Is the Price Too High? Family, Relationships and the Cost of Creative Success
As a writer, I am blessed that I can do my work from anywhere, and most importantly to me, have my children and family with me. I know there are many creative professionals who do not have this luxury. My heart goes out to them for the decisions they are faced with when their love for their art and their love for their family splits them in two. I can imagine how alienating and heartrending it must be to feel torn between the two things you love most in the world. Both of which feel as if they are a part of yourself and neither of which you can live without.
There is no easy answer to this – when your art requires you to be away from loved ones for long hours, or days, weeks, months at a time.
Sooner or later, you’re going to ask yourself: is it worth it?
Is the price of doing the art you love – art you’re good at – worth what it costs you? Worth what is costs your family? Worth the relationships you might be missing out on?
The more successful you are, the less freedom you feel to ask these questions. Why? Because if you’re marketable, someone will always have an interest in your work. And the more successful you are, the higher the financial stakes get, the higher the pressure to keep doing what you’re doing. But once you’ve achieved certain levels of success, motivations change. Money isn’t as big a driving factor. Neither is reaching career milestones. Chances are, what drives you is the work itself and the emotional, physical and mental challenge and rewards it provides. You become your biggest driving factor.
As artists, we find harmony and flow when we’re in the midst of creating. Time ceases to exist. We’re focused, lost in “the zone.” We are most ourselves when we’re creating, aren’t we?
But time doesn’t stop for our kids and loved ones.
They don’t feel the same sense of ease and flow.
And kids don’t really care what it is that Mom or Dad does for a living. They just want you to be Mom or Dad.
So what do you do? Where and how do you find balance?
There are no easy answers, but here are some thoughts to ponder:
Children are only children once.
I can’t imagine not being with my children day in and day out. That’s me. Not everyone feels this way. But if you’re away for extended periods, you are missing out on time that matters to them and to you. Is there a way for you to have them with you? Could they be privately tutored or home-schooled so that they could be with you where you are?
We often think that “stability” is most important to children. But stability doesn’t have to mean being in one place, with one set of friends, one school. Stability can mean being with you wherever you are – finding comfort in your routines and having a solid relationship with you. Like I said, my husband and I are fortunate to be stay-and-work-at-home parents. Since we spend part of the year in Europe and part of the year in the States, we home educate. We also keep the same daily routines no matter where we are so transitioning to either locale doesn’t impact our daily lives as much as it could. Our “family” is our children’s stability.
Children are resilient. They adjust to cultures and changes in location. They have a far harder time accepting being separated from a parent they love or understanding why a parent would choose to be separated from them. And when they are grown, what will matter more to them? Having remained in one locale, with one group of school friends – and having missed out on being with you, OR having been with you, and missed out on one group of school friends and one locale? Don’t be afraid to make choices that go against “stability” and “conventionality.” You live a different life because of your work, they can, too.
I realize, of course, that it gets complicated if you have a spouse who has his or her career and doesn’t want to give that up. It may come down to figuring out what matters most to you as a family and what each of you is willing to give up to keep family front and center. It may mean compromising or living in multiple homes so that you can be within reach no matter where you’re working. Don’t be afraid to make “being together” more important and valuable than traditional school, activities or social connections. During childhood, you matter more than anyone else in your child’s world. They have a lifetime to have other friends.
You are the parent your child is meant to have.
As parents, we take so much responsibility for our children’s day-to-day happiness that we forget that sometimes it’s the bigger picture that matters most. Our children are our children because of the unique experience and guidance that only we can give them. I firmly believe that. It’s not accidental that you happen to be their parent. There’s a reason for it. And the fact that you are an artist and work under the conditions you do, is part of that bigger picture of what you are meant to pass on to them. You need to realize that you are the parent they need you to be. And the experience they have of you as a working artist is part of the plan.
You may be tempted to think of the harm you may be doing by not being with them, but you need to consider the bigger picture, too. The experiences they have with you is laying the foundation to support them in what they will do with their lives later on. You can’t always see that, but you can trust that is it so.
The greatest gift you can give your children is to be happy.
Physical presence matters, or course. But what matters even more is how your children experience you when you are with them. Are you happy? Do they see you happy and fulfilled by what you do? Living joy-filled lives is the greatest gift we can give them. Why? It validates to them that happiness matters. That finding and creating happiness by doing what you love and loving what you do, matters. That they have the power to create their happiness, too. You will have a far greater positive impact on your kids if you are happy and apart from them, then if you are unhappy and with them. Don’t lose sight of that.
