Guest Emma Liggins

Our guest today is Emma Liggins, who is an intuitive business coach and is going to discuss the impact of energy vampires on creativity. Thank you Emma!

Almost everyone has had a time in their life when they are working on a project and get stuck inside their own head and depending on the deadline or lack there of this can last for hours through to years. This is quite an easy thing to break free from but the problem is you are stuck inside your head and so it becomes overwhelming and impossible to identify the solution through the internal noise that’s going on.

I personally like to define a problem in order to be able to find or create a solution. Defining this problem is likely going to start with something you may never considered before, you see we call this one an energy vampire. 

An Energy vampire is a common term and is generally defined as a person, animal or object that drains energy from its prey. Think friend who is always complaining, narcissistic ex or sitting in Centrelink. We tend to only think of energy vampires as external but they can also be internal.

This is what we are going to talk about today.

The internal energy vampire that is the inner critic!

Now an inner critic can be a good thing and at times you may have found it really helpful, when it assists you with that final tweak or reins in your massive idea to something much more manageable at a certain point in your life. But unfortunately sometimes it is given free rein and it becomes overwhelming and all consuming.

Several years ago I had a client who was an aspiring writer. My client was an exceptional writer and a very talented individual but he was struggling to get words down onto paper. He would spend the day writing and get two and a half pages and then he would come back the next day and cull it back to one. This would have likely still worked ok if he could achieve the two and a half pages regularly. However there would be long periods of time where he would struggle putting down a sentence and then labouring over that until he was satisfied and then he’d move to the next and so on until he had a paragraph. Then he would go over that again removing what he considered not good enough until he was left again with only a sentence or perhaps even no sentence at all only a blank page staring back at him.

This was an inner critic that new no bounds and had effectively taken over my client’s whole creative process and pretty much annihilated it.

So we decided to evict the inner critic!

We used a visualisation technique to walk the critic to the door and politely, or not depending on your mood, ask them to stay outside for a period of time.

Next we created a new behavioural pattern.

Once outside a timer was set for two minutes and the client tasked with writing non-stop during that time. The topic could be anything and in the beginning the client wrote about their pen and then later their desk. And when they could not think what to write, in order to keep writing they wrote ‘I do not know what to write’ over and over.

After doing this exercise for some time the client was then able to apply this behavioural pattern to their writing. First evicting the critic, then setting the timer and finally writing. What they found was once they had started to write for their project it flowed. Even when the timer went off they were able to continue writing and time passed quickly while words filled the page.

By evicting the inner critic for an agreed period of time you can create a new pattern for yourself which can then be applied to your creative work.

Bio
Emma Liggins is a qualified Intuitive Business Coach with a Master of Adult Education, Certificate of Intuitive Wellness Coaching and is completing her last two subjects for a Graduate Diploma of Psychology.
 
Over the last 20 years, Emma has worked in a range of different settings including medical education (both primary and tertiary care), oil and gas (WHS), migrant resettlement and hospitality. Emma has also built two businesses from the ground up, one a massive failure and the other a national/international success. Combining her professional experience with her extensive travel, property development and living in urban and rural Australia and overseas, Emma has significant life experience to guide her clients towards achieving their personal and professional goals.
 
Emma is passionate about Occupational Wellness, supporting and guiding employees, startups and existing business owners to combat limiting beliefs and impostor syndrome through identifying personal genius and recognising challenges as great learning opportunities. Wherever you may be feeling stuck, Emma is able to uncover the endless possibilities available to you and support you in implementing practical achievable actions.

Writer’s Journey with Vicky Adin

Today I have historical author and genealogist, Vicky Adin sharing her creative journey as a writer. Thank you for sharing your love of history and writing Vicky.

What, where, why?

Two separate incidents started me thinking this week. The first was a post by Nora Roberts on “Here’s how I work”.after she became embroiled in an appalling plagiarism mess involving 85 books and 36 authors. That alone is bad enough, but the fallout generated questions surrounding her methods, output and honesty. Nora took to the web to explain herself. I find it sad she feels she has to justify herself at all, but I was extremely interested in her methodology.

Now, in no way do I wish to compare myself with Nora Roberts, but I was pleased to read she, too, spends time ‘staring into space’ and ‘looking stuff up’. I wonder if that is a common trait among authors? I write historical fiction and I ‘stare’ and ‘look things up’ all the time, and while she didn’t use the word pantser, she starts at the beginning and keeps going until she reaches the end, which is also what I do.

