Painters and writers must love what they do in order to stick with it as more than a hobby.  Not only do they need to prepare themselves in special ways, they also have to realize that luck and timing aren’t always favorable.  Then there are the "supports" who might not be as trustworthy as imagined.  

Certain realities are difficult to live with, but here they are:

Painters and writers need to be prepared

1.  To handle rejection, over and over and over again.

2.  To pay fees for workshops, associations, competitions, and mailings that might not bear fruit.

3.  To start each new project with excitement, even if the chances of  having it recognized are slim to none.

4.  To spend a lot of alone time to engage fully in the creative process and reap maximum benefit.

5.  To realize that skill, technique, and talent all need to be honed.  While some people get lucky breaks early on, most are plodders.

6.  To accept that if they don’t succeed in public, they shouldn’t give up in private.  Sometimes the act of creating is rewarding in itself.  It is nice to be recognized and appreciated, but that doesn’t always happen, and we can’t be hard on ourselves because of this.

Painters and writers need luck and timing as much as (and more than) hard work and talent

1.  Many painters and writers are famous posthumously, no matter the lengths they go to in their lifetimes.

2.  Networking matters, as much as (and more so) than in any other industry.

3.  The world is changing and so are standards and trends in painting and writing, and everyone needs to stay current with what’s out there, even if it’s a genre that’s unfamiliar.

4.  Intellectual property is precious, and ideas get stolen all the time.  Be careful in choosing those with whom to share personal projects.  The less said the better.

5.  Even if ideas (and entire projects) get stolen, they won’t be realized in the same way as the originator of those ideas intended.  Authenticity and drive are essential to any creative work, as well as the need to be passionate about what’s being created.  Copycats have their limitations, especially if financial gain  and short-cuts are their chief goals.

6.  Come back to something later, but don’t give up.  It’s good to put things away and then look at them with fresh eyes.  Just as an individual and her thoughts might change, so too does the world and its markets.

The Best Supports

Those who have pure intentions—don’t need to manipulate and use circumstances for their own gain.  They include:
 
• Individuals who believe in you, see your industry, and have faith in what you’re trying to accomplish—like (some) family and friends.

• Peers that are in similar circumstances, but not part of any formal group—those who’ve been there, or are there, too.

Questionable Supports

Those who might have their own agendas and protocols, and the artist or writer’s (best) interests might be different than theirs. They include:
 
• Professional and peer associations (that charge a fee).  

• Government agencies and representatives.

• "Helpers"  (that you pay), like coaches, therapists, editors, and teachers.

Agreements Only Go So Far

No matter what’s declared orally, or signed and sealed on paper, most things manage to be open to interpretation.  At the end of the day, all parties, directly involved (or not), know what’s right.  However, not everyone has a conscience.  Some can live with deception (and themselves) better than others.  Writers and painters are vulnerable and will risk a lot to have their work recognized.  However, they should never jeopardize their finances, integrity, spirit, or self-confidence in the process.

Agents, Editors, and Jurors Do Make Mistakes (Intentionally and Not)

They’re only human. Even if  they’re in a "power position" they might not act fairly or honestly.  Instead, they might exercise opinions, biases, and short-cuts that highlight their deficiencies.  Some are better at hiding this than others.  But, should there be a hint that someone might not be an equitable and straight-shooting business ally, move on.  Don’t push to make them like or endorse you or your creation.  Momentary gain might lead to long-term pain.

Getting Published—Different Vantage Points

At Harvard Medical School’s Continuing Education Program, "Publishing Memoirs and Other Creative Nonfiction," (reviewed in my March 20, 07 blog entry) several experts shared details about their own publishing experiences.  A few are included here:

• Julie Silver (author and publishing authority)

Julie is an MD and many-time author, a very determined  individual.  She said that growing up she had to play every sport and get "straight ‘A’s" to stay a member of her family.  That is why I found what she shared about her experience with her former agent (Kristin Wainwright) disconcerting.  Allegedly, Wainwright (who Silver says is now "out of business") stole all her money.  However, Silver’s decided not to prosecute, her reason being that if she puts time into that, she won’t be able to help others publish—something that’s a lot more positive.

