TableofContentsTitlePage

CopyrightPage

Introduction

WeekOne-RecoveringaSenseofSafety

WeekTwo-RecoveringaSenseofIdentity

WeekThree-RecoveringaSenseofPower

WeekFour-RecoveringaSenseofIntegrity

WeekFive-RecoveringaSenseofPossibility

WeekSix-RecoveringaSenseofAbundance

WeekSeven-RecoveringaSenseofConnection

WeekEight-RecoveringaSenseofStrength

WeekNine-RecoveringaSenseofCompassion

WeekTen-RecoveringaSenseofSelf-Protection

WeekEleven-RecoveringaSenseofAutonomy

WeekTwelve-RecoveringaSenseofFaith

CREATIVECLUSTERSGUIDE

ABOUTTHEAUTHOR

ALSOBYJULIACAMERON

NONFICTIONTheArtist’sWay

WalkinginThisWorldTheVeinofGoldTheRighttoWriteTheSoundofPaper

FloorSample:ACreativeMemoirAnsweredPrayers

HeartStepsBlessingsTransitions

PrayersfromaNonbelieverLetterstoaYoungArtist:BuildingaLifeinArt

HowtoAvoidMakingArt(orAnythingElseYouEnjoy)(illustratedbyElizabethCameron)

TheArtist’sWayMorningPagesJournalTheArtist’sDateBook(illustratedbyElizabethCameron)Supplies:ATroubleshootingGuideforCreativeDifficulties

GodIsNoLaughingMatterGodIsDogSpelledBackwards(illustratedbyElizabethCameron)

Inspirations:MeditationsfromTheArtist’sWayTheWriter’sLife:InsightsfromTheRighttoWrite

TheArtist’sWayatWork(withMarkBryanandCatherineAllen)MoneyDrunk,MoneySober(withMarkBryan)

FICTIONPopcorn:HollywoodStories

TheDarkRoom

PLAYSPublicLives

TheAnimalintheTreesFourRoses

LoveintheDMZAvalon(amusical)

TheMediumatLarge(amusical)

POETRYPrayersfortheLittleOnesPrayerstotheNatureSpirits

TheQuietAnimalThisEarth(alsoanalbumwithTimWheater)

FEATUREFILMGod’sWill

(aswriter/director)

JEREMYP.TARCHER/PENGUINPublishedbythePenguinGroup

PenguinGroup(USA)Inc.,375HudsonStreet,NewYork,NewYork10014,USA•PenguinGroup(Canada),90EglintonAvenueEast,Suite700,Toronto,Ontario

M4P2Y3,Canada(adivisionofPearsonPenguinCanadaInc.)•PenguinBooksLtd,80Strand,LondonWC2R0RL,England•PenguinIreland,25StStephen’sGreen,Dublin2,Ireland(adivisionofPenguinBooksLtd)•PenguinGroup(Australia),250CamberwellRoad,Camberwell,Victoria3124,Australia(adivisionofPearsonAustraliaGroupPtyLtd)•PenguinBooksIndiaPvtLtd,11CommunityCentre,

PanchsheelPark,NewDelhi-110017,India•PenguinGroup(NZ),CnrAirborneandRosedaleRoads,Albany,Auckland1310,NewZealand(adivisionofPearsonNew

ZealandLtd)•PenguinBooks(SouthAfrica)(Pty)Ltd,24SturdeeAvenue,Rosebank,Johannesburg2196,SouthAfrica

PenguinBooksLtd,RegisteredOffices:80Strand,LondonWC2R0RL,England

Copyright©1992,2006byJuliaCameron

PortionsofthisbookappearedinslightlydifferentforminTheArtist’sWay(Tarcher).TheArtist’sWayisaregisteredtrademarkofJuliaCameron.

Allrightsreserved.Nopartofthisbookmaybereproduced,scanned,ordistributedinanyprintedorelectronicformwithoutpermission.Pleasedonotparticipateinorencouragepiracyofcopyrighted

materialsinviolationoftheauthor’srights.Purchaseonlyauthorizededitions.

PublishedsimultaneouslyinCanada

MostTarcher/Penguinbooksareavailableatspecialquantitydiscountsforbulkpurchaseforsales

promotions,premiums,fund-raising,andeducationalneeds.Specialbooksorbookexcerptsalsocanbecreatedtofitspecificneeds.Fordetails,writePenguinGroup(USA)Inc.SpecialMarkets,375Hudson

Street,NewYork,NY10014.

eISBN:978-1-440-68403-6

WhiletheauthorhasmadeeveryefforttoprovideaccuratetelephonenumbersandInter-netaddressesatthetimeofpublication,neitherthepublishernortheauthorassumesanyresponsibilityforerrors,orforchangesthatoccurafterpublication.Further,thepublisherdoesnothaveanycontroloveranddoesnot

assumeanyresponsibilityforauthororthird-partywebsitesortheircontent.

http://us.penguingroup.com

INTRODUCTION

THEBOOKYOUHOLDINYOURHANDSistheveryspineoftheArtist’sWayteachings.TheArtist’sWaydidnotbeginasabookatall—itbeganasaseriesofclassnotes.Iwouldgathermygroupintoaclusterandsay,“HereiswhatIsuggestyoutrynow.”Iwellremembermyearlyclasses,taughtinNewYork in a high-ceilinged loft space in SoHo. I remember the mix ofskepticismandeagernessonmystudents’faces—ablendofhopefulnessanddesperation.Iparticularlyrememberapunked-outredheadnamedJanet,whosat,armscrossedanddefiant,daringmetodevisetoolsthatworked.Thetoolsthatworkare the toolsyouwill find in thisbook.Theyare thedistillateoftwenty-five years’ teaching experience. If you work with them, a creativebreakthroughwillfollow.ItisalotlikedoingHathayoga:yousimplystretchyourselfintocertainposturesandexperienceaheightenedenergyflow.Manyofthetoolswillseemdeceptivelysimple.Whatdoesfindingfiveprettyrockshavetodowithanything?Theansweris“Everything.”Thestonesyouselectremindyouofthebeautyofcreation.Carriedforaweekinyourpocket,theyremindyouthatyou,too,areintendedtocreate.

