Notes - The Creative Act

Rick Rubin | December 28, 2025

Everyone Is a Creator

Creativity is a fundamental aspect of being human and is a birthright for all, not just a "special few" born with rare gifts. Many people who do not work in traditional arts are wary of calling themselves artists because they view creativity as something extraordinary. However, creativity is simply the act of bringing something into existence that wasn't there before, such as a conversation, a solution to a problem, or a new route home.

Regardless of whether we are formally making art, we are all living as artists. We are active participants in the process of creation by the mere fact of being alive; we perceive, filter, and collect data to curate our experience of reality. To live as an artist is a "way of being"—a practice of paying attention and refining sensitivity to notice subtle notes and internal feelings. In this view, your entire life is a form of self-expression, and you exist as a "singular work of art."

Tuning In

The universe is an eternal creative unfolding where everything is driven by productive energy, such as trees blossoming or cells replicating. Just as a hummingbird builds a nest or a peach tree bears fruit, humanity creates works of art—from the "White Album" and "Guernica" to the Phillips screwdriver and Philadelphia cheesesteak. Each of these is an example of humanity being true to its creative impulse.

The rhythms of the universe are not set by us; we are being "conducted" on a cosmic timetable. If you have an idea but do not bring it to life, it often finds its voice through another maker because the idea’s time has come. Artists function as "antennae" or "translators" for messages the universe is broadcasting. The best artists are those with the most sensitive antennae, often developed originally as a means of self-protection because they feel everything so deeply.

Preserving the Childlike Mind

To pick up on these signals, one must create an open space in the mind, functioning like a vacuum to draw in ideas. Chilaturally have this freedom because they experience less interference; they are curious, spontaneous, and meet ordinary experiences with awe. Great artists manage to preserve these childlike qualities to act in concert with the universe’s timetable.

The Source of Creativity

The "Source" of creativity is not inside us; it is a wisdom surrounding us, an "inexhaustible offering" that is always available through experiences, dreams, or intuitions. While it feels as though ideas come from within, they are actually tiny fragments of Source that arise from the unconscious like vapor and condense into thoughts.

Art can be thought of as a cloud. Clouds never truly disappear; they change form (rain, ocean, vapor) and return. Similarly, art is a circulation of energetic ideas that appear new because they combine differently each time they return. When we turn an idea into reality, it can seem "smaller" because it moves from the unlimited realm of imagination to the limited physical world.

Awareness

Awaress is the gift of noticing what is happening around and inside ourselves in the present moment without involvement or attachment. Unlike daily activities where we choose the agenda, awareness is a state where the world is the doer and we are the witness. Through detached noticing, an object—like a flower—is allowed to reveal more of itself.

Cultivating the Ability to Notice

The moment you label an aspect of Source, you are "studying" it rather than "noticing" it. Analysis is a secondary function that should only happen after pure connection with the object. While we cannot change what we notice, we can expand our ability to notice by quieting our interior or zooming in/out on details. Cultivating awareness expands our perception, which in turn expands the universe we inhabit.

The Vessel and the Filter

Each person has an internal "vessel" that holds the sum of their thoughts, feelings, and experiences. Data does not enter this vessel directly; it passes through a unique "filter." Because ourds lack the processing power to take in every bit of information surrounding us, we learn early in life to focus only on what seems essential for survival and tune out the rest.

This filter inevitably reduces "Source intelligence" by interpreting data rather than letting it pass freely. As the vessel fills with fragments, it creates stories and beliefs that coalesce into a worldview. Artists seek to restore a childlike perception—an innocent state of wonder not tethered to utility. The creative act involves taking the contents of the vessel, selecting significant elements, and re-presenting them.

The Unseen

The conventional purpose of art is to create physical artifacts, but the act of creation is actually an attempt to enter a mysterious realm and share glimpses of an inner landscape beyond understanding. Art is a portal to the "unseen world."

Without a spiritual component, an artist works at a disadvantage. While the world of reason can be narrow and filled with dead ends, a spiritual viewint—whether defined as connection, magic, or faith—is limitless. This practice operates on the belief that we are part of something larger and that energy can be harnessed to elevate work. You should pay particular attention to moments that take your breath away, as these are glimpses of the unseen made manifest.

Look for Clues

Material for creative work is woven into everything: nature, chance encounters, and conversations. When looking for a solution to a problem, an artist should look for "clues" pointing toward new methods.

The Conveyor Belt of Information

You might imagine the outside world as a conveyor belt with a stream of small packages. The first step is noticing the belt is there; then, you can pick up a package and unwrap it.

Example: A writer in a coffee shop might overhear a phrase that provides the exact answer for a character's dialogue.
Example: Rick Rubin describes finding a book by Dr. Andrew Weil that fell open to a passage advising against removing functng body parts right after a doctor insisted his appendix be removed.

These signals are subtle and easy to miss if you aren't looking for them. Sometimes a strong intention helps find an answer, but letting go of intention altogether can also reveal the way.

Practice

Animals narrow their vision to food, shelter, and predators to survive, but for an artist, this reflexive focus is a hindrance. A practice is the embodiment of an approach to a concept. By repeating the exercise of opening our senses, we build a habit where expanded awareness becomes our default way of being.