• Linda Konner (Julie Silver’s new literary agent)

Linda, a bold New York City agent, acknowledged the benefits of authors going to a publisher first, then handing a book deal to a literary agent to take over the finalities—the agent can be "saved a lot of work."  She also pointed out how pubishers love authors who have connections with drug companies.  She admitted, that sounds "kind of crass," but explained how drug companies will sometimes commit to 5,000 - 10,000 half price book copies, which might have a personalized book cover too.

• Julia Fox Garrison (self-published author, and bestseller)

Julia is a courageous stroke survivor who confessed to having spent $60,000 during her personal publication process.  She didn’t take short-cuts and worked around her disabilities.  Then, ultimately, her book, retitled Don’t Leave Me This Way, was taken over by Harper Collins who republished it—after 21 publishers made bids at auction.

People often ask if I have background entertainment while painting.  I’ve tried listening to educational CDs, so that I can multi-task on the job.  But, this really doesn’t work.  When I’m painting, I really need to be totally there, in the process, not distracted.  But, if I do have any accompaniment, it’s television.  Occasionally, when I’m open to drifting, I’ll learn snippets of information, or be able to phase in and out of a very slow plot.  Here are some of the shows that play in my area on weekdays, and my discoveries about them:

The Today Show (7 - 10 am)
There’s usually something interesting to pick up here.  It’s like a "university of popular culture,"  and my ears prick up when topical issues are featured.  It’s one of those shows that surprises us by trying to to include items that are timely and engaging for most viewers.

Rachel Ray (10 - 11 am)
An amazing array of guests and ideas.  Cudos to someone who’s been able to keep her finger in so many pies without getting burned (no pun intended). 

Martha (11-12 noon)
Despite her talents and more fine-tuned delivery style, her history and need for power and control sometimes have her appearing to upstage her guests.  

The View (11 - 12 noon)
Must confess, I got turned onto this show during the Rosie/Donald fiasco. You can’t help noticing how everyone talks at the same time, with Joy, Barbara, and Rosie being an animated and engaging combination. Elisabeth, so far, doesn’t impact me in the same way.  Interesting how her role on Survivor might have got her there!

America’s Funniest Home Videos (12 noon)
Short, sweet, and funny—a real "pick-me up."  Basic slap-stick style humor that’s harmless and brings a smile to your face.

Extra (12:30 - 1 pm)
(This show can be easily confused with Entertainment Tonight or the The Insider.) Celebrity gossip that reveals interesting priorities, encouraging us to forget the mundane and what might really be news-essential in the wider world.  Sheer distraction and entertainment.

Days of Our Lives (1 - 2 pm)
The slowest plot, so you can miss it for days or weeks and still catch up.  Some of the scenarios are so ridiculous, you can’t help wanting to know more.  Some of the sex scenes are astonishing for daytime TV.  The hour passes very quickly.

Passions (2 - 3 pm)
Just like Days of Our Lives.
(The slowest plot, so you can miss it for days or weeks and still catch up.  Some of the scenarios are so ridiculous you can’t help wanting to know more.  Some of the sex scenes are astonishing for daytime TV. The hour passes very quickly.)

Dr. Phil (3 - 4 pm)
This is when I have a snack or turn off the TV.  This guy can’t know better about everything—can he?  Not only does he appear to challenge the bounds of traditional (and safe) psychotherapy, he also seems to enjoy some Jerry Springer-like sensationalism—and personal language that doesn’t always set the best example.

Ellen (4 - 5 pm)
Always a breath of fresh air.  Fun, cute, and engaging, you can’t help but love Ellen—how she includes her regular viewers in any way possible and is genuinely into what she’s featuring.  If Ellen isn’t an authority on something, she’ll do her best to learn new skills and make sure that her viewers have the opportunity to do so too.  There’s only one Ellen!

Lev and Sage are very upset about the recent dog food recall (and pet deaths). If you are worried that your dog’s food might be on the list of recalled products, please check out Menu Foods’ Website or call their information line at, 1 866 895 2708. 

Lev and Sage, highly recommend an alternative pet food manufacturer’s products.  Wellness has been their favorite breakfast and dinner delight for years.  In fact, they only take a few minutes to clean their bowls, when eating this. Others also love Wellness, as testimonials on the Old Mother Hubbard Website show.

