Book: War of Art

"The War of Art" (Steven Pressfield) and Selected Excerpts

I. Core Theme: Overcoming Resistance to Creative Work

• Defining Resistance: The central concept across both sources is "Resistance," which Pressfield defines as the internal enemy of creativity and any pursuit of a higher calling. It's an all-encompassing force that manifests as procrastination, self-doubt, fear, and self-sabotage. As Robert McKee states in the foreword, "Resistance [is] his all-encompassing term for what Freud called the Death Wish—that destructive force inside human nature that rises whenever we consider a tough, long-term course of action that might do for us or others something that’s actually good."
• Universality of Resistance: Resistance is presented as a universal experience, affecting everyone, regardless of talent or potential. Pressfield writes, "Rule of thumb: The more important a call or action is to our soul’s evolution, the more Resistance we will feel toward pursuing it."
• Manifestations of Resistance: The book identifies various forms of Resistance, including:
• Procrastination (McKee's foreword)
• Self-doubt and fear of failure
• Addiction (alcohol, drugs, etc.)
• Distractions (gossip, compulsive cell-phone use)
• Self-medication (using substances to alleviate anxiety)
• Seeking "support" as a form of avoidance (McKee's foreword)
• Self-dramatization
• Obsessive preoccupation with sex

II. The "Turning Pro" Mentality: A Strategy for Victory

• Professional vs. Amateur: The core of Pressfield's solution to overcoming Resistance is adopting a "professional" mindset. This involves treating creative work like a job, with consistent effort and discipline, regardless of mood or external circumstances. As McKee notes, "Steven Pressfield is the very definition of a pro. I know this because I can’t count the times I called the author of The Legend of Bagger Vance to invite him for a round of golf, and although tempted, he declined. Why? Because he was working..."
• Key Aspects of Professionalism (from excerpts):Discipline and Consistency: Showing up every day and doing the work, even when you don't feel like it.
• Detachment from Outcome: Focusing on the process of creation, rather than seeking immediate gratification or validation.
• Objectivity: Distancing oneself from the work, seeing it as a product of skill and effort, not as an extension of one's ego. "The pro stands at one remove from her instrument—meaning her person, her body, her voice, her talent...She does not identify with this instrument."
• Territorial vs. Hierarchical Orientation: The "pro" operates "territorially," drawing sustenance and satisfaction from the work itself, rather than seeking external validation ("hierarchical"). As Pressfield writes, "A territory provides sustenance...A territory sustains us without any external input."
• Contempt for Failure: The pro isn't paralyzed by the fear of failure; they accept it as part of the process. "Contempt for failure is our cardinal virtue."
• Focus on Labor, Not Fruits: "We must do our work for its own sake, not for fortune or attention or applause."

III. The Role of Inspiration and the Muse

• Invoking the Muse: The texts touch upon the concept of invoking the Muse, referencing the Greek tradition. Pressfield suggests that inspiration is not a passive waiting game, but an active engagement with the creative process.
• The Universe is Not Indifferent: Pressfield argues against a purely materialistic view, suggesting that the universe (or the divine) takes an interest in human affairs, particularly creative endeavors. "The universe, the Greeks believed, was not indifferent. The gods take an interest in human affairs, and intercede for good or ill in our designs."

IV. Connecting to the Self and the Divine

• Accessing the Self: The text explores the idea of reaching a deeper sense of self through creative work and other practices that alter consciousness. "We demolish the Ego to get to the Self...The margins of the Self touch upon the Divine Ground."
• Authentic Self: Pressfield suggests that each individual possesses a unique, inherent identity from birth, and the goal is to align with and express this authentic self through one's work.

V. The Moral Imperative of Creative Work

• Impact of Not Creating: The texts imply a moral responsibility to pursue one's calling. Pressfield states that failing to create hurts not only oneself, but also others and the world at large. "If you were meant to cure cancer or write a symphony or crack cold fusion and you don’t do it...You hurt me. You hurt the planet."