Rituals for Awareness

Daily rituals help build the "musculature of the psyche." These don't need to be grand; examples include:

Taking three slow, deep breaths upon awakening.
Eating meals mindfully and savoring each bite.
Taking a daily walk in nature with gratitude.
Marveling at the movement of blood through your veins before sleep.

The purpose of these acts is to evolve how we see the world when we are not engaged in them. Awareness needs constant refreshing and must be reinvented if it becomes a stagnant habit.

Submerge (The Great Works)

Submerging yourself in the "canon" of great works—fine literature, masterpiece cinema, influential paintings—is a choice that can be made at any moment. While there is no standard list of greatness, exposure to great art calibrate's one's internal meter.

If you choose to read classic literature daily for a year instead of the news, you will develop a more honed sensitivity for recognizing greatness. This applies to all inputs: the friends we choose, the conversations we have, and the thoughts we reflect on. Even if your goal is to make "fast food," it will taste better if you experience thst fresh food available during the process. The objective is not to mimic greatness but to calibrate your taste to make better creative choices.

Nature as Teacher

Nature is the most absolute and enduring of all "great works." There is an endless supply of inspiration in mountains, oceans, and forests, or even just in the changing light and shadow of a single room. Communing with nature allows us to move closer to our own nature.

The Infinite Palette

Nature transcends labels and classification. While a Pantone book offers a limited number of colors, the palette of nature is infinite; a single rock has variations of color that no can of paint could perfectly mimic. The closer we get to the natural world, the more we realize we are not separate from it. When we create, we are expressing our "seamless connection to an infinite oneness."

Nothing Is Static

The world is constantly flowing and changing; you cannot step into the same stream twice. Even if you engage in the same awareness practice in the same location for five days, you will have a unique experience each time because sunlight, wind, and smells are never identical.

Similarly, we are always evolving as our cells die and regenerate and our moods shift. Deeply looking at an everyday object, like a kitchen tool, or re-reading a book can reveal "newness" and connections previously unnoticed. The person who makes something today is not the same person who returns to that work tomorrow.

Look Inward

It is a common misconception that we must live an outwardly extraordinary life to have something to share. The inner world—sensations, emotions, and thought patterns—is born of nature and is just as interesting and beautiful as the outside world.

When we focus inward, we are processing what is going on outside, proving we are not separate but connected. Ultimately, it doesn't matter if content originates from a beautiful thought or a beautiful sunset; both are equally valid options for an artist.

Memories and the Subconscious

There is an abundant reservof high-quality information in the subconscious that provides a far less limited view than the conscious mind. Vocalists often sing "gibberish" or random sounds over a track, and a story or key phrase will often unfold naturally from the subconscious without active writing.

Accessing the Deeper Well

Several practices can help tap into this source:

Anger-releasing: Beat on a pillow for five minutes, then immediately fill five pages with free-writing.
Dream Work: Keep a dream journal by the bed. Write immediately upon waking without moving much, as even turning your head can dislodge a dream from memory.
Randomness: Using tools like the I Ching can bypass the conscious mind and help with decision-making through a "larger intelligence."

Memories are also valuable "dreamy recollections," often acting more like romantic stories than faithful documents of events.

It’s Always There

The information we seek is always available, much like the sun is still high in the sky even on an overcast day. If we are aware, we get to tune in to it; if we are not, it passes us by. Tomorrow presents a new opportunity for awareness, but never for the same awareness.

Setting

The best envonment for creating is personal and should be tested based on your intention. Isolated places like forests or monasteries are good for direct transmissions, while busy public spots allow you to experience Source filtered through humanity.

Different Approaches to Environment

Andy Warhol: Created with a television, radio, and record player all on simultaneously.
Eminem: Prefers the noise of a single TV set as a backdrop.
Marcel Proust: Used sound-absorbing cork, closed drapes, and earplugs.
Kafka: Needed silence so extreme he described it as being "like a dead man."

It is better to follow your intuition than "rational" advice from friends or business associates who might challenge your inner knowing. It is also necessary to turn down the internal voices that whisper about failure so you can hear the "chimes of the cosmic clock."

Self-Doubt

Self-doubt lives in everyone, but it serves the art. If we were machinelike, art would be soulless; imperfections are what make work interesting and reflective of the human experience. The most sensitive people—those best at making art—are often the most vulnerable to judgment.

Some successful artists struggle with addiction or self-sabotage to numb the pain of their incredible sensitivity. While this hardship can fuel great art once or twice, it often prevents an artist from producing work consistently ovelong period. Tremendous beauty and tremendous pain are two sides of the same coin; it is both a blessing and a curse. Creating is a privilege we choose, not an obligation we are ordered to follow.

Make It Up

Self-doubt often causes creators to get stuck when beginning, completing, or sharing work. The best strategy is to lower the stakes. Don't view a project as your life-defining masterpiece; see it as a small work, a stepping-stone, or an experiment where the mission is simply to finish and move to the next.

Overcoming Insecurity

Labeling: Use terms like the Buddhist concept of papancha (preponderance of thoughts/mental chatter) to normalize doubts.
Gratitude: Realize you are fortunate to create, which can tip the balance in favor of the work.
Acceptance: One legendary singer suffered stage fright so strong it made him sick for five decades, yet he still performed.
The "Work vs. Self" Distinction: Doubting the work ("Is this song good?") is a tool for excellence; doubting yourself ("I can't write a good song") leads to hopelessness.