“Julia,”Iamsometimeschided,“yourtoolsremindmeofkindergarten.”I

say, “Yes, they do.Whenwas the last time you had fun learning?” If youundertake the tools in this book, youwill have fun learning. You will onemoretimeawakenthechildlikepartofyouthatcreates—theartistwithin.Itdoesnotmatterwhetheryouareadeclaredartistwithachosenart form,orsimplysomeonewhoyearns foramorecreative life.The toolswillwork ifyou work them. The Artist’s Way is an experiential path. We awaken ourcreativity through using it, not through theory. If you are hungry tounderstandonamore intellectual level the tools in thisworkbook,youmaywishtoreadtheArtist’sWaytextinitsentirety.TheessaysinTheArtist’sWaymatchthetools,butIrepeat,youdonotneedtoknowwhysomethingworksin order to have it work. As a rule, too much thinking is a part of beingblocked.Artistsandintellectualsarenotthesameanimal.Thiscausesagreatdeal of confusion.Our schools educate us intellectually but not artistically.Welearnhowtodeconstructart,notconstructit.

Throughthesimplebuildingblocksthatarethetoolsinthisbook,youwill

learn how to heal old wounds and move toward new horizons. You willexamineanddiscarddamagingmythologyandpainfulpersonal experiencesinthearts.Atoolatatime,youwilllearnhowtoconstructanewandmorepositivelifebuiltongreateroptimismandresiliency.Youwillnotlearntobefearless,butyouwilllearnhowtocreatedespiteyourfears.

Art is a spiritual act. It takes faith tomove onto the page, the stage, the

easel. The pages of this workbook make up what is essentially a spiritualtoolkit.Throughmorningpagesandartist’sdates—eachofwhichisexplainedinthisbook—youwill learnhowtobuildaspiritualradiokit thatamplifiesthevoiceof inspiration.Youwill come in contactwith apowerful spiritualforce,whichsomemaycallGod,andothersmerelytheMuse.Donotallowsemanticstoblockyou.Youdonotneedtobelieveinanythingparticularinorderforthesetoolstowork.AlthoughtheymayseemquiteZen,thetoolsareinfactintenselypractical.Theyworknotonsomeimaginarylifebutontheone you’ve actually got. Simply add these tools to your life as it currentlyexists.Donot look for dramatic—or traumatic—change.The shift youwillexperience will be substantial, but it will come to you in many tinyincrements.

Ourmythology around art is very damaging.Our culture teaches us that

creativityisafrighteningpursuit.Thisisnotthecase.Creativitycanbebothsafe and user-friendly. All of us are creative, and through the use of thesesimpletools,anylifecanbemademorecreative.Itismyhopethatyouwillenjoy the process of working with this book, that you will become larger,stronger,andmorecolorful—thatyourdreamswillmove fromthe realmoffantasy into reality. As you heighten your capacity to listen for creativeguidance, youwill find your path unfolding organically one step at a time.WhenIgoouttoteach,mystudentsoftengreetmewiththesentence,“Yourbookchangedmylife.”Ialwaysrespond,“Thankyou,butyouchangedyourlife.Youdiditthroughtheuseofaspiritualtoolkit.”

Youmightwanttothinkofthisworkbookasanowner’sordriver’smanual

forartists.TogetherwithTheArtist’sWay,orseparately,itprovidesfirmandsteadyguidance for the creative life.These toolshaveunblockedchildren’sbooks and feature films. They have been used by Hollywood actors andmidwestern schoolteachers. Operas have been written, plays have beenpenned, novels have come to life, and one-person shows have sprung into

being.Ifyouhaveacreativedream,orevenavagueyearning,thesetoolswillclarify, prioritize, andenergizeyourundertakings.Weare farmore creativethanweimagine.Wearefar largerandfarmoredaring.It is thepurposeofthis toolkit to help you emerge as an artist. Thismaymean you are in forsomedelightful surprises.Youmightundertake theworkhoping tounblockyour writer, only to discover in passing that you also embody an innerphotographer,sculptor,orpainter.Wearemoregiftedthanweknow,andourgiftslieinmanyunsuspecteddirections.

TheArtist’sWayisajourneyofdiscovery.Youaretheterraincognitathat

youwillbeexploring.Expecttofallinlovewithbothyourselfandtheworldaroundyou.

BasicPrinciples

1.Creativityisthenaturalorderoflife.Lifeisenergy:purecreativeenergy.

2.Thereisanunderlying,in-dwellingcreativeforceinfusingalloflife—includingourselves.

3.Whenweopenourselvestoourcreativity,weopenourselvestothecreator’screativitywithinusandourlives.

4.Weare,ourselves,creations.Andwe,inturn,aremeanttocontinuecreativitybybeingcreativeourselves.

5.CreativityisGod’sgifttous.UsingourcreativityisourgiftbacktoGod.

6.Therefusaltobecreativeisself-willandiscountertoourtruenature.

7.Whenweopenourselvestoexploringourcreativity,weopenourselvestoGod:goodorderlydirection.