Separation hurts – there’s no way around it.
As much as you may wish to be with your kids and loved ones, oftentimes, doing the work you love won’t allow it. How do you deal with the pain and loneliness? How do you feel thrilled to be doing what you love and at the same time sick inside missing the ones you love most? How do you handle feeling guilty when your kids cry for you and ask why you have to be away?
- Remember, people respond to you by how you make them feel. If they feel loved, cherished, happy and enjoy being with you when you are present, they’re going to value their relationship with you even when you’re apart. If they feel stressed out, worried, fearful or tense when you’re around, they will not value their relationship with you. You control the quality of relationship you deliver to them, the way that they experience you. And it’s that essence of you that will linger.
- Communicate. Talk to your kids, your spouse, your loved ones. Kids often have no idea of what it is us grown-ups do in our work – let them in on it.
- When you’re with them, be with them.
- Make up a routine that is unique to your family. Something that only you share together. A touchstone for everyone.
- Acknowledge how you feel. Missing loved ones is going to distract you emotionally. Depending on your art, this may effect your work. Take time to acknowledge how you are feeling. It’s normal to feel as if part of yourself is missing when you are away from your children and loved ones. It’s normal to feel sad, depressed, and uncertain if you’re making the right decision to be away.
- Know that ultimately, your children are going to be okay. They have the power to be okay, to choose to be happy, to change their perspective of their family circumstances, as well.
Don’t be afraid to change things.
The more successful you are, the faster the merry-go-round spins, the harder it is to stop it and get off. But you CAN stop it if you want to. You need to give yourself permission to know that you can. This is your life. You only get one shot at this lifetime. If everyone else is happy, but you’re not, what does it matter if they’re happy? You have to live your life according to what makes you fulfilled and happy. It may mean saying no to work that doesn’t allow you to be with your kids as much as you want, it may mean finding a way to have them with you. You alone can decide what you are willing to trade.
Ask questions. Think outside the box. Keep the big picture in mind. Are your children generally happy? Are they well? Do they seem to be thriving? Do they feel loved?
Is your spouse happy? Well? Thriving? Loved?
Are you?
If yes, take a deep breath and know: you’re doing enough. They’re going to be okay.
If not, then own your power to change things and create the life you want.
Writing Tips to Make Story Revision Easier & More Effective
Revision is a task all writers must master. But it’s often seen, particularly among inexperienced writers, as something to dread.
Don’t dread revision. Embrace it. It is one of the biggest gifts writers are given – the opportunity to re-work our work to allow it to more fully grow into its deepest self. This is where Story meets up with Craft in its most intense relationship.
Here’s some tips to make it easier:
1. Start by realizing that revision requires you to let go of the Story as you currently perceive it.
It’s the Story that matters most. By Story I mean the journey toward a particular spiritual/emotional/physical realization for the main characters. How they go about this is malleable. Your Characters know their Story, but you have say in how to best reveal that journey to the audience.
2. Realize that there is more to bring out.
In the first draft, the Story pours out (and if it’s not pouring out, you may be tugging at it before it’s ready) – the first draft is the core material of the Story. It’s in its purest form – where theme, characters, dialogue – reveal themselves, undisturbed yet by the writer’s hand. It is raw, malleable material that is never meant for anyone elses’ eyes and always meant to be shaped and nurtured and tended to by the writer.
3. Take on the role of director when revision begins.
Particularly for scripts, but also for novels, your job as a writer includes the role of director when you start revision. Why? Because while you are writing, you are also directing the Story – and you have decisions to make. Director’s decisions – not just writing decisions. That means you start to take the Story apart and look at it structurally. You look at character development, you decide what best serves the Story and you get rid of or change what doesn’t. You keep the big picture in mind and you get tough with what’s working and what’s not. You also start to really get to know your characters and deal with their issues in a supportive, caring manner. You take command of the page and accept responsibility for what’s on it and what’s not.
4. Partner with your characters and let them inform your decisions.
Characters trust you with their story and that’s not an easy thing to do. They deserve respect. They also know far more than we do when it comes to who they are, what they’re after and what they’re not telling you. You have to be a very good listener. They are invested in the success of your work and they will give you what you need. Ask them. They’ll surprise you. They’ll also reveal more when you let them have a say in how their Story is told.