Imperfections often make work great. Examples include the Leaning Tower of Pisa (an architectural error) and Kintsugi (Japanese pottery where cracks are filled with gold to highlight the history of the piece).

Distraction

Skillful distraction can free the unconscious mind to work while the conscious mind is busy. This is why meditation uses mantras or malas—they provide an automatic task that leaves room for the "unseen."

When you reach an impasse, step away from the project. Enge in activities you can do on autopilot, such as driving, walking, swimming, showering, or washing dishes. Many musicians write melodies better while driving than while sitting in a room with a recorder. Distraction is a strategic engagement, whereas procrastination is an undermining force.

Collaboration

No work begins solely with the individual; all work is a collaboration with the art of the past, the tools used, the audience, and the world. There is also an internal collaboration between different aspects of the self, such as the "inspired artist" and the "craftsperson," who may negotiate until they create the best possible work.

The Subjectivity of Art

The artist and the viewer may see completely different things in a piece, and both are "right." The purpose of art is to awaken something in the creator first, then allow something to be awakened in others. Marcel Duchamp demonstrated that art is simply an "agreement"—he called everyday objects like urinals or snow shovels "readymades" and declared them art. You arnever alone when making art; you are in a constant dialogue with "what is and what was."

Intention

Our thoughts, processes, and unconscious beliefs carry an energy that is hidden in the work and gives it magnetism. Rick Rubin shares a story of an old man in Calcutta who refused to use a pulley for his well because the care and focus required to raise the pot by hand made the water taste better. Without intention, art is just an "ornamental shell."

Intention is not a goal to be set but a truth that lives inside you; through your living it, that truth is embedded in the work. It requires a "harmonic agreement" between conscious thoughts and unconscious beliefs. In calligraphy, the work is done in one movement, but that movement reflects the artist's entire history. We are like instrumentalists in a larger symphony being orchestrated by the universe; just as a bee inadvertently enables reproduction while simply "being," our creative output pieces together the fabric of culture.

Rules

A rule is any guiding principle or creative criterion within the artist, the genre, or the culture, but these are limitations rather than absolute laws. Unlike the precise laws of math or science, artistic rules are assumptions to be tested and are only valuable if they are helpful. Many assumptions masquerade as laws, such as tips from interviews or cultural expressions. Rules typically direct us toward average behaviors; however, the goal of art is to innovate and express a singular perspective rather than to fit in.

The artists who define their generation are usually those who transcend the beliefs and conventions of their time. We often approach craft with templates, such as the idea that a song must be three to five minutes long. Yet, to a bird, a song serves different purposes (survival, warning, connection) and doesn't follow such formats. Similarly, the use of canvas stretched over a rectangular frame is an invisible standard that exponentially narrows possibilities before the first drop of paint is even applied. The most deceptive rules are those obeyed unconsciously, which are more likely to undermine the work than those set on purpose.

The Opposite Is True

For any accepted rule regarding what your voice is or what the work requires, it is worthwhile to try the opposite. For example, a sculptor might explore how a piece can exist conceptually or digitally without a physical footprint. Rules function as an imbalance, much like yin and yang, where light and dark only have meaning in relation to each other. Identifying your position on the "seesaw" of methods allows you to either move to the opposite side for balance or go further to the extreme for more leverage. Trying the opposite or the extreme of any suggestion is often just as fruitful as following it.

Listening

Listening is an act of communion and presence that pulls the participant into the "now". While the eyes can be closed, the ear has no lid and takes in the world autonomously. True listening involves the whole self, including physical reactions to sound vibrations, such as bass frequencies felt in the body rather than heard by the ears. Many people experience life through a "pair of headphones," stripping away full registers and subtler vibrations.

The Barriers to Listening

Speakers vs. Headphones: Many artists refuse headphones in the studio because they are a poor replica of the real-world experience provided by speakers.
The Critical Mind: Formulating opinions, preparing responses, or defending positions prevents true listening.
Impatience: To listen impatiently is to hear nothing at all.

Listening is the act of suspending disbelief to fully understand what is being transmitted. The more perspectives we learn to see, the greater our understanding becomes, freeing our filter from narrow biases and accepted limitations.

Patience

The artist actively works to experience life slowly. Shortcuts, such as generalizing a speaker's message to save time, cause the worldview to shrink. Re-reading a well-understood paragraph can be revelatory, bringing deeper nuances into focus. Efficiency and pressure to deliver often discourage looking deeply, yet deliberate action and repetition are required to gain insight and develop craft.

Patience is an acceptance of natural rhythms and reality. Impatience is a wasted effort to reliving yesterday or speed up tomorrow. In the creative process, we cannot force greatness; we can only actively welcome it. Masterpieces produced on tight timelines are actually the sum of decades of patient labor on other works.

Beginner’s Mind

Beginner’s mind is the state of starting from a pure, childlike place of not knowing, free from preconceived ideas and cultural norms.

The Story of AlphaGo

Scientists built an AI called AlphaGo to beat the complex game of Go. In "move 37" of a match, the machine made a move that no human grandmaster had ever made in thousands of years. It won because it learned from scratch, following the rules rather than the narrative of how to play.

