Как быть креативным:

14. Dying young is overrated.

18. Avoid the Watercooler Gang.

20. The choice of media is irrelevant.

21. Selling out is harder than it looks.

23. Worrying about "Commercial vs. Artistic" is a complete waste of time.

29. Whatever choice you make, The Devil gets his due eventually.

30. The hardest part of being creative is getting used to it.

32. Allow your work to age with you.

34. Beware of turning hobbies into jobs.

35. Savor obscurity while it lasts.

36. Start blogging.

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The more original your idea is, the less good advice other people will be able to give you. When I first started with the cartoon-on-back-of-bizcard format, people thought I was nuts. Why wasn't I trying to do something more easy for markets to digest i.e. cutey-pie greeting cards or whatever?

You don't know if your idea is any good the moment it's created. Neither does anyone else. The most you can hope for is a strong gut feeling that it is. And trusting your feelings is not as easy as the optimists say it is. There's a reason why feelings scare us.

And asking close friends never works quite as well as you hope, either. It's not that they deliberately want to be unhelpful. It's just they don't know your world one millionth as well as you know your world, no matter how hard they try, no matter how hard you try to explain.

Plus a big idea will change you. Your friends may love you, but they don't want you to change. If you change, then their dynamic with you also changes. They like things the way they are, that's how they love you- the way you are, not the way you may become.

Ergo, they have no incentive to see you change. And they will be resistant to anything that catalyzes it. That's human nature. And you would do the same, if the shoe was on the other foot.

With business colleagues it's even worse. They're used to dealing with you in a certain way. They're used to having a certain level of control over the relationship. And they want whatever makes them more prosperous. Sure, they might prefer it if you prosper as well, but that's not their top priority.

If your idea is so good that it changes your dynamic enough to where you need them less, or God forbid, THE MARKET needs them less, then they're going to resist your idea every chance they can.

Again, that's human nature.

GOOD IDEAS ALTER THE POWER BALANCE IN RELATIONSHIPS, THAT IS WHY GOOD IDEAS ARE ALWAYS INITIALLY RESISTED.

Good ideas come with a heavy burden. Which is why so few people have them. So few people can handle it.

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2. The idea doesn't have to be big. It just has to be yours.

The sovereignty you have over your work will inspire far more people than the actual content ever will.

We all spend a lot of time being impressed by folk we've never met. Somebody featured in the media who's got a big company, a big product, a big movie, a big bestseller. Whatever.

And we spend even more time trying unsuccessfully to keep up with them. Trying to start up our own companies, our own products, our own film projects, books and whatnot.

I'm as guilty as anyone. I tried lots of different things over the years, trying desperately to pry my career out of the jaws of mediocrity. Some to do with business, some to do with art etc.

One evening, after one false start too many, I just gave up. Sitting at a bar, feeling a bit burned out by work and life in general, I just started drawing on the back of business cards for no reason. I didn't really need a reason. I just did it because it was there, because it amused me in a kind of random, arbitrary way.

Of course it was stupid. Of course it was uncommercial. Of course it wasn't going to go anywhere. Of course it was a complete and utter waste of time. But in retrospect, it was this built-in futility that gave it its edge. Because it was the exact opposite of all the "Big Plans" my peers and I were used to making. It was so liberating not to have to be thinking about all that, for a change.

It was so liberating to be doing something that didn't have to impress anybody, for a change.

It was so liberating to be doing something that didn't have to have some sort of commercial angle, for a change.

It was so liberating to have something that belonged just to me and no one else, for a change.

It was so liberating to feel complete sovereignty, for a change. To feel complete freedom, for a change.

And of course, it was then, and only then, that the outside world started paying attention.

The sovereignty you have over your work will inspire far more people than the actual content ever will. How your own sovereignty inspires other people to find their own sovereignty, their own sense of freedom and possibility, will give the work far more power than the work's objective merits ever will.

Your idea doesn't have to be big. It just has to be yours alone. The more the idea is yours alone, the more freedom you have to do something really amazing.

The more amazing, the more people will click with your idea. The more people click with your idea, the more this little thing of yours will snowball into a big thing.