Physicians and other suitably credentialed healthcare professionals are advantaged in a variety of ways. Their specialized knowledge and aspirations to get ahead give access to educational opportunities others might not have, such as Harvard Medical School Continuing Education Programs.  Julie K. Silver’s "Publishing Books, Memoirs and Other Creative Nonfiction" (March 15 - 17, 2007) is a significant example.  

Over the years, I’ve been to a variety of conferences, courses, and workshops put on by bodies more specifically geared to writers and their craft.  These include:  ASJA (American Society of Journalists and Authors), Boston Center for Adult Education, Cambridge Center for Adult Education, Grub Street (Boston writers’ group), International Women’s Writing Guild, National Writers’ Union, and Harvard’s Nieman Program (for narrative journalism).

I was aware from Silver’s introduction that this Harvard educational and networking opportunity would be a little different than those provided by these others.  Early on, she drew attention to 10 interesting points:

1.  As a "health expert" it’s perfectly okay for someone else to write your book and you still be the primary author—so long as the ideas included are yours.

(Note:  This doesn’t just happen with  "health experts." Many others, with the funds or power position, let others do the grunt work while they get the recognition.)

2.  Publishing is a field to be respected on its own, where you can expect rejection, editing, "egos," and having to meet deadlines—publishers/editors have really "big egos" and they don’t like authors with "egos."

(Note:  Should "health experts" expect different "ground rules"?  Publishing and its protocols is just as significant as medicine and its protocols.  Being an expert in one area, doesn’t guarantee you’ll be an expert in another. Writing is more than just a "delivery mode"—it’s an art.  And art, not unlike medicine, requires practice, perseverance, creativity, and education.  Not everyone’s a "natural.")

3.  Publishing is all about deadlines.  Medical people are notorious about being late for deadlines.

(Note:  How long have you been stuck in a medical waiting room, without explanation?  In other professions, there’s different rules, responses, and consequences—and less excuses.)

4.  Re. "Platform":  "’Platform’ is who you are and how you can reach your audience.  ‘Platform’ is about bragging in a nice humble way."

(Note:  More than most, "health experts" might have an edge with platform.  On all kinds of levels at all kinds of times, they’re more likely to be viewed as having "authority." But, doctors can be wrong too.)

5.  "Bristley" literary agents weed out "riff raff"

(Note:  Some "health experts" might consider themselves exempt.)

6.  Brag when you sell yourself to the publishing industry.

(Note:  This may be easier for "health experts" to do, and they may be more able to get away with it than others.)

7.  Book title objective:  to be positive with a promise.  That means being "ethical" about what you’re presenting, but you have to do something to get people to open the book…."Over-promising can make you sound silly…or you can get by with it…"

(Note:  Experience shows us that promises are often broken, and too many supposed "authorities" get by with silliness.)

8.  A key reason why a book might not sell:  an author lacking a "platform" ("platform" describing "who you are and how you can reach your audience").

(Note:  For some "medical experts," a "platform" is a "given."  Others may be  surprised to learn that being a "medical expert" isn’t always enough.  That’s when support teams (paid for by their instituions) and devoted spouses come in handy.

9.  Non-fiction sells better than fiction.  People like to buy things that will help them.

(Note:  Present company considered?)

10.  "Americans have smaller and smaller attention spans and want the information in more and more compact ways, and we have to give them that."

(Note:  Present company included?)

Other faculty members for the program included (in order of presentation):

• Jonathan Edlow
• Jean Tomson Black
• Lawrence Kutner
• Susanne Klingenstein
• Edward Hallowell
• Larry Dossey
• Howard Zaharoff
• Suzanne Kovern
• Cheryl Olson
• Julia Fox Garrison
• Marvin Krims
• Jeff May
• Joni B. Cole
• Katherine Russell Rich
• Susan Aiello
• Lisa Tener
• Regina Brooks
• Rusty Shelton
• Linda Konner
• Elizabeth Rider
• Debbie Carvalko

Creating a hybrid program from medicine and writing, it was evident, is not an easy task.  Julie Silver’s efforts were commendable. I was also impressed by Regina Brooks (Serendipity), Debbie Carvlko, Lawrence Kutner, Suzanne Klingenstein, Lisa Tener, and Howard Zaharoff.

Julia Fox Garrison, whose book about her stroke, Don’t Leave Me This Way, put her in a league of her own.  She had the first and only standing ovation in the history of the program.  Physicians, it was clear, have a lot to learn from non-physicians.  It’s a long hard road to become an MD, but becoming a published author can be even longer and harder—as well as a lot more uncertain.  The MD credential helps, but isn’t an automatic ticket to an audience or publication.