Experience provides wisdom but can temper the power of naivete. Innocence often brings forth innovation; for example, The Ramones unwittingly invented punk rock because they thought they were making mainstream bubblegum pop. To access this spirit, one must strip away labels like "author" or "entrepreneur" and try to experience everything as if for the first time.

Inspiration

Inspiration is the rocket fuel for our work, arriving as an instantaneous "download" from a universal conversation. The word comes from the Latin inspirare, meaning to "breathe in," which requires first emptying the mind to create space for the new. While we cannot control its arrival, rituals like meditation or silence can draw the muse in.

Cultivating Epiphanies

Dedication: Dedicating oneself to showing up regularly is the main requirement.
Varying Inputs: To spark inspiration, try watching a film with the sound off or reading only the first word of every sentence in a story.
Entropy: Treat inspiration as a force subject to entropy; if the spark fades, it is hard to rekindle. John Lennon advised writing a song through to the end in one sitting to capture the vitality of the initial spark.

Habits

Legendary basketball coach John Wooden began every training session by teaching elite athletes how to put on their socks and shoes properly to avoid wrinkles and blisters. His point was that small habits have an exponential effect on performance. Similarly, good habits create good art.

Discipline and Freedom

Discipline is not the opposite of freedom; they are partners. Approaching the practical aspects of the day with "military precision" allows the artistic windows to be opened with childlike freedom.

Consistency: Establish a regimen, such as "office hours," to put decision-making into the work rather than into when to work.
Minimalism: Albert Einstein and Erik Satie both limited their practical choices by wearing identical outfits daily to free their creative imagination.
Identifying Unhelpful Habits: Habits like procrastination, perfectionism, or the need for permission undermine the work and should be softened or removed.

Seeds

The "Seed phase" is the first stage of creation, where the artist is completely open to collecting anything of interest without comparison. A seed might be a bass line, a character sketch, or a societal need.

Collecting seeds is like fishing: you cast the line and wait, unable to control the fish, only the presence of the line. At this stage, having a specific vision can be a limitation; it is better to plant many seeds, water them with attention, and see which ones take root. Rushing to the finish line with only one idea is less effective than accumulating weeks of ideas for context.

Experimentation

In the "Experimentation phase," the artist plays with combinations to see if the seeds will "sprout a stem". This is a search for promise rather than linear progress. Directions should be explored broadly—for instance, Shakespeare's plays have been experimentally set in locations ranging from outer space to samurais.

Conclusions in this phase are often stumbled upon by accident; alchemists discovered gunpowder while looking for immortality. The best barometer for experimentation is excitement—a visceral, emotional reaction of "leaning forward" rather than intellectual analysis.

Try Everything

Art often defies expectation; mixing elements may not result in the predictable "two plus two equals four". To find the best version of a work, one should test as many "what if" questions as possible.

In group efforts, it is impossible to know exactly what someone else is imagining. Instead of verbal descriptions, ideas should be brought into the physical world—acted out, tasted, or built into models—so they can be evaluated without the "misguiding force of persuasion". Every unsuccessful solution is simply information that brings the artist closer to one that works.

Crafting

Once a seed’s code is cracked, the process shifts to the "Craft phase"—the labor of building. This phase is often less glamorous, involving "brick-laying" and a hundred-story staircase of work. While the Experimentation phase is about what the seed offers, Crafting is about what you offer by applying your unique filter and experiences.

Pruning and Outsourcing

Breaking Down: Crafting involves pruning small cuts to feed the core elements.
The Maestro Role: Some artists, like Andy Warhol, formalized ideas but outsourced the physical execution to others; this is project-dependent and serves the art if it improves the final result.

Momentum

In the Craft phase, deadlines become helpful to prevent the process from extending unnecessarily. While the business world thinks of quarterly earnings, the artist should focus on timeless excellence.

Pitfalls of Momentum

Demo-itis: This occurs when an artist becomes too attached to a first draft or demo. To avoid this, one should avoid repetitively consuming the unfinished work unless actively improving it.
Blockage: If a section causes trouble, the artist should bypass it and complete the rest of the draft. It is easier to place the final "puzzle piece" once the surrounding context is clear.

Point of View

The goal of art is to share who we are and how we see the world. Art resonates because humans are similar; we are attracted to the shared experience and even the imperfection within the work. Carl Rogers noted that "the personal is the universal".

A point of view is the perspective—both conscious and unconscious—through which the work emerges. It is often a "by-product" of being squeezed; Wayne Dyer noted that when you squeeze an orange, orange juice comes out. Great art is created through freedom of self-expression and received through freedom of interpretation. Imitation often leads to innovation, as seen with The Beatles, who were different from their influences simply because they were different.

Breaking the Sameness

When the work stops improving during the Craft phase, the artist must find a way to refresh excitement.

Strategies for Stagnation

Small Steps: Commit to writing just one line a day.
Change the Environment: Turn off the lights, record early in the morning, or sing while hanging upside down.
Change the Stakes: Imagine this is the last time you will ever perform the piece.
Invite an Audience: The presence of even one observer changes how an artist acts.
Alter Perspective: Turn the headphone volume up extremely loud to coax a delicate, whispered performance.
Write for Someone Else: Imagine you are writing for a favorite artist to "depersonalize" the process.
Add Imagery: Create a vivid scene, such as the aftermath of a battle, to inform a musical solo.
Limit Information: Give collaborators only the "barest of sketches" to allow them the freedom to bring more of themselves to the work.