Briefing Document: Analysis of "Bird by Bird" (Anne Lamott) and Selected Excerpts

I. Core Themes: The Creative Writing Process and Finding Your Voice

• The Shitty First Draft: Lamott emphasizes the importance of getting words on the page, even if they are terrible. The first draft is for getting the story out, not for perfection. This is the foundation of her approach to overcoming writer's block and the fear of writing badly.
• Taking it Bird by Bird: Overwhelmed by a large project? Break it down into smaller, manageable steps. This analogy is central to Lamott's philosophy, encouraging writers to focus on one small task at a time.
• Trusting Your Voice and Perspective: Lamott encourages writers to find their own unique voice and to write from their own experiences and perspectives. Authenticity is key.

II. Overcoming Writer's Block and Fear

• The "One-Inch Picture Frame": When feeling overwhelmed, focus on a small, concrete image to get started. This helps to narrow the focus and overcome the blank page paralysis.
• Dealing with the Inner Critic (The Mouse People): Lamott acknowledges the internal voices that criticize and discourage. She provides a visualization exercise for managing these voices and getting back to work. "Close your eyes and get quiet for a minute, until the chatter starts up. Then isolate one of the voices and imagine the person speaking as a mouse. Pick it up by the tail and drop it into a mason jar."
• Permission to Write Badly: Lamott emphasizes that writing is a process, and it's okay to produce imperfect work, especially in the early stages.

III. Character and Authenticity

• Emotional Acre: The concept of each person having an "emotional acre" reinforces the idea that everyone has a unique perspective and the right to express it. "She said that every single one of us at birth is given an emotional acre all our own...And as long as you don’t hurt anyone, you really get to do with your acre as you please."
• Flawed Characters are Likable: Lamott argues that characters with flaws and imperfections are more relatable and interesting. "Now, a person’s faults are largely what make him or her likable."
• Honesty in Dialogue: Dialogue should be true to the character and situation, even if it's uncomfortable.

IV. Finding Inspiration and Building Your World

• Observation and Detail: Pay attention to the world around you and capture specific, sensory details to make your writing more vivid. "Write about carrot sticks...Code carrots had to look machine extruded, absolutely uniform, none longer than the length of the sandwich."
• Building Sets in Your Mind: Visualize scenes in detail to create a strong sense of place and atmosphere.

V. Themes and Subtext

• Hope and Dignity: Lamott seems to value hope in writing, as she says of novels that are hopeless: "there’s no point in writing hopeless novels. We all know we’re going to die; what’s important is the kind of men and women we are in the face of this."
• Knowing What You Want: Even if "what is interesting is about as subjective as things get", it is a valuable quality in characters and in writing in general.

VI. Specifics from the Author's Personal History

• Looking for Approval and Fitting In: Early in life, the author sought approval through humor, highlighting a need to belong.
• Role of Books as Refuge: Books provided a sanctuary and inspiration, eventually leading to the belief in her own writing ability.
• Humor Can Help, Even in Difficult Situations: The anecdote of the son using a curse word shows that a degree of levity can be beneficial for everyone.
• Even in Panic, There is a Way Out: "What I do at this point, as the panic mounts...is to stop. First I try to breathe...I let my mind wander." It may be okay to take a break, and you don't need to be perfect.

Combined Key Takeaways:

• Both sources emphasize the importance of overcoming internal obstacles (Resistance, fear, self-doubt) to pursue creative work.
• Both emphasize the significance of embracing the messy, imperfect nature of the creative process, particularly in the initial stages.
• Both suggest that authenticity, honesty, and personal connection are essential elements of compelling writing.
• Both value breaking down overwhelming tasks into manageable steps.
• Pressfield emphasizes discipline and a professional approach, while Lamott focuses on self-compassion and finding joy in the process. Ultimately, both are striving towards the same goal: facilitating creative expression.

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