Unfortunately, Larry Dossey, the presenter I most expected to be engaging, wasn’t.  Either he was "on stage" at points in the day when people were most likely to doze off, or he’s a more stimulating writer than speaker.

After a three day program like this, it’s only when you get home, and back to work, that you can appreciate how motivational it’s been.  You need to follow-up and -through—take suggestions, examples, and networking opportunities seriously (as soon as possible).

The Fairmont, Copley Paza, Boston, the setting for the program, isn’t only an exquisite hotel, but it also has a very unique staff member, Catie Copley.  Since this dog-star has a new book coming out about her, perhaps, next year, she should be invited to present too!

Many artistic Canadians gain fame, fortune, inspiration, and support from foreign sources.  If they’ve paid for their own specialized training abroad, and want to be successful after graduating, they’re given little incentive to return to Canada.  Canada doesn’t seem to provide sufficient enticement (governmental or otherwise) to those who wish to return home.  In fact, if you’ve been out of the country for a while, and don’t have adequate fresh "Canadian experience," or networking connections, it’s unlikely you’ll be eligible for grant money or endorsement. For those who graduate in the US, there’s a grace period to stay on there if you find suitable employment/sponsorship.  Canada is a wonderful place to live.  However, if you’re an artist trying to launch a career, it’s usually easier to develop employment/recognition prospects elsewhere.

The "familiar" is key to my artistic creations, as my artist’s statement explains.  I’ve come to paint the familiar from fresh viewpoints.  For instance, I might know what a cherry is/looks like.  But, how I saw/thought about cherries a year or two ago might not be how I decided to paint them last month.

 

You’ll see earlier cherry imagery in the fruit gallery on my Website. Some of the same elements are there as before, and some have changed—at least for me.  Once I start painting or writing about the cherries—externalize and record my perceptions on the canvas or page—it becomes obvious how my thinking, doing, and believing might have evolved generally.

My artmaking experiences have helped me appreciate how the familiar can be comforting.  A smell, sight, or sound that connects you to a place, person, object, or time provides a sense of orientation and belonging.  Granted, not all that’s familiar triggers happy memories.  However, fresh experiences may well have the power to prompt different (more positive) associations.

Air travel speeds us from one location to another.  But, we miss what’s inbetween:  don’t get to appreciate how the landscape and inhabitants’ ways of thinking and how they might change along the way.  Road trips offer a slower transition, and less culture shock.  Regardless, no matter how we get there, living in different cultures, far from family and friends, can really test who we are, how we act, and what we’re capable of enduring.  There may be few sign posts to guide us, and we can feel very much alone and disoriented before making friends, securing a job, and personalizing a home.  

Though our innate personalities are significant, we are also effected by the environments in which we put ourselves, as well as by others who are already established there.  Their feedback combined with our own expectations do a lot to influence our self-confidence and -esteem.  That is why, the familiar (for better or worse) is an important reference point, as are our responses to it.  If we can use it to advantage—to change, reflect, or comparison-make—we’ll probably feel more  grounded and certain.  The familiar serves as a focus from which our (self-)identity forms, or to which it relates.

If you look through a poetry or picture book, you’ll know, almost immediately, which poems and images capture your attention—what will make you feel happy, sad, or indifferent.  Previous experiences and exposure influence current comfort levels and needs.  Steering ourselves in the right direction is a "survival mechanism" of sorts.  That’s why the urge to surround ourselves with what touches us positively is a strong one.  It can determine how optimistic or healthy we feel.  Identifying what doesn’t work for us, and being able to disengage from it, is also important.  This may be a person, place, behavior, or idea.  At some stage, we all need to recognize our comfort zones, and find a niche.

