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korrents.com
Creative work proceeds through surges of doubt and confidence; a good practice may keep you cycling between themTheir words
That last line really struck me, because of course that’s right—all creative work proceeds through surges of doubt and confidence, and maybe the test of a successful practice is if it keeps you flowing from one state to the other, cyclically, and doesn’t let you get mired in either phase for too long.
Mason Currey
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2 June
31 March
From one piece Seven signs you’re a real artist (Subtle Maneuvers) 2 beliefs, in the piece's order there
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Their words
Money is such a paltry measure of a thing’s worth, and yet it’s the measure we all live by, as Van Gogh knew all too well.
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Their words
This is one of the throughlines of all my books and this newsletter: that in some fundamental sense, the best creative work happens when you don’t know what you’re doing (or how you’re going to pay for it)—when you get yourself outside your comfort zone and then stay there, and keep returning there as much as you can.
3 March
From one piece How to be a writer with a day job (Subtle Maneuvers) 2 beliefs, in the piece's order there
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korrents.com
Seeing how brilliant minds in history handled making art and making a living can help us navigate that dilemmaTheir words
But I sincerely believe that by showing how some brilliant minds through history confronted the question—how they thought about it, what choices they made, and how those choices influenced the art they made and their larger careers—we can be better resourced to navigate this dilemma in our own lives.
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Their words
It’s a dilemma faced by countless young people, and many not-so-young, and there is no easy answer, though plenty of people will tell you otherwise.
3 February
From one piece The only question we need to ask ourselves about our work (Subtle Maneuvers) 2 beliefs, in the piece's order there
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korrents.com
Whether a piece of work is alive is the fundamental question to ask of it, though not the only oneTheir words
Is this, in fact, the only question we need to ask ourselves about our work? Well, OK, no—not the only one. But I do agree that it’s the fundamental question, and I know that I’ll forgive a piece of writing (or a piece of whatever) all sorts of shortcomings as long as it passes this essential first test.
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korrents.com
Better a dubious idea executed with life than one dutifully thought through; a work's faults can make it compellingTheir words
Better a dubious idea vivaciously executed than something that has been ever-so-dutifully thought through, all bases covered. Writing doesn’t need to cover its bases; sometimes a work’s faults and omissions are part of what makes it compelling.
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