Completion

In the "Completion phase," building and discovery end, and the work is refined for release. This is like the last stop on an assembly line where the piece is checked against the highest standards.

Opening the work to others at this stage is not about getting opinions, but about experiencing the work anew through their eyes. Feedback should be used to understand the person giving it, as people often see a unique world through their own filters. Completion can be difficult due to commitment phobia—once fixed, the "clay" is no longer soft and the artist loses control. It helps to remember that a work is never a total reflection of the self, but only a reflection of that moment.

The Abundant Mindset

Material flows through us like a river; sharing ideas replenishes them, while hoarding leads to stagnation. In an abundant mindset, the artist has faith that more inspiration will always arrive.

If each piece is viewed as a life-defining work, the artist may overwrite endlessly in search of unrealistic perfection. Instead, works should be viewed as "chapters" in a larger diary of a creative life. Abundance fills the artist with hope that their brightest ideas still await them.

The Experimenter and the Finisher

Artists typically lean toward one of two categories:

Experimenters: They love dreaming and play but find it difficult to complete and release work. They benefit from finishing small segments to build confidence.
Finishers: They move quickly to the end point but miss the alternatives suggested by play. They benefit from allowing more space for improvisation and surprise.

Temporary Rules

Limitations can be viewed as opportunities that set a "palette" for a project and lead to original solutions.

Georges Perec wrote a book without the letter "e".
Yves Klein limited his palette to one color, discovering a unique shade of blue.
Dogme 95: A group of filmmakers created ten rules (like handheld shots only and no special lighting) to reduce artificiality.

Forcing yourself out of your comfort zone—such as writing on a yellow legal pad if you usually use a laptop—breaks your normal rhythm and leads to self-discovery.

Greatness

Great art is an offering and a devotional act. It involves creating your version of the beautiful according to your own taste, not anyone else's. You are performing for an audience of one.

Forces that undermine greatness include fear of criticism, attachment to commercial results, and the desire to change the world. Focusing purely on creative intent raises the vibration of your entire life and can inspire others to do their best work.

Success

Success occurs in the privacy of the soul, in the moment you decide the work has reached its greatest potential. Popular success is a poor barometer of worth because commercial connection depends on variables out of your control, such as timing and the mood of the culture.

Achieving popularity often fails to fill the void inside; a depression can follow the realization that success didn't fix vulnerabilities. A loyal audience can even become a "prison" if the artist feels chained to a style they have outgrown. The only things we can control are doing our best work and starting the next project without looking back.

Connected Detachment (Possibility)

The artist is encouraged to detach from the story of their life as it unfolds. Even in the face of loss, such as a relationship ending or a manuscript burning, one should strive to experience these events as if watching a movie. By viewing yourself as a protagonist facing a "plot twist," you can remain curious about what will happen to the hero next rather than sinking into grief.

This practice suggests that the current outcome is not the final outcome; hard times may be the necessary setup for future beauty and fulfillment. Zooming out allows you to see catastrophic events as small aspects of a much larger life, supporting a state of equanimity. Ultimately, this detachment frees the imagination from the web of personal and cultural stories that often engulf us.

The Ecstatic

Humans are drawn to creative work because of the memory of sensory joy, which feels like biting into fruit at its peak ripeness. In the creative process, the indicator that work is moving in the right direction is a visceral feeling—an inner voice, joy, or elation. This "ecstatic" state serves as a compass pointing toward true north.

The ecstatic can arise from the most mundane details, such as a single word change that turns nonsense into poetry. This epiphany quickens the heartbeat and provides a glimpse of a higher ideal, making the laborious parts of creation worth doing. It is animalistic and body-centered rather than cerebral, guiding the artist to profound places they could not reach through intellect alone. It manifests in three ways:

Relaxed excitement where you respond perfectly from a deep sense of knowing.
Moments of astonishment that jolt reality and create disbelief.
Genteel transportation where you are taken out of reality, as if awakening from a dream.

Point of Reference

When an artist breaks new ground, the work may initially feel unfamiliar, unsatisfying, or even confusing. Because revolutionary ideas often lack context, the brain must listen repeatedly until a new pattern emerges and the work "clicks."

Similarly, an artist might react negatively to their own new ideas because they seem "foreign." However, powerful reactions—even negative ones—often indicate deeper wells of meaning that are worth exploring.

Non-Competition

Because art is an expression of the unique self, competition between artists is absurd. Every artist has their own specific playing field that cannot be measured against another's. While some believe competition inspires greatness, wanting to outperform others usually operates at a lower vibration and diminishes joy.

A healthier dynamic is "rising-to-meet," where one great work inspires another to reach higher.

Example: Brian Wilson was so moved by the Beatles’ Rubber Soul that he wrote "God Only Knows," which in turn inspired the Beatles to create Sgt. Pepper’s Lonely Hearts Club Band.

The only valid competition is with the self, which is a quest for evolution and growth rather than superiority.

Essence

All work has an underlying "is-ness" or fundamental structure.

Example: If a child draws a house and you remove the windows or door, it is still a house; but if you remove the walls and roof, the essence is lost.

The artist's job is to distill the work to its core identity without obscuring it with ornamentation. A useful practice is seeing how many pieces can be removed before the work ceases to be itself. Perfection is reached not when there is nothing left to add, but when there is nothing left to take away.