5. Bring in a second set of professional eyes when it’s ready.
No one will ever know your Story as well as you do, but we lose our ability to accurately perceive whether or not we have expressed the Story as well as we intended. That’s where having a second set of professional eyes provide feedback is invaluable.
6. Revise again.
After you get feedback, take what makes sense for the Story (not for your ego) and revise again. Chances are some of the suggestions made to you will take your work to a higher level. Some won’t fit and you’ll leave those behind.
7. Take responsibility for the final completion of the Story.
It’s easy to wallow in a never-ending state of revision. But that won’t move your Story to its next stage of development. You have to accept responsibility for deciding when you’ve brought the Story to the highest level you can, at this stage, with the information, feedback and understanding that you have right now. Part of this is something you’ll just know. Part of it is an actual decision to stop revising and declare it ready to stand on its own in the world. You have to determine if you’ve given it everything it needs to sustain its life. If you have, then make the decision. Declare it done at this stage.
How to Put ‘the Magic’ in Your Writing
Recently, I had the pleasure of interviewing a songwriter who has been behind some of the top pop hits in the last decade. Something he said in regards to the writing process hit close to home:
“If it (the content) is just okay, but it doesn’t feel like magic, then find something else, don’t waste your time, on writing.”
Feel like magic. That’s what it’s supposed to feel like, isn’t it?
What encouraged me was the fact that even after so many years writing songs for A-list artists, he still judges his writing by the magic. As creative professionals it can be hard to keep that magic front and center in the work we do for others. But the magic – and finding it – is the key to what makes our work stand head and shoulders above the rest.
So how do you know if something has the magic?
I know one thing: you can’t create magic. You can receive it and you can refine your work until the magic comes through – but it is not something you can order and have served up in your work. You can’t layer it on top. It has to emerge organically. And it comes by listening.
Listening.
Getting quiet. Paying attention. Asking questions. Asking for guidance. And listening to what you hear, to what you feel, to what your intuition is telling you. From the Story, from the Characters, from the work, from your Spirit.
Magic evades us most when we are striving. When we disconnect from Spirit and push, pull, tug and coerce creative results.
This is one of the key risks in revision and one we need to be very careful about. Revision has the potential to delete the magic. And while you need to revise (revise, revise, revise) you also need to know your Story and Characters well enough to know which parts are magical and which parts aren’t. It’s the magical scenes and dialogue that give Story its soul.
How do you know which scenes those are?
By how they make you feel.
Chances are that if a scene you’ve written moves you emotionally, it’s carrying magic. Not everything in a script or novel is going to evoke emotion. When we’re writing a script, we see every page, every scene, every word in it’s long form.
We do not see it condensed down into film, with actors, sound and editing to carry the emotional tone through 90 minutes.
So we need to be aware of which scenes and dialogue carry the magic and protect those.
Magic flows most freely in the first draft, so mine it for gold. Magic also flows during revision when characters share scenes with you that you weren’t aware of before. In a script, the magic is in the characters. So you have to listen to them and let them express it.
And if you’re not feeling the magic?
Don’t waste your time. Don’t write something that just doesn’t speak to your own soul. If you’re on assignment, and you have to write the story given to you, then pay very close attention and listen to the character’s hearts. Let them give you the magic. Ask them for it. Give them room to find it amongst themselves.
It’s there.
Thriving Artists Series: How to Make More Money
“Thriving” and “artist” don’t often snap together in most people’s minds.
But they should. If anyone has a reason to thrive it’s those of us who make a living based on creative inspiration. And while many artists in all walks of creativity “struggle” to create a thriving income, when it comes down to it, making money doing what you love for a living is possible. We have no problem understanding that we own the power to create our work, but many of us stumble when it comes to owning that same power to create income.
Thriving as an artist involves more than just making money, of course. It’s a “whole-person” definition that needs the sum of it parts. Spirit, craft, experience, attitude, beliefs, effort. More on those in other posts.
How do you make more money as an artist?
Let’s start out by examining what it is you are being paid for. And for our purposes here, we’re not going to address unions or other “going rates.” Those are a part of many artists’ income guidelines, but that’s not at the core of what I want to discuss today. We need to back up a bit before we get to that aspect.
What are you being paid for? Your time? Your talent? Your marketability? Your experience? Your “you-ness”?