8.Asweopenourcreativechanneltothecreator,manygentlethoughpowerfulchangesaretobeexpected.

9.Itissafetoopenourselvesuptogreaterandgreatercreativity.

10.Ourcreativedreamsandyearningscomefromadivine

source.Aswemovetowardourdreams,wemovetowardourdivinity.

TheBasicTools

TOOLONE:MORNINGPAGES

IFTHEREISASINGLEsimpletoolthatisthebedrockofmycreativelife—andanycreative life—that tool ismorningpages. Ihavebeenwriting themfor twenty-five years. I do not begin a daywithout them.What exactly aremorningpages?They sound likework.Why shouldwedo them?They arethree pages of daily longhand stream of consciousness, written first thinguponarising.AnexcellentmeditationpracticeforhyperactiveWesterners,thepages clarify and prioritize our day.Morning pages are not intended to behighart.Theyarenot“real”writing.Theyaresimplythesiphoningoffofthemind’ssurfacesothatwecangettothedeeperthoughtsandimpulsesthatliebeneathourdailyvoice-over.

Whatisthedailyvoice-over?Itisthatpetty,pickyvoicethatbringsusup

shortsooften.Youknowhowitgoes:“Iforgottobuykittylitter.Ididn’tcallmysisterback.Ishouldhavespokenupinthatmeetingyesterday.IneedtogetTide.Thecarhasafunnyknockinit….”Allofushaveavoice-overofthingswe are concernedwith.Morningpages are a catcher’smitt for theseconcerns.Byputtingthemontothepage,weareabletomoveintoourdayswithfresheyes.

Morning pages may be whiny and grumpy. They may feel petty and

negative, although occasionally a shiny new insight may come glitteringthrough. My daily pages might begin, “I am awake and I am tired. I feeldiscouraged. I need to get out for a better walk today… .” Rarely is thereanything upbeat or anything that seems directly connected to creativity.Eugene,apainterfriendofmine,saysthathe isdepressivebytemperamentandthathismorningpageshelphimto“digout”everymorning.Iknowwhathemeans.

Mypagesareoftengrumpy.Iusethemtovent.Ilikehavingaprivateplace

whereIcanbeaspettyasIsometimesfeel.“Ididn’tsleepwelllastnight.Ihadanastydream….”InmypagesItelltheuniversewhatIdon’tlikeandwhatIdo.“ItwasgreattotalkwithMarkyesterday.Ineedtomakealunch

datewith Joel. Iwonder if I can get to the piano today, if only for a littlewhile.”

Morningpagesareawitnesstoourpassageandtheyareacheerleaderfor

ourefforts.“It’sgreatthatIgottotheparkyesterday.Ineededtheexercise.”Occasionally, morning pages are the seedbed for new creative ideas.“Wouldn’titbefuntowriteamusicalaboutMerlin?”(Yes,itwas.)

Morning pages make us known to ourselves. They map our many

contradictory urges. “Iwant tomove back toLosAngeles, but I loveNewYork.”Adayata time,apageata time, thepagesguideus.Theymakeusproactiveonourownbehalf—andalmostwithoutournoticingit.Daily,theypointus towardwhat in12-step jargoniscalled“thenextright thing.”Thatthingisusuallysmallanddoable.Thepagesmoveusintoactiononourownbehalf.

“Julia,” writes Grace, a thirty-something writer, “I was perfectly happy

drunkintheOutback,thenIstarteddoingmorningpagesandnowIamsoberandlivinginLosAngeles!”

Morningpagesmakeusintimatewithourselves,andthis,inturn,allowsus

tobecomemore intimatewithothers.Comfortable inourown skin,we aremorecomfortablenakedtoanother’sscrutiny.Ourmarriagesimprove.Sodoourclosefriendships.Webecomevisiblyhealthier.

“Mytherapisttoldmetostartdoingmorningpages,”Iamoftentold,and

many therapists do urge their patients to try the pages. Often I hear oftherapistswhorunArtist’sWaygroups.Theyhavediscovered thatmuchofwhatwecallneurosisisactuallyblockedcreativity.Astheirpatientsunblock,theygrowhappierandstronger.“Therapy”isworking.

It ismy belief that inwritingmorning pageswe are in effect building a

spiritualradiokit.Witheveryday’swriting,weare“sending”:“ThisiswhatIlike.ThisiswhatIdon’tlike.ThisiswhatIwantmoreof.ThisiswhatIwantless of… .”We do not write into a vacuum.We write into an interactiveuniversethathearsourdailypagesasprayer.Oftenourprayersareanswered

in the form of greater personal clarity.We “suddenly” see where we havebeenstymiedandwhatitisthatwecandoaboutit.Aclear-cutactionloomsbeforeus,onewefindpossibletotake.

Prayers are answered, too, as increased synchronicity.We are more and

moreoftenintherighttimeandplace,“happening”tofindexactlywhatitisthat we have needed. We “wander” into a new art-supply shop and findexactly what we need for our project.We “happen” to spot a notice on alaundry-room bulletin board for the exact course of studies we have beenconsidering. Out of the blue, an old friend calls with news of a jobopportunity.Wegotoareadingandencounteraliteraryagentwhoisopentoconsideringourmanuscript.

Increasingly, the universe seems to be a place of open doors and richer

opportunities.Wearenolongerstuckandstymied,alonewithourdreams.Infact, our dreams tend to take on weight and substance until they are lessdreams than plans. Thismetamorphosis happens almost without our effort.Pages are both gentle and thorough.We are transformed from dreamers todoers.

