper sense of the word, a technician, one who knows the tools of his trade, has studied his techniques, is disciplined. One writer said, “If I leave my work for a day, it leaves me for three.” I think it was Artur Rubinstein who admitted, “If I don’t practice the piano for one day I know it. If I don’t practice it for two days my family knows it. If I don’t practice it for three days, my public knows it.”

“There is a kind of despair involved in creation which I am sure any artist knows all about. In art, as in morality, great things go by the board because at the crucial moment we blink our eyes. When is the crucial moment? Greatness is to recognize it and be able to hold it and to extend it. But for most of us the space between 'dreaming on things to come' and 'it is too late, it is all over' is too tiny to enter. And so we let each thing go, thinking vaguely that it will always be given to us to try again. Thus works of art, and thus whole lives of men, are spoilt by blinking and moving quickly on. I often found that I had ideas for stories, but by the time I had thought them out in detail they seemed to me hardly worth writing, as if I had already 'done' them: not because they were bad, but because they already belonged to the past and I had lost interest. My thoughts were soon stale to me. Some things I ruined by starting them too soon. Others by thinking them so intensely in my head that they were over before they began. Projects would change in a second from hazy uncommitted dreams into unsalvageable ancient history. Whole novels existed only in their titles.”

“Even during the most solitary of creative missions, we are never alone. As we learn to trust the value of our own inner threads, we also start to understand that it’s not just the threads within us that are gold, so too are those within each person on the face of the earth. We also come to know, whether we at first understand it or not, that all our threads are part of the same interconnected story.”

“When we find people who are willing to talk about their own journeys of feeling called, of navigating their messy closets of pain and potential, of discovering their own creative sparks, suddenly we realize that our creative adventure is not a journey for one, but for One. This realization can be incredibly healing, not just for each of us personally, but also for the world.”

“When the lyrical muse sings the creative pen dances.”

“While engaged in automatic writing I strain to create a protective personal haven, ferret out a padded cell where I can rapturously hold court with the voltaic cells of the self. I labor in solitary, transfixed in a suspended state of consciousness. Freewheeling writing creates a bridgeworks to the situs where hidden gems of insight and candid genuineness wait to be unsheathed by the penetrating beam of a reflective mind trolling for inspirational insight. Probing putative desires while contemporaneously fencing with a barrage of suppressed insecurities, requires piercing protective layers of denial and traveling with teratological demons to confront the monstrous self-destructive gene lodged in the deepest recesses of a confused psyche.”

“Sometimes, I might be walking through Slough and think ‘This place is boring.’ But it’s not Slough that’s boring. The sense of boredom is in me. Dismissing things because they’re not interesting is a slippery slope because it leads to dismissing almost everything.”