Most likely, it’s going to be a combination of all of the above. What I want to drive home is the fact that behind whatever it is you are doing for your art – acting, painting, writing, set designing – you are the key factor for why someone hires you or buys your creative work.
Your value is you.
But many artists, new and experienced, struggle with valuing the “you” aspect of their work.
Money is energy. Nothing more, nothing less.
We use it as a form of exchange for value. People respond to you based on the beliefs you have in yourself. (Occasionally, “old souls” (not to be confused with age) in the industry may respond to you based on the higher value they see in you and their belief in you – knowing that you’ll grow into these beliefs as you mature spiritually. But while this is a pure blessing if it happens in your artistic career, it’s also pretty rare.)
Let me say it again, people respond to you based on the beliefs you have about yourself. If you do not value yourself appropriately, they will value you at the level you value yourself. You’ll be paid for what you “believe” you are worth. No more. No less. Why? Because…
Money is an exchange in perceived value.
It’s what we are each willing to give and accept in order to receive the value we perceive. So, yes, you do have to be good at what you do, work with integrity, live up to professional standards and give them their perceived value’s worth in exchange. But ultimately, you set the value of “you.”
Believe that you can only earn the “going rate”? That’s all you’ll earn. Believe you can earn more than the going rate? You’ll find opportunities and ways to do so.
We externalize our income and tend to believe that it comes down to “the system,” “that’s just the way it is.” We set the locks on how much we earn by our beliefs.
We unlock how much we can earn by our beliefs as well.
I’m not talking about wishing on a star for a million dollars and it will land in your lap. Your income usually incrementally reflects your expanding beliefs.
Most people never gain consciousness of their money beliefs, let alone change them. But once you do, you take back the power over how much you earn and you create income – you don’t “get paid” by others. (In other words, yes, other people pay you, but you know that you are receiving that money because you created the ability to receive it and you opened your beliefs up to receiving it. The power remains in you. Not outside of you.)
You set the real value of your work and your income will reflect it.
This isn’t about arrogance or ego. You do have to be good at your craft to attract top dollar. But even if you’re not at the top of the league, you have the power to create more money in your life. It starts with your money beliefs. It starts with placing a higher value on you and your work. It starts with realizing that you can earn more. That it’s in your power to generate a flow of income into your life. When you do, you’ll start to create, find and accept opportunities for more income. It may mean raising your prices, your rates, asking for more during negotiations, and it may mean turning down work that doesn’t pay what you have decided you are worth.
This may sound crazy to you if you are still in a place where you are struggling financially. Turning down work? Yes, turning down work.
Remember, people respond to you based on what you believe about yourself. Believe you can only get buy, that you’ll never make a living at this, that you have bad luck, that it’s hard to get work, that the odds are ridiculously impossible – and that’s what you will experience. You’ll attract people who get that you don’t expect more or believe that your work is worth more and you’ll be a good match for them.
But, believe that your work is valuable, back it up with craft and performance to match it, never give luck or odds a second thought because they don’t apply to you, maintain that your work is worth what you are asking, turn down opportunities that don’t match your belief and guess what? You’ll attract people who get that you expect to be paid for what you are worth, see your work as valuable and they’ll have no problem paying you for it.You’ll be a good match for them.
There are jobs and people to match every level of money belief.
You are the one who sets the money beliefs about you and your work. It starts with you. You set that belief in others.
And get this, people leave it up to you to set your value. They meet you where you are.
You are the one who has the power to change it.
That’s a Wrap! Finding Closure with Characters
Last day in character, on set. Final revision on a novel. Screenplay’s bought and produced.
It’s done.
We finish creative work all the time, but we don’t always give ourselves the grace of actually closing our relationships with our characters. Most of us have projects lined up, already started or waiting in queue. And we tend to move mentally toward them as we finish up a current one. We’re busy, we don’t have time.
But rushing forward without taking time to find closure can be risky to our well-being and our new work. Why? Because we spend considerable amounts of time emotionally and physically invested in characters and we need to be emotionally available for the next one.
Tough emotions are part of the work
I’m currently finishing up Restoration*, a script that dives deep into the emotional interior of three scarred war veterans who must navigate the unfamiliarity of life after war and each other while trying to save their condemned house from being destroyed. The fabric of their story is steeped in tough terrain – from torture, from guilt, from being left helpless to make a difference and save others. And they’re asking relevant questions that we are all facing about the rationale behind going to war to impose democracy.