Morningpagesareaspiritualpracticethatconnectsus,artisttoartist,with

theGreatCreator.Wearecarefullymentoredby thePresenceweencounterthrough the simple process ofmoving our hand across the page.TheGreatCreatortakesinfinitecarewithus.Itsenergyflowstowardusintheformofimpulsesandurges.Wegeta“funnyfeeling”thatweshouldtrysomething.We do try it and it does succeed. “This really works!” we catch ourselvesthinking.Webecomebolderaswestarttotrustourguidance.

“But Julia,”asksMarv,a salesmanand typeApersonality,“do thepages

reallyneedtobewrittenlonghand?That’ssoslow!”Yes,itisslow,andthatisapartofwhatisgoodforus.Byslowingdown,weconnecttoouremotionsand our intuitions.We then tend to act holistically, in ways that reflect anintegratedwhole.

Asasociety,weareaddictedtovelocityandwetendtothinkthatfasteris

better, but it isn’t, always.Whenwewrite by hand, it is the equivalent ofdrivingslowly.Atfifty-fivemph,wenoticeoursurroundings.Weareaware

ofhowwefeel.Wesay,“There’sanExxonstation.Myexit iscomingup.”Whenwewritebycomputer,ourthoughtsandrealizationstendtowhizpastus—justlikedrivingseventy-fivemphandwondering,“OhmyGod!Wasthatmyexit?”

“ButJulia,dothepagesreallyhavetobedoneinthemorning?”isanother

oft-askedquestion.Inmyexperience,thepagesworkfarbetterfirstthinginthemorning,andsothatisthepracticethatIencourage.Afterall,ifyoudothepagesatnight,youarecomplainingaboutadayyouhavealreadyhadandarepowerlesstochange.Howmuchbettertoletthepagesdowhattheydosowell—prioritize,shape,andstreamlineourday.

By doing morning pages as suggested, we actually win for ourselves

windowsoftimethroughouttheday.Thepagestaketime—letussaytwentytoforty-fiveminutes—but theyalsogive timeback tous.Ourdaysbecomeourown. It is difficult towritepages and allowyourself tobehijacked forsomeone else’s agenda. “This doesn’t feel right,” you will catch yourselfthinking.Yourpagesteachyoutohonorsuchinsights.

Morningpagesareatoolformetabolizinglife.Theyworkforusinpainful

and intense passages: a death, a divorce, a career change, a lost friendship.Takingourhandtothepage,wemakeforourselvesahandmadelife.Weraiseissues, and the answers come. Nothing is too large. Nothing is too small.Morningpageswalkedme throughmyfather’s lingeringdeathfromcancer.Morningpageshelpedmetonamemynewpuppy.

“Thismorning I realized I could love again. I could allowmyself to be

vulnerable,”Annie,who iswalking through a difficult divorce, tellsme. “Iwas afraid Iwould always be closed off, but the pages helpedme to openagain.Iamsograteful.”

Most peoplewhoworkwithmorningpages dobecomegrateful for their

presence.VirginiaWoolfadvisedus thatallartists require“a roomofone’sown,” and for many of us the pages become that room, that personal andprivatespotwherewecanbeutterlyandtotallyourselves.AJungiananalysttellsmethatthefirstforty-fiveminutesofthedayarethetimeinwhichwearewithoutournormalegodefenses.Weareclosertotheimpulsesthatcome

tousfromoursubconscious.Wearemorealerttomessagesfromourdreamstate.Sometimesthesemessagesreallyneedtobeheard.“Morningpagestakeadvantageof a uniquewindowof opportunity,” she relays. “They catch theegoinanundefendedstateandsoitspeakstouswithcandor.”

“WheneverIgetintotrouble,Igobacktothepracticeofmorningpages,”

Alan,acorporateconsultant,tellsme.Hearinghim,Iwanttosay,“Whygetintotroubleatall?Whynotusemorningpagesconsistentlyandseeifyoucanavoidgettingintotrouble?”

Morningpagesareanearlywarningsystemthatletsusknowwhendanger

is lurkingnear.Thepages arequick to identify a “funny feeling.”Wehavejust a hunch, an intuition, that something is wrong—and it is. The“something”may be trouble in our relationship or at our job. It may be aburiedresentmentcausingtroublebetweenusandoursibling.Whateveritis,thepageswillpointout theproblemand, ifwe let them,moveus towardasolution.

• “You and your husband need to go on actual dates,” the pages

mightsuggest.“Theromanceisfadingbetweenyou,buttheembersarestillthere.”

•“Yououghttotalkwithyourbossaboutyourideaforrestructuringthedepartment.”

•“Youcouldtakeyourselfbacktograduateschoolandpursueyourinterestincounseling.”

Morning pages leave no corner of our life unexamined.Our dreams, ourhopes,ourdisappointments,ourpains—allof thesearegrist for themill.Adayatatime,apageatatime,anissueatatime,webecomeintimatewithourselves. Our hidden feelings become known to us.We ourselves are theterraincognitathatweareexploring.

“I never knew I had such a passion for color,”Martine, a petite, raven-

haired lawyer, exclaims. Her pages suggested she paint her white-walledapartmentintropicaltones.“WhenIgethomefromworknow,IfeellikeIamintheCaribbean.”

“I hadn’t practiced a hobby in twenty years,” reportsEleanor, a classical

musician. “My pages kept reminding me that I know how to sew and tocrochetandtoneedlepointandknit.OnedayonmylunchhourIstoppedinaneedlepointshop,andsincethatdayIhavemadehalfadozenbeautifulfloralpillows.”

