WEBVTT - Find time to be creative

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<v Speaker 1>Welcome to Before Breakfast, a production of I Heart Radio.

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<v Speaker 1>Good Morning. This is Laura. Welcome to the Before Breakfast podcast.

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<v Speaker 1>Today's tip is about how to be creative when you

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<v Speaker 1>already spend your work hours doing something semi creative. Having

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<v Speaker 1>a regular nine to five job where you write or

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<v Speaker 1>design or do something with music could sound like a dream,

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<v Speaker 1>but there's a reason some artists prefer straightforward day jobs.

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<v Speaker 1>And that was the question from a listener who recently

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<v Speaker 1>wrote in. She says that I work exactly full time,

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<v Speaker 1>forty hours though fifty when you build in the commute,

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<v Speaker 1>and I've been writing a novel for twenty eight years.

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<v Speaker 1>I want to write every day. But since I work

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<v Speaker 1>full time writing and then come home and feed and

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<v Speaker 1>walk the dog, work out, and get some kind of

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<v Speaker 1>dinner on the table, It's seven pm and I have

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<v Speaker 1>three hours before I need to go to bed to

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<v Speaker 1>get enough sleep, and I've got nothing left. I am

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<v Speaker 1>so tired, she says. Is it possible to get personal

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<v Speaker 1>writing into or am I being unrealistic. I've tried lunch breaks,

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<v Speaker 1>but they're just not long enough. When it ends and

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<v Speaker 1>I've just started rolling, I get upset. On the weekends.

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<v Speaker 1>I routinely work on my novel from seven am until noon,

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<v Speaker 1>or often all day, so it does get done, but

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<v Speaker 1>I'd like to do it daily. Sometimes I just think

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<v Speaker 1>about my novel as I fall asleep, kind of like brainstorming.

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<v Speaker 1>But is that really the best I can do? I

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<v Speaker 1>agreed that it's hard to write all day and then

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<v Speaker 1>write more at night. Writing is my day job, too,

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<v Speaker 1>and though I've written two novels, any rational analysis of

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<v Speaker 1>my time finds that I could have produced a lot

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<v Speaker 1>more creative output over the last decade or so than that.

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<v Speaker 1>I often take long spells between working on purely creative

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<v Speaker 1>stuff that I don't see an immediate economic opportunity for.

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<v Speaker 1>It's human nature to treat stuff that pays the bills

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<v Speaker 1>as important, and speculative stuff as well, stuff that can

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<v Speaker 1>be dropped when we're tired the TV is calling. But

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<v Speaker 1>I do think it's possible to do paid creative work

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<v Speaker 1>and then speculative creative work too. The first step if

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<v Speaker 1>our listener truly wants to work on her novel daily

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<v Speaker 1>is to lower her expectations. I'm a little concerned that

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<v Speaker 1>she dismisses writing on her lunch breaks because there's breaks

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<v Speaker 1>just aren't long enough. If her idea of the right

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<v Speaker 1>writing time is five hours, like the seven am two

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<v Speaker 1>noon stretch she gets on weekends, that's gonna be hard

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<v Speaker 1>to replicate daily. Instead, a good daily requirement might be

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<v Speaker 1>to write just one hundred words or edit for just

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<v Speaker 1>ten minutes. That's it. Those steps are so small that

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<v Speaker 1>they should inspire no resistance. It's pretty hard to look

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<v Speaker 1>at the three hours before bed from seven to ten

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<v Speaker 1>pm and say there's no way I can make myself

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<v Speaker 1>work on my novel for ten minutes. But that small

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<v Speaker 1>requirement will have her interacting with her creative work daily.

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<v Speaker 1>She will make some progress, and some progress is better

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<v Speaker 1>than nothing. Some progress also has this benefit. She will

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<v Speaker 1>change the story she tells herself. She is now the

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<v Speaker 1>sort of person who does make time for creative writing.

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<v Speaker 1>I think the small daily requirement will also ease up

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<v Speaker 1>on some of the guilt. Our listener is beating herself

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<v Speaker 1>up that she's not doing more creative writing. But it

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<v Speaker 1>turns out is the rare person who becomes more creative

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<v Speaker 1>in response to scolding. When she sets her expectations low

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<v Speaker 1>and then meets them, she can celebrate. She can reward

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<v Speaker 1>herself by doing whatever she wants guilt free. That could

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<v Speaker 1>be watching TV or surfing the web all night if

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<v Speaker 1>she wants. But my guess is that there will be

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<v Speaker 1>a reasonable number of nights when she'll feel like doing

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<v Speaker 1>an extra ten minutes, and then she'll make even more progress. Finally,

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<v Speaker 1>many people benefit from accountability. For both my novels, I

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<v Speaker 1>had some system in place for my book called The

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<v Speaker 1>Courtland Boys. I checked in with an accountability partner every

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<v Speaker 1>Friday for Juliette School of Possibilities. Well, the publisher who

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<v Speaker 1>had published all my nonfiction books had expressed a strong

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<v Speaker 1>interest in the outline, meaning a book contract was potentially

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<v Speaker 1>in sight. I saw a compelling reason to finish. If

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<v Speaker 1>our listener has been trying to write this novel for

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<v Speaker 1>twenty eight years, she might likewise benefit from some external accountability.

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<v Speaker 1>The most straightforward way to get a deadline and accountability

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<v Speaker 1>would be to sign up for a fiction writing class

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<v Speaker 1>at a local university. Ideally, this would be an evening class,

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<v Speaker 1>perhaps once a week, where she'd have to turn in

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<v Speaker 1>chapters and get them critiqued by her instructor and fellow students.

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<v Speaker 1>This would give her something constructive to do during one

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<v Speaker 1>of those evenings when low energy tempts her to the TV.

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<v Speaker 1>It would also provide quite a nudge to keep the

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<v Speaker 1>project moving forward. In our listeners case, I really think

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<v Speaker 1>it needs to be an in person class. I've taken

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<v Speaker 1>online writing classes in the past and they're great. I

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<v Speaker 1>found them very helpful, but I've also noticed that a

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<v Speaker 1>ton of people drop out. Often more than half the

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<v Speaker 1>class stops before the end. If our listener has been

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<v Speaker 1>struggling with getting this project going, I wouldn't want this

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<v Speaker 1>to happen to her. If you've made progress on a

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<v Speaker 1>big creative project while doing something similar for your day job,

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<v Speaker 1>I'd love to hear about it. How did you make

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<v Speaker 1>it happen? What are your tips for our listener? As always,

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<v Speaker 1>you can email me at Before Breakfast podcast at iHeart

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<v Speaker 1>media dot com. You can also email me questions about

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<v Speaker 1>your schedule or your time management dilemmas. Just let me

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<v Speaker 1>know if it would be okay to use the question

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<v Speaker 1>and a future show in the meantime. This is Laura.

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<v Speaker 1>Thanks for listening, and here's to making the most of

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<v Speaker 1>our time. Hey, everybody, I'd love to hear from you.

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<v Speaker 1>You can send me your tips, your questions or anything else.

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<v Speaker 1>Just connect with me on Twitter, fay Book, and Instagram

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<v Speaker 1>at Before Breakfast pod. That's B the number four, then

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<v Speaker 1>Breakfast p o D. You can also shoot me an

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<v Speaker 1>email at Before Breakfast podcast at i heeart media dot

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<v Speaker 1>com that Before Breakfast is spelled out with all the letters.

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<v Speaker 1>Thanks so much, I look forward to staying in touch.

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<v Speaker 1>Before Breakfast is a production of I heart Radio. For

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