Our niche doesn’t have to be exactly what we’re used to, so long as it involves things we can relate to, understand, or feel motivated to get to know better.  What’s important is who we can be and what we are comfortable with today.  When the past doesn’t have good associations for us, it’s what we do next that counts—knowing our limits and how to make the most of the places, people, and objects that we’re able to surround ourselves with now.

p.s. Cherry fans might like to check out some interesting Cherry Websites:

http://www.cherryrepublic.com/

http://www.cherrymkt.org/consumers/index.html

http://www.agf.gov.bc.ca/aboutind/products/plant/cherries.htm

http://www.calcherry.com/

 

Expectations lead to disappointments, so don’t be surprised if:

1.  The job’s not completed according to schedule:  it could take two to three times longer.

2.  Additional unforeseen expenses arise:  you could end up having to pay two or three times the amount budgeted.

3.  Certain jobs need to be redone, along with repairs to (fresh) damages made by renovators, themselves.

4.  Replacement workers and materials end up being worse than the ones being replaced and corrected—regardless of reassurances to the contrary.

Trying to recuperate payments with the assistance of others can be as much fun as having to deal with incompetent/money nabbing workmen directly. Solutions (and officials), however sensible/appropriate they seem, might be less than ideal:

1.  Better Business Bureaus:  They collect complaints and black-list companies.  However, don’t count on them following up in ways that assist specific customers with specific problems directly.  Besides, businessmen/workmen you’re complaining about usually aren’t members anyway.

2.  Small Claims Court:  Even if you do win, and devote a lot of time and energy to doing so, who’s going to collect the money you’re awarded (and how difficult will that be)?

3.  Visa, Mastercard, American Express:  Paying by credit card is advantageous, but contesting unauthorized phone orders made by merchants isn’t always favorable to the customer. Customer service protocols and card security vary from card to card.

Exercise common sense.  Even if you’re on site/at home while work is being done, you can’t catch everything that might happen, and need to take precautions:

1.  Put possessions away that you don’t want to be broken or have disappear (from anywhere in your home—not just the area worked in).

2.  Lock doors and cupboards, wherever possible, to prevent snooping, wandering, and theft.

3.  Know that your toilet(s) and sink(s) will need a good clean later.  If you have more than one washroom, make sure only one is accessible.  Also, stay on top of garbage, and don’t let it pile up. (Reasonable contractors should be taking it away with them, as well as their cigarette ends and coffee and soda containers.)

4.  Damages will be of all types, and more than expected.  Check your paint work, floors, doors, appliances, and more.  No one will tell you they’ve broken anything, unless you ask.  And, even then, they might deny that possibility or explain things couldn’t have been done any other way.

SWA (Single Woman Alertness) matters! Even strong independent women with the means to do home improvements run into difficulties, and need to be prepared:

1.  Invite a guy friend or relative to be there when confronting workmen who’ve done an unsatisfactory job.

2.  Don’t get too personal/friendly with unfamiliar workmen, who can turn "niceness" against you when complaining about shoddy workmanship later.

3.  Don’t become a coffee shop/luncheonette for your workmen, or offer waitress service.  Good workmen will still do a good job without "extras." Bad workmen will just get you upset—make you feel they’ve taken advantage of you (which they probably have).

4.  Gain technical savvy wherever you can so as not to be blinded by whatever you’re told.  And, more important, stand up to "bullying."  The police can be called in if necessary.

(The last three points apply to everyone—not just single women—though single women do seem to have greater need to be aware of them.)

"Details" might be less important later—what really matters isn’t forgotten:
 
1.  "Word of mouth" is the best recommendation (or not).  Speak up and tell everyone you know about a job done badly, and have as many other renovation experts as possible know what’s happened(ing).

2.  "This too will pass!" Enjoy whatever you can whenever you can. (When your home is disrupted, nothing else might feel right, and it’s hard to keep things in perspective.)

3.  Circumstances aren’t always perfect and you might be less than happy with the final results.  But, nothing has to be forever.

4.  Once the chaos is over, it’s amazing how quickly you can forget about the ups and downs along the way.

The old adage, "Act in haste repent at leisure" doesn’t always work where renovations are concerned. Even when the customer has taken her time and made the right choices, unscrupulous/incompetent installers destroy quality materials.  Then, instead of accepting responsibility, they disappear. Or, they make your extended time with them so uncomfortable, you let things go—unfinished.

p.s.  Home remodelling (and its pitfalls) is obviously a hot topic, as the Today Show’s feature, "Got the Post-Remodelling Blues," (Friday March 9, 2007) demonstrates.  You can find this segment on their impressive new website (made in partnership with ivillage). Search the "features videos" on the home page (for as long as this topic is current) or send an e-mail to WT@NBC.com for further information.