Withmorningpages,wefrequentlyretrievethepartsofourselvesthatwe

havelost.Lucy,akindlyblondkindergartenteacher,hasreturnedtoballroomdancing after a twenty-year hiatus. “I think I had become too muchMaryPoppins.I’dforgottenaboutmypassionateside.”Shelaughs.“Thetangoisaverticalexpressionofahorizontalthought.”

ForVictor, a securities analyst, it is apassion forpoetry. “Ihadn’t really

read any poetry since I got out of college and I had no idea howmuch Imissedit.NowIgoonceaweektohearlocalpoetsreadandIamcatchingupona lotofpoetswhohaveemerged in thepast twentyyears. I’veevenputpentopagemyselfalittlebit.”

Althoughthecontentofmorningpagesseemstohavenothing todowith

art,theyoftenmoveusfirsttomoreartfullivesandthentoartitself.“Ithinkof morning pages as a vacuuming process,” Janet, a therapist, tells me. “Ipokethepagesintoeverycornerofmycurrentlife,andwhenIamdonewiththemmyconsciousnessiscleanandfreshandreadyfornewideas.”

Newideasdocometousthroughmorningpages.Itwasthepagesthatfirst

suggested tome that Iwasmusical,aproposition I foundhighlyunlikely. Iwas,Ithought,thenonmusicalsiblingfromafamilyofmusicians.MusicwassomethingIadmiredbutnothingthatItried—untilthepagesinsistedIshouldtry.“Youwillbewritingradiantsongs,”theyassuredme.Trustingthepages,I tried a first song. Since that song, I havewrittenmanymore—three full-length musicals and two children’s albums. And yet if it weren’t for thenudgingofthepages,Imightneverhavetriedmusicatall.

“Julia,IwasoneveryunhappylawyerwhenIundertookmorningpages,”

Keith,acharismaticBroadwaystar,recentlytoldme.“Thepagesgotmeout

ofmymiserablejobandintomyrealvocation.Icannotthankthemenough.”

Morning pages are not a magic wand, but they may be something very

closetoit.

Marilyn, an overweight writer with a wicked wit, undertook morning

pages,andassheusedthemtorecordherissuesandconflicts,shelostnearlyfiftypounds—andgainedaone-womanshow.“Thepagestoldmewhatwaseatingmeand they toldmewhat Iwaseating,” she jokes. “Once Ibecamewillingtolookatmyfeelingsinthepages,Inolongerhadtoeattostuffmyfeelings.Morningpagesdidn’tturnmeintoasylph,buttheyturnedmeintosomeonefarmoreattractivetomyselfandothers.”

Sheisnotaloneinthistransformation.Often,whenIamteachingatwelve-

weekcourse,Ifindthatataboutsixweeks,manystudentsattractnewlovers.So pronounced is this trend that I have sometimes been tempted to tease,“Writemorning pages and youwill rekindle your love life.”Onmore thanoneoccasionIhavegivenabooksigning,only tohavesomeonestepup tothe table and say, “Julia, I want you to meet my husband. We met in anArtist’sWaygroup.”

We are practicing tools of enlightenment and the “lights on” aspect is

visible. I have often joked that we should take before-and-after shots ofstudentswho trymorningpages.From the frontof the room, thechange inpeople’s appearances is astonishing. “You’re doing well. I can tell,” I willoften say as a subtle but thoroughmakeover takes place in the class.Newhairdos,newclothes,newmakeup—alloftheseareapartofthenewselfthatweareuncovering.Stacy,afitnesscoach,beginsthecoursedressedinmartialarts black. At the midpoint she arrives wearing a pink silk shirt—and shelooksravishing.

Withmorningpageswehaveaspiritualmakeover.Webegintofeelbetter

about ourselves and to treat ourselves better—this shows. It may besomethingassimpleasgettingenoughsleep—oradequateexercise.Itmaybeamarkedshiftinourcolorpreferencesorawillingnesstostophidingundertentsandstartwearingmoreform-fittingclothes.It’sprobablyanynumberofsmall changes that all add up to a distinctive shift. There is a famous

Californiajoke:“Whatdidyouhave?Aface-liftorasurrender?”

Withmorningpageswesurrendertobeingmoretrulyourselves,andthose

selvesarecolorfulandbeautiful.Pagesmayhelponepersontostaymarriedandhelpanotherpersontogetdivorced.Pagesmayhelptheirwritergobacktoschoolortodropoutofaprogramthatisill-fitting.Adayatatime,apageatatime,morningpagesemphasizeouruniqueindividuality.Theyaidmeinmy life as a writer, but they aid lawyers and teachers and therapists andpainters—anyonewhotriestheirhandatthem.

Amongmy Christmas cards this year was one fromMaureen, a student

from fifteen years ago. Since then, she married, and she is nowhomeschoolingherhyperbright son.“Thankyou, Julia, formorningpages,”shewritesinthecard.“Theykeepmesane!”

Morningpagesdokeepussane.Theydothisbyfocusingusonthenow,

the very practical nuts-and-bolts reality of life as it is unfolding. Althoughpages may be responsible for many large changes, they accomplish thosechanges one small step at a time. They tutor us in doing that “next rightthing.”

Sometimes that thing is“Sortyoursockdrawer.”Sometimes it’s“Submit

yourplayforpublication.”Thenextrightthingmayhavenothingatalltodowithartandeverythingtodowithartfulliving.“Callyoursister,”thepagesmayadvise.“Lookintolowerratesforautoinsurance.”Nocornerofourlifeisinconsequentialtoourpages.

“Don’t forget that tomorrow the postage rates go up,” the pages may

remind us. “If you mail the package now, your friend will have it by herbirthday.” Gently reminding us of our many duties, pages function like apersonalservant:“Madam.Don’tforgetyourhatandgloves!”Pagesteachustocareforourselves,toministertenderlytoourneedsandwants.