In contrast, I tend to re-read what I wrote yesterday, fiddle with it a little bit if something jumps out that says ‘fix me’ and then I carry on. I let the story unfold in my head as I write or sometimes the characters have to have their say about the directions I’m taking. When I’m writing (and I don’t produce more than one book in a year) then I write every day solidly. While the book is away being edited, I work on the marketing and promotion. No-one, it seems, can sell books without a profile and it takes work to keep up that profile and books before the readers’ eyes. Once the editing stage is complete and the book released, then it’s back to writing again. There’s always a new story to delve into.

Which leads me to the other aspect of my writing I often get asked about. Where do I get my ideas? For me, that is easy. I’m a genealogist. I love digging into the past, searching through records, and reading old newspapers online. From that, an enormous number of ideas pop up. Tiny snippets of information will lead to a whole story line. A job – lacemaker, sugar boiler, costume maker, journalist, soldier – can often become the starting point. Other times, it’s the location: Ireland, Wales, Cornwall, but I always end up in New Zealand. On one occasion I found an article about the discovery of a long, lost painting by a Cornish artist hidden behind another painting. The research into the art world of the time was fascinating, and when I discovered links to New Zealand, the story fell into place.

My wonderful husband recognises when I’m in the zone and doesn’t disturb me other than to bring me coffee or wine (depending on the time of day) until I’m back in his world again. Often when we are driving anywhere, silence descends as my mind drifts off into whatever world or era I’m writing about at that time. I do an enormous amount of research to ensure the facts are correct and then wrap the stories of everyday life around the events of the time.

I love history, I love people and I love writing. I love my job. It’s a perfect combination.

Vicky

A fan of historical novels since her teenage years, Vicky Adin writes New Zealand based stories about the tribulations and successes of the people creating history as it happened. As a genealogist, she uncovers some amazing stories of fortitude and endurance and of love and hope. She combines her love of research and writing to weave together family sagas in a way that brings the past to life. Her books vary in format from dual-timeline. She waits for the characters to tell her how the story will unfold. Married to her greatest supporter and best friend for nearly five decades, Vicky has two children and four grandchildren. She holds a MA(Hons) in English and Education and enjoys travelling – especially caravanning and cruising; the opposite of experiences. Her writing has been compared to Catherine Cookson’s stories. Check out her website, books on Amazon, Goodreads, Kobo, facebook, and Instagram.

 

 

 

Creative Journey with Louise

Today I have a special guest, Louise Lyndon sharing her incredibly creative journey, from nail decorating, to writing, to making journals (which are stunning!), and how that has nurtured her. She’s one very talented lady. Thank you for sharing your journey Louise.

I’ve always been creative. In fact, in my family, for as long as I can remember, I’ve been known as the ‘creative one’. And I wore that title proudly. After all, I love using my imagination. I love to create – be it characters in a story I’m writing, nails I’m painting, or journals I’m making. I didn’t think much of that title because being a creative is who I am. It’s in my blood. Louise's notebook.jpg

However, I never realised, until recently (perhaps in the last five or so years) that being creative, at least for me, is so much more than producing an end product. It’s been a lifeline. It has saved me on so many different levels. You see, I have bipolar type 2 disorder. My illness is characterised mainly by depressive moods. While I am on medication (which helps) I also must help myself. I need to find ways to ‘get out of my head’ and break the cycle of negative self-talk that often fills my head. I’ve tried everything – yoga, meditation, keeping a positive list. The only thing that seems to work is sitting down and occupying my hands (and mind) by creating something. It allows me some breathing space, some downtime. And not only does it quiet the talk in my head while I’m doing a project it remains quiet often for days, sometimes months.

Handmade journal.jpgA little while ago I asked my mum could she remember when she started to see the ‘creative’ in me (aside from the usual finger painting toddlers do!). She nodded and said, ‘Just after your father died.’ I was four. So perhaps, without ever realising it, I’ve always used creativity to get me through some of my darkest moments.

Louise grew up in country Victoria, Australia, before moving to England, where for sixteen years she soaked up the vibrancy of London and the medieval history of England. She has since returned to Australia and now lives in Melbourne. In 2013, Louise won first prize in the Crested Butte Sandy Writing contest – Historical category for her story, The Promise, which is now called, Of Love and Vengeance. When not writing, she can be found either covered in mud, crawling under barbed wire and hoisting herself over twelve foot walls, or up to her elbows in vintage paper, glue, and ribbon handcrafting journals. Check out her books and handmade journals.

Fox it is!

A while back I asked on my Cultivating Creativity FB page for people to say what I should paint next. A giraffe, a tiger or a fox. It was simply a fun exercise for me and a way for me to extend myself by painting out of my comfort zone. The fox was my least favourite choice to paint, it’s just not an animal I connect with. But I thought perhaps I could give it a go. I thought painting the giraffe could be fun, and the tiger something a little challenging.