I know these characters well, they trust me fully as the First Trustee of their Story – but it hasn’t been an easy journey for me emotionally to work with them. It won’t be easy for the actors who will embody and carry their weight. And as I finish this up, there’s another Story, another set of powerful characters waiting for my attention, again, a Story that will be tough to carry.
Tough emotions are part of the fabric of stories that resonate deeply with the human spirit. They have the ability to touch places in us that we prefer not to go – unless a Story takes us there. As artists, we accept that the challenging emotions of our characters are part of our work.
Our experiences of characters are real
When it’s time to say goodbye, our logical minds argue that characters aren’t “real” so we minimize our departure. But our experiences of characters are real. And these experiences are what linger in us when the work is done. When you embody a character you think, see and feel that character’s emotions, you carry the weight of their pain, their struggles, their crimes, their pasts, their decisions. You get to know them better than anyone else knows them and they learn to trust you.
That last day can be very tough.
You may feel a sense of loss head on, but you may also go through grief, anger, depression, sadness and a sense of being emotionally overwhelmed and drained. You may feel adrift, unable to focus, sense a rush of exhaustion flood through you. Deflation is common.
All of this can hit you at once, or it can seep into the days and weeks following the last day. You may start to wonder what’s going on and stress over having to be ready and emotionally available for the next character and story that’s waiting for you.
So how do we say goodbye?
How do we close these emotional ties that have lived, breathed, felt, feared, loved, hated, risked, killed, received wounds, forgived, triumphed, in us and through us for weeks or months on end?
- Recognize that you need to create closure. You do this by being aware of what it means to end the relationship with the character.
- Accept that you are going to feel a sense of loss. Allow yourself the emotions of missing a character, of not being part of their fabric 24/7 anymore.
- Find some time to be alone to formally say goodbye to your characters. Thank them for what they have blessed and burdened you with, for the experiences they have opened your life up to, for their trust in your artistic ability to embody and share their story with the world.
- Separate out the emotions that belong to them from the emotions that are truly your own. You’ve been in their head and heart for intense periods of time, it can be hard to decipher what actually belongs to you. But it’s essential to make the distinction.
- Let go of their journey. They have to live now without you. They have to go on being present in the world without your daily presence. Trust that you have given them everything they need to thrive.
- Rest. You may not have much time between projects, but you are spiritually exhausted. You need time to re-center, to ground yourself again in your own being. You need time to let go of the motions of work. Physical activities – even mundane household chores- can be therapeutic – as they bring you out of the creative emotive state and sink you back into earthy presence.
- Celebrate what you’ve achieved.It is something major in any artist’s life to bring a project to a full close. No matter what level of success you’ve had in the past, each project takes all of you and creates new spaces within your spirit for what will come in the future. Having completed a project is an end and a beginning and you need to honor your spirit for that. Don’t just toss it off as “what you do.” Take a moment and feel a sense of achievement, accomplishment. You have done this. You are living a creative life. This is why you’re here.
In our work, we delve into tough, tough emotions of characters and live and experience pain that often would never be ours in our private lives. We do this as part of sharing Story, of furthering our human existence through Story. And because it’s part of what we do in our everyday work, we may not take what that pain can do to us seriously enough. We need to be conscious of the boundaries, of what belongs to us emotionally and what doesn’t. We are not our characters, they are not us. Yet, we will always be part of our characters and they will forever be part of us. Part of the magic and wonder of this amazing creative work is that we allow them to change us, we make ourselves vulnerable to them and in return, they give us the stories that become the fabric of our creative lives.
Close your projects with a sense of wonder and thankfulness. Bless your characters as you say goodbye.
Because no matter what happens when the work is done, they’ve blessed you.
*Restoration: When former Iraq P.O.W. and seasoned special operative Kyle Sandberg faces being institutionalized because he refuses to speak, war-weary psychologist Alicia Meier takes him home to her family’s abandoned farm in North Dakota’s booming oil fields—only to discover that her house has been condemned and will be destroyed, unless she can repair it in time. Battling insurmountable odds, threats from anti-fracking environmentalists and a neighbor desperate to see her off her land, Alicia, her Iraq war vet brother Daniel, and Kyle fight to rebuild the house and their lives, while grappling with the ultimate question: how do you know what’s worth saving?