“I lived alone in a studio apartment and it often felt like a prison cell,”

Madeline, an executive secretary,writesme. “At the urging of the pages, Iacquiredsomehouseplants.Thatwouldseemlikeasmallchange,butitmade

atremendousdifferenceinmyenvironment.Alittlelater,thepagesurgedmetoadoptakitten.IthoughtIdidn’twanttheresponsibility,butthepageswereinsistent: ‘You’re lonely,’ they told me, and they were right. Now I comehometoaPersiankittenandajungle.It’swonderful.”

Inorderforpagestobeeffective,wemustbeopentowhattheysuggest,to

themany insights and intuitions that wewill experience through their use.Sometimes,theywillsuggestacourseofactionthatseemstobebeyondourreach: “Iwonderwhat itwould be like to go to graduate school and studypoetry?”thenotionmightrearitshead.“Graduateschool!Poetry!That’stoodifficult!”wemightthink.

Thepagesareagentlenag.Theywillbringupanidearepeatedlyuntilthey

haveourattention.When theydo,wemayfind thatwehavebeenstubbornand closed-minded about a change that is actually well within our reach.Bernice, the woman who was nudged about studying poetry in graduateschool,nowhasamaster’sinpoetry.Shehadtoldherselfshewas“tooold,”onlytodiscoverthatpoetrymadeheroncemoreyoungatheartandthatherchronological age—seventy-five—didn’t really matter when it came toputtingwordsonthepage.

Withmorningpages,weare tutored inourownbest interests.Thepages

put us in touchwith a source ofwisdom that is higher andwiser than ourusualconsciousness.Ourhandisledthroughthelabyrinthofourlivesaswewrite. Ithasbeensuggested tomethatwithpagesweget toknowbothourselfandourSelf,thathigheroctaveofconsciousnessthatguidesuswhenweare willing to be guided. No matter what our dilemma, pages have arefreshingwayofsuggestingthemanysmallactionswecantakeonourownbehalf.

“Ididn’twanttodomorningpages,”Michael,aHarvard-trainededucator,

writes. “Theydidn’t seemscientificenough forme.Then itoccurred tomethatIwastheonewhowasn’tbeingscientific.Pagesaskedmetoexperimentand record the results for myself. I decided to try them. The results that Ifoundwereastonishing.MydifficultjobbecamefareasierasIbecamemorefocusedandlessdistracted.Mysedentarylifestylebecamethatofanathlete.Istartedwalkingand then tookuprunning.AsIwrite, Ihavereceivedakey

promotionandrunintwomarathons.Pagesseemtogivemeacuttingedge.”

Thecuttingedge thatpagesofferdiffers foreachofus.Thebusinessman

was offered shrewd counsel. That was his need. The pages respond to theunique needs of each of us. If we are lonely, morning pages offer uscompanionship. Ifwe feel unseen, they offer us a sense ofwitness.As oursense of isolation diminishes,we are able to reach outward to othersmoreeasily.Aday’spagesmight remindus toget in touchwitha long-forgottenfriendortophoneanewacquaintanceandfosterabuddingfriendship.“Iwasjustthinkingaboutyou!”ourlong-lostfriendmightexclaim.

Asweusemorningpages,wewilloftenexperienceaheightenedsenseof

synchronicity.Wewillbeinthe“right”placeatthe“right”time.Perhapswewilllayourhandsonexactlythepieceofresearchthatwerequire.Wemightfind the coat we were looking for on sale. As our interests sharpen, thoseinterests seem to be fed. Curious about Tibet, wemight encounter a photoexhibitionoraconcertgivenbytravelingmonks.Welearntoexpendourtimeinthedirectionofourcuriosities.

Usingthepages,wewillbecomemoreshrewdaboutwhatwedowithour

money,tendingtospenditalongthelinesofourgenuineinterests.Thepagesmightsuggestamagazinesubscriptionormembershiptoamuseum.Theyarealerttoourhiddendesires.

Colleen, a homemaker fromLibertyville, Illinois,writes, “When I began

themorningpages,IwasconvincedIwasadullpersonwithoutmuchtosay.Ididn’tseehowIcouldpossiblyfillthreepages,butIsoonfoundthatitwasn’ttoodifficult.IhadmanymoreinterestsandenthusiasmsandopinionsthanIhadimagined.”

Takenat facevalue,morningpages seem tohavenothing todowith art.

Afterall,whatdoes“Iforgottobuykittylitter”havetodowithwritingyouropera? As it turns out, plenty. The kitty litter is a distraction, as is theconversationyouneedtohavewithyourbossandthepresentyouneedtobuyfor a friend’s baby’s christening. All of these concerns eddy through yourconsciousnessandkeepyou from thinkingabout theopera—unlessyouputthemonthepage.Whenyouputthemonthepage,youputthemoutofyour

mind.Yousilenceanannoyingvoice-over.Thementalstaticends.Withyourworriesoutoftheway,yourmindisabletoroammorefreely,toturninmoreadventurousdirections.Inthecourseofanordinaryday,theendofActOnemightcometoyouwithcrystallineclarity.

There are people who consider their morning pages to be prayer. They

think of the pages as “Dear God” letters informing the universe of theirprecise likes and dislikes.Whether you conceive of the pages as prayer orsomethingfarmoresecular,theydoserveasabridgetowhatmightbecalledhigher realms. In addition to recording impressions, pagesmay be used toreceive impressions. This is very simple. It is largely amatter of posing aquestionandthenlisteningforananswerandwritingitdown.Veryoftenthemost complex situations are addressed with startling—and revelatory—simplicity.