Everyone who commented suggested the fox. So, I painted the fox. Twice.

The first attempt I wasn’t at all happy with. I’d grabbed the wrong colour, though crazy colours do work with this technique, I just don’t feel it came together in this instance. I couldn’t get the nose right. It was a warm day and the paint was drying quickly making it tricky to do adjustments. At the end of the session, I just felt that I could do ‘better’ but not that day. about to start

The image I used for inspiration was in colour. I remembered that it should be in black and white in order to see clearly the low, mid and high tones. I copied my print of the fox into black and white. Got together my three favourite colours I like to paint with and I attempted to paint the fox again.

first attempt

I also decided not to try and rush, and gave myself permission to take as long as I needed. This time, it took my half the time to paint the fox. Giving myself as much time as I needed took the pressure off, and helped. Having the image in black and white also made a big difference to see the different tones better. And I’d painted the fox before, so I had some experience to draw on.

This is the first time I’ve gone back and painted the same subject again because I wanted to ‘improve’ the outcome, and my skill set. Because of these benefits I’m even tempted to try to paint the fox for a third time. For now, I’ve got lots of other subjects to paint, so a third re-visit isn’t in the near future, but might happen one time. What I can do, is apply what I’ve learnt here not just to other animal paintings in this style (I’m sure I’ll do the giraffe and tiger at some stage). second attempt

second attempt finished

The painting of the fox serviced a bigger purpose, of also making me more aware of my process, so it has been a good exercise to do. And despite good intentions, creative projects don’t always work out well the first time, and that it all part of the process.

Now, onto the next project! (which is to re-paint a rose!)

foxes painted

A Project Finished~almost!

Doing up this old kitchen cabinet has been a creative project of persistence.

start-of-sanding.jpg

It’s taken three years to get to the point where the cabinet doors are now attached to the old-style kitchen cabinet which I had sanded and painted.

This has been a creative project of persistence. I bought the cabinet over four years ago, ended up moving, then I decided to get started. I bought an electric sander. Paint. Brushes. Wall paper. Sourced hinges, latches, and handles. It took over four weeks to sand it back, and remove the old paint over my summer break. Then painted it, not in enamel paint deliberately. This paint will flake off over time and that’s the look I want.

starting-to-paint.jpg

 

I planned. I took my time. I sourced hinges, and handles. I did this during summer, so some days it was just too hot to work in my garage. My dogs were by my side, laying on the floor (looking rather bored!) while I worked. It was a long-term project. But it wasn’t meant to have gone on for this long.

Kimba helping.jpg

For one reason or another, the step of attaching the doors and handles was being more of a hurdle than I had expected. I had a few false starts, where I tried to organise people to help. Life got in the way. It looked like I wasn’t doing anything about it, but I wanted to, and had tried, but there were other things were needed my attention, and were a priority. I was almost thinking that I might never get this step done. And this would be one of the many craft projects that I haven’t quiet finished.

painting-done.jpg

Finally, I cornered someone to help who delivered. I’m super excited that the doors are attached, and the handles are too. This kitchen cabinet is one step closer to being refurbished in my own unique design. This is the first time I’ve done a project so big – and the last. It’s been fun, but my attention needs to go elsewhere. There’s a limit to how many different crafts I can have on the go!

doors attached and handles

 

First, this projects still needs to be technically finished. The last step is to attach some chicken wire to the side – it’s cut out, and has been for the last three years, I just have to work out how best to attach it! Now, I can focus on this more easily now that the doors are on and so are the handles! Once the wire is secured then it will be finally finished. At least I can still use it in the meantime. And now when I walk past, I feel that little bit more content that it’s closer to being finished. And it’s been worth it.

 

Share a time below when you have taken a long time to finish a project ~ or almost finished a project, and while it might not look like it, you are planning on it, it’s just taking longer than expected.

Ideas Popping

This happens all the time with my writing. Up until about now, not so much with my paintings. I go to classes, do what the task is and that’s it. Until now.

Finally, I’ve got ideas popping like popcorn in my head!

And it’s exciting.

Not only am I learning new techniques, I want to go home and try them on a blank canvas. To add my style to them, to experiment and see what art I can produce. I’ve got one blank canvas ready to go, and I now own an easel, and I have new colours to paint with.

I’m not sure what’s happened. Maybe a certain heat level, has been reached and now the ideas are popping into life in my head? Or I have done (finally) enough basic experience so I can begin to use what I’ve learnt with more confidence A bit of both maybe?