Apocrypha

The stories told about how great works were made or the rituals of famous artists are often exaggerated or pure fiction. Art happens naturally, often through an "unseen hand," and even the maker may not fully understand why it occurred. Artists are essentially "interpretation machines" and unreliable narrators of their own experience.

It is counterproductive to measure yourself against legendary figures because they were humans with vulnerabilities, not the deities history portrays them to be. Once a work is finished, the creator becomes just another viewer, and the work's "true meaning" remains unknown.

Tuning Out (Undermining Voices)

Early projects usually develop in a vacuum, but success brings outer voices (deadlines, sales, public image) that can shift an artist's intention from self-expression to business. It is vital to tune out these external pressures to maintain a pure creative state.

Interference also comes from the "critic in your head," which often parrots the internalized judgments of parents or teachers. Freeing oneself from these voices is a form of meditation; one should acknowledge the self-criticism but let it pass like a cloud.

Self-Awareness

The educational system typically prioritizes obedience over sensitivity, which can constrain free expression. For an artist, self-awareness is the ability to tune into internal feelings and thoughts without interference.

This awareness is a form of transcendence and abandonment of the ego. It is a quest to get closer to the universe by getting closer to the self until the two become indistinguishable.

Right Before Our Eyes

Stagnation or "blocks" are often creations of the artist's own making—a decision not to engage with the ceaseless stream of creative energy. Creating an opening requires surrender rather than analytical thinking.

Artists should avoid all-or-nothing thinking. If 80 percent of a work is good, it is better to fix the remaining 20 percent than to trash the entire project because of a single flaw.

A Whisper Out of Time

Artists often doubt the weight of their ideas, but volume does not equal value. The smallest seed—a fleeting dream or a memory—can grow into the biggest tree.

Inspiration usually arrives as a subtle "whisper" rather than a clap of thunder. To hear it, the mind must be quieted through relaxation rather than effort. Posing questions gently to the universe while walking or driving allows information to arrive by grace.

Expect a Surprise

The most interesting artistic choices often come from accidental "mistakes," which are actually the subconscious overriding conscious intention to solve a problem. Artists should release the need for control and approach their work with humility to allow the unknown to visit more often.

One strategy is to set aside detailed outlines and write with no map, diving into the stream of energy to see what appears. Through this, the artist learns to trust themselves as a unique channel to a higher wisdom.

Great Expectations

Facing the "void" of a new project often brings dread and anxiety regarding one's ability. To combat this, the artist should trust the process rather than the outcome.

This requires "experimental faith," where the artist works like a scientist, testing and adjusting rather than expecting miracles. Every "failed" experiment is actually a success because it rules out a path that doesn't work, bringing the artist closer to the solution. Work under the unshakable assumption that the problem is already solved and you simply haven't found the answer yet.

Openness

The human mind naturally seeks rules and shortcuts to navigate a dangerous world, but the artist must reject safety and smallness. Sameness and fixed routines suppress work; the artist's charge is to become porous and let more light in.

To stay evolving, you must actively stretch your point of view by inviting beliefs different from your own and experimenting with things you find "highbrow" or "lowbrow." When a problem arises—like an equipment malfunction—see it as the universe leading you to an even better improvised solution.

Surrounding the Lightning Bolt

Epiphanies are "lightning bolts" that break us open, but they cannot be commanded. The artist can, however, control the space surrounding the bolt by preparing beforehand and doing the practical work afterward.

In the absence of inspiration, the artist should show up like a craftsperson—a carpenter or a brick-layer—and do the job. Effort and craft are often what reveal the "small a-ha! moments" that illuminate the way. If a bolt of lightning does strike, you must ride it until the energy is exhausted.

24/7 (Staying In It)

The artist's job is never finished because it involves both the work of doing and the work of being. You are always "on call," prepared to stop what you are doing to capture a fleeting thought or drawing.

Staying in it means a commitment to remain open, attentive, and seeking stories at all times. Artists are like surfers who cannot control the waves but must remain aware and present to catch the creative rhythms of nature.

Spontaneity (Special Moments)

Art made accidentally or spontaneously has no more or less weight than art that required sweat and struggle. Preparations and practice are what "prime" an artist for these effortless-looking moments.

Spontaneity can be used as a tool to bypass the conscious mind, which is common in jazz improvisation where musicians allow the music to play itself. To ensure great spontaneous ideas aren't lost, Rick Rubin uses faithful note-taking, acting as a connected observer to record the "churn of excitement."

How to Choose

Creation is a series of choices that branch out like a tree. To decide which direction to take, the artist can use A/B testing, placing two options side-by-side to make their preference clear.

Methods for Decision-Making

Blind Tests: Conceal details to remove biases, such as listening to analog vs. digital recordings without knowing which is which.
The Coin Toss: Flip a coin; while it is in the air, you will likely realize which outcome you are "rooting for."
Childlike Instinct: Look for the "knee-jerk" reaction before thought or analysis can distort the choice.

Shades and Degrees

Proportions in art are deceptive; a tiny spark can grow into an epic masterpiece while a "lightning bolt" may yield little. The sum total of the tiniest details is what ultimately makes a work great.

There is no fixed scale for progress; a single brush dab or mix tweak can jump a work from "halfway done" to "complete." Rubin notes: "When the work has five mistakes, it’s not yet completed. When it has eight mistakes, it might be."