“What should I do about my ex-husband?” Margaret, a recovering

alcoholic,wroteoftheturbulentrelationshipthatstillhauntedher.“Justlovehim,” the pages responded. Reading that answer,Margaret reports that herconflictedfeelingsbegantoease.Thetruthwasthatshedidstilllovethemanandthatbyacceptingthat,shewasabletomoveon.

Pages do move us on. You cannot write morning pages and remain

stagnant. The pages themselves are a form ofmotion. I often compare thepagestobothariverandaboat.Adayatatime,apageatatime,youenterthepagesandenterintotheflowoflife.Youareabletorideouttherapidsofyour lifeandthequieterwatersaswell.Thepagesgiveyoubothaplace torestandavehicleinwhichtomoveforward.

“I think of the pages as ameditation practice,” Sister RaymondMary, a

nun,tellsme.Shehasbeenwritingthepagesforadecade,andtheyhaveseenherthroughmanyshiftingphasesinhervocation.“TheyarewithmewhenIamfulloffaithandwhenIamfullofdoubt,”shereports.“Theirconsistencygivesmeoptimism.”

Optimism isa frequently reported fruitofmorningpages.So ishope.As

wetakeourhandtothepage,wetakeourhandtoourlife.Wearenotvictims,abandonedbyacapriciousdeitytofendforourselves.Thereis,wecometo

sense,abenevolentSomethingthatreceiveswhatwewriteandactsuponit.Ourclarityseemstotriggercharityonourbehalf.

Weliveinaninteractiveuniverse.Thechangesandshiftsthatwemakein

ourinnerconsciousnessarereflectedbychangesandshiftsinourouterworld.Aswemovetoalargerandmoresatisfyingidentity,wedoitfirstonthepageandtheninourlives.Beforeweknowit,wearelivingatadeeperlevel.

Whatthepagessaymaysurpriseus.IrealizedwithshockthatIabsolutely

love my teaching job. Facing this fact, I found my feelings of gratitudezoomedupward.“Why, Iamvery lucky,” I thought.“I lovemyworkandIlovemystudents.MaybeIshouldconsiderteachingmore?”

Negativefeelingsaswellaspositivefeelingscometolight.“Idon’tthink

Laurie really listens tome.”Or, “I need to either quitworking overtime orstartgettingpaidforit.”Morningpagesteachusself-respectandwelearntoexpect—and receive—respect from others. Almost imperceptibly, our livesbecomegentlerandmorefruitful.

Morningpages telluswhenweareoverspendingour timeorourenergy.

They tutorus in theartof self-investment, channelingour energies andourfinances along lines that are personally rewarding.When we are bingeing,physicallyorfiscally,thepageshelptoputusontrack.

“Julia,IstartedwritingthepagesandwithinamonthIstoppedgambling.A

month after that, I stopped drinking,” Bill, a novelist, told me. “I still dopages.Infact,Icarrymyjournalwithme.”

Many people describe morning pages as a sort of homecoming. It is a

recoveryprocessinthesensethatwere-coverthedistancewehavetraveledawayfromourauthenticself.

“Ihadn’tpaintedintwentyyears,”Crawford,apainter,tellsme.“Ihadput

everythingandeveryoneinfrontofmyart.WhenIstartedworkingwiththepages,myowndreamsbegantoresurface.IsawthatIwouldneverbetruly

happyunlessIallowedmyselftopaint.Withthepageseggingmeon,Ibeganpainting—atfirstalittleandthenalot.NowIamafull-timepainterandverygrateful.”

“Morningpagesweremylifeline,”reportsWalter,awriter.Beforepages,

hewroteshortcomicmonologues,butalwaysyearnedtotrysomethingmoreambitious.“Sincestartingpages, Ihavewrittenandpublished twonovels. Iwouldneverhavebeenanovelistwithoutthepages.”

“Yes, thankyoufor thepages,”Anne,Walter’swife,chimes in.“Wehad

beenhoveringonthebrinkofdivorce.Hewassomiserableandthereseemedto be nothing that I could do to help him. My husband is now so muchhappier!”

For somepeople, thepages are ameansof resuscitating a long-forgotten

dream.Forothers,thepagesareanopportunitytodreamabrand-newdream,onethattheyneverheldbefore.

Morningpagesbringourhopes,dreams,fears,andconfusions intofocus.

Theypointus towardareas thatneedattention.Whilesomepeoplemayusethepagestofaceanaddiction,othersmayfindthepagesleadingthemtowarddreamstheyhadneverarticulated.Aswecomeintofocus,oursizeandshapeareoftensurprisinglylarge.

Whatwelovemaysurpriseus.Adiscouragedfictionwritertooktodoing

morning pages andwas led intowriting about architecture—something shedeeplyenjoys.Apoet tooktothepagesandfoundhimselfdrawntowritingmemoir.A novelist took to the pages and unblocked a flow ofwriting thattookherinanentirelynewdirection.Sheswitchedfromthirdpersontofirstperson. An actress tried the pages and found herself writing a one-womanshow.

Ateacheratahigh-poweredmusicconservatoryrequiresallofherstudents

to domorning pages. “If they are truly going to be artists, then they needsometoolstogroundtheminanartist’slife,”shesays.

Morning pages will ground us in any life we have—and with morningpages,thatlifewillimprove.Wearefarmorecolorful,farmorecreative,andfarmorecharismaticthanweknow.Aswefeelthepowerofmorningpages,wecometofeelourownconsiderablepower.Weareeachofusintouchwiththeinfinite.