To actually be conscious that this is going on is something, which further inspires me. I can map out my journey because of this; of how I’ve improved and persevered and now I am expanding on my journey of creative painting.

I’ve not managed to find this point when on my writing journey, so I like being able to mark this difference in these creative endeavours. It helps me to be more self-aware of the process, so that I can ensure that I repeat these positives when creating in the future.

Welcome 2019!

Happy New Year!

May 2019 shine bright for you.

To welcome in the New Year, I’ve made my own little decoration. The other week I did some marbling with my niece and so decided to use that as a background for 2019. A little bit of fun! Let the adventure begin…

This year, I’ve come up with my usual word to guide me through the year. The word for 2019 is Adventure. I’m sure there are many adventures ahead for me this year, which I hope to embrace with confidence, curiosity and an open mind.

I’m excited with the adventures that have already begun, and those that are continuing in to the New Year. Who knows what unexpected ones will start, and I look forward to them. I’m putting on my adventurer’s hat, and heading off into the unknown of the new year of 2019!

Lilliana

Freestyle

When painting to date I’ve had an image to use as a guide. This time, when painting a seascape, while I did have an image to work with, the muse led me and I went freestyle. I think this is what I like to do the most when creating, ‘fly by the seat of my pants,’ or ‘go with the flow’. It’s risky, as maybe the painting produced won’t be any good. Or maybe it will. Reward comes with a little risk.

This is the first time I’ve managed to do that with my painting.

Because I can’t track this process visually with my writing, I find it fascinating to look at the image I was working on and compare it to the final painting.

I don’t think I could’ve planed this if I tried.

And I have no idea where the inspiration came from. Perhaps my muse was guiding me. Or my intuition. Or because I was relaxed and having fun, I just went with the creative flow, and suspended all of my expectations of having a finished piece of a certain standard. Maybe all of the above.

Anyway, below the image that I worked from. And a photo of the final painting. Very different.

This is the magic of creating.

Cp1Kn+r0TXCLQSfpltnzWw      NVjRY9YWRom00OJYtfCPVg

Signature

I’ve taken the step and have signed my painting. Seascape is the first painting I’ve signed! (I’m disregarding the paintings done at school)

It’s long overdue, I have finally signed my most recent painting. It is a big deal. For one, I never felt a painting was feeling finished enough to sign. And two, how was I going to sign my name?

Isn’t it interesting what I was hung up on? What did it matter how I signed my name? As long as I signed it. I thought about writing my initials, or my full name, or a shortened version of my name. Then I realised it didn’t matter.

What mattered was that I took the step to sign my artwork. Because in doing so, I was saying to the world, but more importantly to myself, that I am happy, proud, and content with what I’ve created. And I am just that with this seascape. My signature might change with time, but of course that won’t matter. It’s all part of my development as an artist.

Driven to finally take the step of signing my name on my painting I realised I didn’t know what brush to use. Or what colour. These details do sort of matter. I asked my teacher. The colour didn’t have to be black, but a colour used in the painting. So I used a blue tone. I borrowed the teachers brush. I didn’t have a brush that was thin enough. Then I jumped in. I didn’t practise. I simply signed my name. And I think that it’s the best part of this painting.

I look forward to signing many more paintings.

 

Tinkering

I’ve painted enough to know to try and be mindful of overworking the image. It can be difficult to know when to stop, and consider if the painting is finished or needs to be left for a while. This also applies to tinkering.

When tinkering too much the painting can be changed in way that wasn’t wanted. A bit different to overworking. Tinkering is the adding another bird in the sky, or flower in the field, or apple on the tree, when the painting may well have not needed these extra additions.

The same can happen when writing, and editing. The life of the story can be altered in a way that was unintended. Not a big deal if the result is liked, but it’s a problem if the new direction ends up in a dead-end, or the wrong way. Then it’s a lot more work to get the manuscript back on track.

But when to stop? This is when it’s helpful to check in with yourself and ask question like; is what I’m doing improving the work?

I didn’t do so much tinkering when doing my last painting of a seascape, but it was something the teacher kept mentioning during the class. Stop tinkering! And I got what he was saying. Maybe that’s why I didn’t tinker so much. It’s another tool I can have ready to use when I’m painting. I can even extend this to editing a manuscript. There becomes a point when words are being changed but not necessarily adding to the story. At this point I need to stop tinkering. Leave the project, and either come back later, or consider that it may be as good as it’s going to be and release it into the world.

Stop tinkering! Is now something I’ll have in mind to help guide me through the painting of my next canvas and other creative projects.

Lilliana