Implications (Purpose)

Artists often worry about "why" they are creating, but the maker and the explainer are two different people. You do not need a grandiose purpose; if you like what you are making, your mission is accomplished. Simply tell yourself: "I’m just here to create."

Freedom

Social responsibility or wanting to change people's minds can interfere with the quality and purity of work. It is better to wait until a work is complete to discover its meaning rather than holding it "hostage" to a message.

Art is powerful because it speaks to all aspects of the human experience, including dark thoughts that make people feel less alone. The artist's only true responsibility is to the work itself; they must defend their creative autonomy from both outside censors and their own internal voices.

The Possessed

Artists are frequently depicted in culture as tortured geniuses who are self-destructive or on the brink of madness. This portrayal has created a common misconception that one must be "broken" to create art. In reality, while some creators live with profound darkness, others move forward with exuberant ease. For those who struggle with overwhelming sensitivity, the creative process can actually be therapeutic, offering a safe space to bare the soul and make the maker "whole" rather than unraveling them. While art requires an obsessive desire to create, this pursuit does not have to be agonizing and can instead be enlivening. If given the choice, an artist should consider the sustainable path, as the title of artist is earned simply through self-expression at one’s own pace.

What Works for You (Believing)

The specific methods and rituals an artist uses are valid as long as they believe in them and they produce results.

Example: One songwriter refuses to clean a messy office room where she has written for thirty years, believing the secret to her music is in that specific environment.
Example: Charles Dickens carried a compass to ensure he always slept facing north to align with the Earth's electrical currents.
Example: Dr. Seuss kept a secret bookcase filled with hundreds of hats; he and his editor would wear them and stare at each other until inspiration arrived.

Advice from established artists should be taken as information rather than a prescription, as their solutions are specific to their unique journeys. The only practice that truly matters is the one you consistently perform. Artists should find their most generative method, use it, and then be willing to let it go when it no longer serves the work.

Adaptation

A mysterious phenomenon often occurs during practice: a task that was difficult one day may suddenly flow naturally after a day or two of rest. This suggests that the body and mind undergo a "recovery phase" where the practice is absorbed and the person effectively wakes up with more skill than they had before. Much like weightlifting, where recovery builds muscle stronger than before, the passive element of practice is as vital as the active one. This cycle of practice and adaptation builds concentration and trains the brain to learn more effectively. Ultimately, this process is an aspect of the universe manifesting through us, as our capacity stretches to touch the ideas offered by Source. We adapt and grow in order to receive and participate in the cycle of creation.

Translation

Art is fundamentally an act of decoding Source intelligence and interpreting it through the language of a chosen craft. Fluency in this "language" is a fluid relationship; while a beginner can occasionally produce something beautiful, developing skill allows for greater freedom and less sameness in the work. Mastery is a continuous journey, as expressed by Arn Anderson, who noted that one must remain a student to have the right to be a professor. While technical knowledge and theory provide more tools for expression, they do not guarantee emotional connection. However, having knowledge does not inherently hurt the work; it is how the artist chooses to use that knowledge that matters. Honing your craft is an act of honoring creation, fulfilling a purpose on the planet regardless of whether you become the "best" in your field.

Clean Slate

After working on a project for thousands of hours, artists often lose perspective and develop a form of "blindness" toward their own work. The practice of "cleaning the slate" involves stepping away for a long enough period to experience the work as if for the first time.

Example: In the recording studio, the author makes a list of specific mix changes (e.g., making a vocal louder). Once the changes are made, he discards the list and listens to the song as a whole without checking items off, which avoids the ego's trap of assuming a problem is solved just because a specific request was implemented.

Tools for resetting perspective include meditation, vigorous exercise, or long periods of time spent away from the project. Returning with a clear mind allows the artist to see what the project truly needs rather than what they previously thought it wanted.

Context

The meaning of an object or work of art changes radically depending on its surroundings.

Example: A flower feels different in an open meadow compared to being slipped into the barrel of a rifle or placed on a gravestone.

In creative work, every element—the background of a painting, the frame, or the room it is hung in—is part of the context that affects perception. Andy Warhol utilized this by placing Brillo boxes in a museum, transforming disposable packaging into rare objects of fascination. Similarly, the sequencing of a music album provides context; a quiet song makes the following loud song seem more bombastic. Time and social norms also act as a "contextual box," meaning a story can take on different meanings if set in ancient Rome versus Detroit. If a piece is failing, an artist might try changing polarities like soft-loud, fast-slow, or bright-dark to discover a more powerful version of the work.

The Energy (In the Work)

Great works of art contain a contagious vitality or "charge" that is not generated by the artist but caught from the work itself. This energy acts like love, a kinetic draw that can consume the maker’s waking thoughts. Excitement serves as an "inner voltmeter" to help an artist choose which seeds to develop; if the needle jumps, the work is worthy of devotion. However, this energy can wax and wane, and sometimes the charge is lost through a wrong turn. If the energy feels like an obligation to a past idea, the artist may need to back up a few steps or find a new seed. The relationship between creator and creation is harmonic and mutually dependent: the work generates excitement, and that attention is what the work requires to grow.