That's what doodling on business cards taught me.

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3. Put the hours in.

Doing anything worthwhile takes forever. 90% of what separates successful people and failed people is time, effort, and stamina.

I get asked a lot, "Your business card format is very simple. Aren't you worried about somebody ripping it off?"

Standard Answer: Only if they can draw more of them than me, better than me.

What gives the work its edge is the simple fact that I've spent years drawing them. I've drawn thousands. Tens of thousands of man hours.

So if somebody wants to rip my idea off, go ahead. If somebody wants to overtake me in the business card doodle wars, go ahead. You've got many long years in front of you. And unlike me, you won't be doing it for the joy of it. You'll be doing it for some self-loathing, ill-informed, lame-ass mercenary reason. So the years will be even longer and far, far more painful. Lucky you.

If somebody in your industry is more successful than you, it's probably because he works harder at it than you do. Sure, maybe he's more inherently talented, more adept at networking etc, but I don't consider that an excuse. Over time, that advantage counts for less and less. Which is why the world is full of highly talented, network-savvy, failed mediocrities.

So yeah, success means you've got a long road ahead of you, regardless. How do you best manage it?

Well, as I've written elsewhere, don't quit your day job. I didn't. I work every day at the office, same as any other regular schmoe. I have a long commute on the train, ergo that's when I do most of my drawing. When I was younger I drew mostly while sitting at a bar, but that got old.

The point is; an hour or two on the train is very managable for me. The fact I have a job means I don't feel pressured to do something market-friendly. Instead, I get to do whatever the hell I want. I get to do it for my own satisfaction. And I think that makes the work more powerful in the long run. It also makes it easier to carry on with it in a calm fashion, day-in-day out, and not go crazy in insane creative bursts brought on by money worries.

The day job, which I really like, gives me something productive and interesting to do among fellow adults. It gets me out of the house in the day time. If I were a professional cartoonist I'd just be chained to a drawing table at home all day, scribbling out a living in silence, interrupted only by freqent trips to the coffee shop. No, thank you.

Simply put, my method allows me to pace myself over the long haul, which is important.

Stamina is utterly important. And stamina is only possible if it's managed well. People think all they need to do is endure one crazy, intense, job-free creative burst and their dreams will come true. They are wrong, they are stupidly wrong.

Being good at anything is like figure skating- the definition of being good at it is being able to make it look easy. But it never is easy. Ever. That's what the stupidly wrong people coveniently forget.

If I was just starting out writing, say, a novel or a screenplay, or maybe starting up a new software company, I wouldn't try to quit my job in order to make this big, dramatic heroic-quest thing about it.

I would do something far simpler: I would find that extra hour or two in the day that belongs to nobody else but me, and I would make it productive. Put the hours in, do it for long enough and magical, life-transforming things happen eventually. Sure, that means less time watching TV, internet surfing, going out or whatever.

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4. If your biz plan depends on you suddenly being "discovered" by some big shot, your plan will probably fail.

Nobody suddenly discovers anything. Things are made slowly and in pain.

I was offered a quite substantial publishing deal a year or two ago. Turned it down. The company sent me a contract. I looked it over. Hmmmm...

Called the company back. Asked for some clarifications on some points in the contract. Never heard back from them. The deal died.

They just assumed I must be just like all the other people they represent- hungry and desperate and willing to sign anything.

They wanted to own me, regardless of how good a job they did.

That's the thing about some big publishers. They want 110% from you, but they don't offer to do likewise in return. To them, the artist is just one more noodle in a big bowl of pasta.

Their business model is to basically throw the pasta against the wall, and see which one sticks. The ones that fall to the floor are just forgotten.

Publishers are just middlemen. That's all. If artists could remember that more often, they'd save themselves a lot of aggrevation.

Anyway, yeah, I can see gapingvoid being a 'product' one day. Books, T-shirts and whatnot. I think it could make a lot of money, if handled correctly. But I'm not afraid to walk away if I think the person offering it is full of hot air. I've already got my groove etc. Not to mention another career that's doing quite well, thank you.

I think "gapingvoid as product line" idea is pretty inevitable, down the road. Watch this space.

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