Is group think a better way to create ideas, thoughts, images, patterns, songs and the written word? Do artists create alone or by committee? Is Artificial Intelligence the answer? Does that special formula associated with creativity only call for isolated wanderings inside one’s head to find that image or thought. Then you pull, yank, cajole or force it out into the open in one of a bajillion forms or formats?
Is ‘creativity
by consensus’ group think and/or ‘following the herd’ a real thing? I would
argue it is not. I would suggest that creating in isolation, going inside one’s
head, into the zone is the way most art is created. In my own songbook, the
great musical collaborators were two artists work-ing together but still doing
their own thing.
Several folks, whom I respect a lot, would strongly disagree. They argue that one must be open to ideas, suggestions, attitudes and ever popular trends if one is to succeed in telling their story. In the case of a script reading for a play, the creators of the work should be open to suggestions as long it is understood that the final say always rests with the playwright and director. Ultimately, it is up to the creator (whoever that may be) who gave birth to the project to have the last say.
The
vast majority of creative works of art; be it novels, plays, movies, art, song,
etc. have one creator, one visionary, one story-teller. A host of others may
collaborate on the final product but its true birth mother or father is its
true parent. That doesn’t ignore or denigrate the immense help that beta
readers, editors, and other collaborators can add to the final product.
I read a fascinating book recently about the production of the Fleetwood Mac album ‘Rumours.’ The band consisted of four musically brilliant musicians, who together, melded their different approaches to rhythm and rhyme and cadence into each song and together created an award-winning album.
The magic
here was in their individual ‘point of view’ approach to the music. For
example, if you give ten directors a movie script, each will come up with a
different movie in their mind. In the case of ‘Rumours,’ those four different
points of view found a commonality or theme that the four musicians could agree
upon. Each held to their own vision of the song but was willing to compromise
for a fabulous final product.
It's
simply another argument that in most cases there is one creator of a song,
novel, play, movie. Certainly, collaboration is often a key here. But
ultimately the core idea was (probably) the result of one person’s thought
process, imagination, etc. AI can help or hinder here depending on how it is
used or misused.
Bob Dylan is renowned for his original folk songs in the early 60s. The truth is that Dylan was a master at taking old 1700 and 1800 English, Scottish, and early Americana music and adapting it to his own particular style. The folk tradition is rife with examples of songs being adapted, changed, and revised for another artist.
Pablo
Picasso is famously associated with the saying: “Good artists copy, great
artists steal.”
The
idea behind this line is that true creativity doesn’t come from simply
imitating others, but from deeply absorbing influences, transforming them, and making
them one’s own.
That
said, there’s some nuance:
- Picasso is
often credited with this quote, but there’s debate about whether he
actually said it.
- Some scholars
trace the phrase to earlier sources. For instance, the poet T.S. Eliot
wrote in 1920:
“Immature poets imitate; mature poets steal.” - Picasso did,
however, speak openly about borrowing, transforming, and reimagining other
artists’ work. He once said:
“When there’s anything to steal, I steal.”
So,
while the exact wording may be questionable, the sentiment—that great
artists take inspiration and transform it into something uniquely theirs—is
strongly tied to Picasso’s philosophy and practice. (Thanks to ChatGPT for that clarification.)
So,
by that standard, Bob Dylan is a master thief and brilliant at it. I should be
so talented.
Malcolm Gladwell in both his books ‘Outliers’ and ‘The Tipping Point’ touches on some of the seemingly serendipitous side notes that make such a difference in the creative process. It’s the little things like practice and dedication and focus that separate the actors from the ushers. And there’s a phrase for that: ‘Hiding the brush strokes.’
It always looks so easy because the media wants us to believe it is. House flippers flip and make a fortune overnight. Writers pen the great American novel without breaking a sweat. Movie directors create a one of-a-kind film just as planned and songwriters simply pen a classic on a whim. We want to believe that a playwright’s magic on Broadway was a simple journey from pen to stage.
Few
of us truly understand the panic, fear, exhilaration, heartbreak, and hope that
goes into creating a work of art. We don’t want to hear about the years spent
toiling in the graveyard of broken dreams, spent efforts and abject failures
before something, if anything, ever happens from all that soul-crushing effort.
It’s all made to look so easy. We
seldom, if ever, hear about the many miles traveled before success is reached.
Instead, every artist is presented as an overnight success.
Ignoring
the harsh reality that in real life there are no guarantees and nothing is
owed. Those with grit get it. Those lacking that ‘something within’ keep
dreaming and hoping then wonder why nothing ever happens. Without real effort
and sacrifice and usually some failure nothing is accomplished.
George Lucas went through hell to get his first feature ‘THX 1138’ produced. When it crashed as a commercial failure, he wrote another movie initially called ‘Friday Night in Modesto’ and finally produced it as ‘American Graffiti.’ Even that success didn’t guarantee any support for his next feature about space ships and large furry sidekicks.
My art is the written word. My mediums are primarily novels, plays and movies. Each presents its own unique set of challenges and opportunities for story-telling. Through good fortune and lucky breaks, I’ve had three plays produced by the Second Act Players in Rosemount. Two more were produced in California. Each was a wonderful learning experience and another opportunity to express myself.
I teach in my workshop on ‘How to Get Started as a Writer’ that the key to writing is to write. I make the point right up front that there are no guarantees and no promises. I can only point the way for my audience. I remind them that there are three things needed to become a writer.
Desire…but
they won’t know if they have it unless they give it a try.
Perseverance…they
won’t know if they have it unless they try.
Talent…they
won’t know if they have it unless they give it a try.
The
key here is to write something every day, almost every day or whenever they
can. If they do that, they will begin to feel a passion that gets them out of
bed each morning. They will have begun traveling on that long road to becoming
a writer. That’s called showing your brush strokes.
As with any kind of art, nothing is guaranteed or comes easy. That’s life. But what a gift it is to create something, anything, that’s been swirling around in your brain for oh so long. Let’s face it, there is no better way to live your life than to do whatever it is you love to do.
Isn’t
that what life is all about?