Ending to Start Anew (Regeneration)

Carl Jung was obsessed with building a round tower because he viewed life as something forever coming into being and passing on. Art exists in this same cycle of birth, death, and regeneration; artists must finish projects to make room for new ones to develop. Completing and sharing a work is the "price of making it" and involves the fee of exposing one's vulnerability. This process allows for freshness and the start of the next "chapter" in a creator’s life. Each finished object serves as a time stamp documenting a moment of passage and energy.

Play

Making art is simultaneously a serious commitment and pure play. Artists should strive to be like a child with a box of crayons, exploring without boundaries, stakes, or quotas for productivity. The best ideas often arise in this relaxed, uninhibited state where one can make messes and embrace randomness.

Example: An artist may start with an up-tempo track, try it acoustically, add an overdub, then mute everything but that overdub. This "blind" path-taking can lead to a beautiful result that was never part of the original vision.

By maintaining the fascinated spirit of a beginner, an artist can fall in love with the practice repeatedly. The quality of the finished piece is unaffected by whether it was made through easy play or difficult struggle.

The Art Habit (Sangha)

Artists should create in service to the art itself, not for financial support, as success is harder to achieve when your life depends on it. It is perfectly acceptable, and often better for the work's purity, to have a job that supports your "art habit". Choosing an occupation that demands time but provides mental space can protect your creative vision. It is also helpful to surround yourself with a Sangha, a community of like-minded people who are enthusiastic about art. Being part of such a community allows for the exchange of thinking and provides nourishment through discussions and feedback.

The Prism of Self

The "true self" is not a static thing but a collection of many changing versions based on mood, energy, and environment. There is a constant internal negotiation between different aspects of self, such as the dreamer and the pragmatist. The self acts like a prism; neutral events enter and are refracted into a spectrum of unique feelings and art. Because of this, not every work can reflect every aspect of an artist at once. By accepting this prismlike nature, an artist becomes free to create in different "colors" and trust their inconsistent instincts.

Let It Be

Borrowing from the physician’s oath, a primary rule for collaborators is to "first, do no harm". The early, rough magic of a work is fragile and must be protected. Sometimes the most valuable contribution a collaborator can make is no touch at all, recognizing that a masterpiece might be watered down by typical refining.

Cooperation

Cooperation is a practice similar to jazz improvisation, where collaborators with original points of view react intuitively to create a new whole. It should not be a power struggle or a competition to be "right," as that only serves the ego at the expense of the art. A successful cooperation continues until everyone is happy with the work. If two people disagree on Choice A or B, they should keep working to find a Choice C that both feel is superior.

Polarity in Groups

Great collaborations often thrive on a degree of polarity between members, creating a dynamic tension that results in more distinctive work than a lone voice could produce.

Communication and Feedback

When giving feedback, it should be specific, clinical, and focused on the work rather than the individual to avoid causing someone to shut down. Language is an imperfect tool, so it is helpful to repeat back information to ensure the recipient truly understands what was meant.

The Sincerity Dilemma

While many artists strive for sincerity, setting it as a primary goal can lead to work that feels saccharine or hollow. In art, sincerity is a by-product rather than the aim. The most truthful aspects of a person are often hidden and irrational, and they are accessed indirectly through the creative process. Art is like a poem that can transmit information deeper than thought or ordinary conversation. By letting the art do its own work, the sincerity sought will manifest naturally, though it may look different than expected.

The Gatekeeper

The "gatekeeper" or editor is the aspect of the self that determines the final expression of the work by whittling away the excess. Editing is a demonstration of taste, revealed through how a work is curated and how the pieces are put together. Unlike the inner critic, who zoom in to pick the work apart, the editor remains detached and views the work holistically to support its full potential.

The Ruthless Edit

Toward the end of a project, it is helpful to perform a subtractive edit, deciding what absolutely must be there for the work to remain itself. This might involve shrinking a twenty-song album to five songs or a three-hundred-page book to less than a hundred. This process helps the artist understand the underlying structure and ensures that every remaining element is necessary. The ultimate goal is to reach a point of elegance and balance where the work could not have been arranged any other way.

Why Make Art?

Self-expression is a primal instinct, much like the force that calls sea turtles toward the ocean after hatching. Humans create art to contribute their point of view to the world, echoing the universal human cry of "I was here". Every work, no matter how trivial, plays a role in the greater cycle of reality and nature. Art has the unique ability to connect people beyond the limitations of language, helping us remember that there is no true separation between us.

Harmony

Mathematics and invisible threads of geometry are laced through all natural beauty, from seashells to galaxies. Works like the Great Pyramid and Beethoven’s Fifth Symphony rely on these same divine proportions found in nature. Just as musical notes have vibrational wavelengths, all elements combine to create a new vibration that can be harmonious or dissonant. An artist does not need to understand the math to feel this harmony; it is a visceral recognition of balance. Sometimes, art uses dissonance or imbalance specifically to create tension and release, making the eventual harmony even more pleasing.

What We Tell Ourselves

The stories we tell ourselves about who we are and how art is made are often smoke screens that mislead us. Billions of data points exist, but we collect only a few and use them to assemble a limited interpretation of reality. Every adopted story negates possibility and walls off rooms of the self. Artists are called to let go of these stories repeatedly and put their faith in the "curious energy" of the work. Even when the process leads to unbridgeable contradictions, there is an underlying cosmic order that no story is large enough to contain. The universe ultimately never explains why.