TOOLTWO:THEARTIST’SDATE

THEREISASECONDTOOLthatisessentialtoacreativeawakening.Thattoolisaweeklyartist’sdate,afestivesoloundertakingtoexploresomethingthat excites or interests us.Unlike themorning pages,which arework, theartist’sdateisplay—andthatmakesitmuchharderforpeopletodo.

Ours is aCalvinist society.Wehaveaworkethic andweunderstand the

idea of “working” on our creativity. We speak of, but do not reallyunderstand, the notion of “the play of ideas.” That word “play” is pivotal.Creativitycomesforwardbybeingcoaxed,notbludgeoned.

WhenIamteachingatwelve-weekclass,ittakesonlyalittletimebefore

most of the class arewriting theirmorning pages seven days out of seven.What ismuchmore difficult is forme to cajole or convince the class thattherecanreallybeabenefitintheweeklyartist’sdate.Howcan“play”helpthemwork,theywanttoknow.

Hereishow.Withthemorningpages,wearesending.Wearenotifyingthe

Universeofourlikesanddislikes.Weare,ifyouwill,telegraphing.Withtheartist’sdate,wesetourdialtoreceive.Wearereceptivetoinflow,nolongerconcernedwithoutflow.Toexecuteanartist’sdate,wemustbeopen-minded,andthatopenmindisavailabletoinspiration.

Itworkslikethis.Itisabright,sunnySundayafternoonandIhaveroused

myselffrommyapartment’scozycomforttotakemyartist’sdate.IleavetheUpperWest Side and travel toMurrayHill.My destination is a bookstore,TheCompleteTraveller.Thestoreisatreasuretroveofexplorer’slore.Somebooks are new and crisp. Others are old and musty, long out of print.Scanningtheshelves,Ifindmyselfdrawntothesectiononoceanvoyages.AbatteredbookonMagellancomes tohand.Without thinkingabout it, I buythebookon impulse. Idawdlea little longer, lookingatmapsof theIsleofWight,anotherinterest.Leavingthestore,Idonotthinkanythingmuchhashappened.Idonotrealize thatIamcarryingoutwithmetheentrywaytoa

decade’sworthofmusic.Idonotknowitthen—notconsciously—butIwillbewritingmusicaboutMagellan.

Theinspirationwereceiveonanartist’sdateisn’talwayssolinear.Wedo

not always come away from our expeditions with a new sense of creativedirection.Wedo, however, comeawaywith anew senseofwell-being andconnection. Many students report that they feel the benign touch ofsynchronicity on their artist’s date. Others, many others, report that theyexperienceaheightenedsenseofconsciouscontact.

Claire, a clothing designer, lives in New York and favors trips to the

MetropolitanMuseumofArt.“IgototheAsianwing,”shetellsme.“ThereisasenseoftimelessnessthereamidtheBuddhasandbodhisattvas.Imaygoinagitated,butIcomeouttranquil.Something—orSomebody—seemstospeaktomethere.”

For Glenn, another New Yorker, it is the AmericanMuseum of Natural

Historythatspeakstohissoul.Apainter,hehasoftenfoundhisimaginationfiredbythedioramas,tableauxofanimalsintheirnaturalhabitat.“Oneofmyfavoritepaintingscamestraight fromthedioramas,”he tellsme.“I’vebeengoingtoseethesameexhibitsforthirtyyears.Theynevergetoldtome.”

Arthurisagalleryowner.Oftenhisartist’sdatesareexplorationsintorival

galleries.Anysenseofcompetitionsoonfadesashebecomesimmersedintheart andnot thecommerce. “I lovewhat Ido,”he tellsme. “Myartist datesalwaysgivemeinspirationastohowIcandoitbetter.”

Notallartist’sdatesarehighbrow.Victoria,ayoungactress,gotamassage

foranartist’sdate.“IknewIhadtomeetwithaveryimportantdirectorthenextday, and Iwasvery tense about it.Sometimeduring the courseofmymassage, I remembered that I loved acting and that I was faced with anexcitingopportunitymorethanatest.”

Artist’sdatesoftenrevealourinnerlongings.Lauratakesherselftofabric

stores,whereshebrowsesthroughrackafterrackofbrocadeandlace.“Thewardrobe I use inmy job as a kindergarten teacher iswhat youmight call

‘sensible.’IdreamofthehoopskirtsfromTheKingandI.”

Royisanacademicwithasecretpassionforexoticautomobiles.Hedrove

threeandahalfhours toattenda showofRalphLauren’scarcollection.“Ican dream, can’t I?” He laughs.When he turned sixty, his grown childrengifted himwith a vintageMercedes.He claims that driving it is always anartist’sdate.

Thedreamsofourartist’sdateshaveapeculiarwayofturningintoreality.

Sophy,ateacherofgiftedstudents,beganherFrancophiledreamswithatriptoasmallFrenchbistro.AweeklatershewasataFrenchmoviewithEnglishsubtitles,andaweekafter that sheattendedanexhibitiononMatisse.Soonafterwardshe tookacourse inFrenchcookingandbeganboninguponherhighschoolFrenchwith thePimsleuraudiodisks.The last Iheard,shehadrented an apartment in Paris andwas planning to spend themonth of Julythere.

Itpaystothinkoftheartist’sdateasonehalf“artist”andonehalf“date.”

We are out to woo our own consciousness. We plan and execute enticingadventures. Our excursions may have a romantic overtone as we treatourselves thewaywewish a loverwould treat us.Veronica, a retired highschoolprincipal,reportstomethatshegoestothetheatersoloonceaweek.“IthoughtitwouldbelonelyandIwouldfeelstrange.IfounditsurprisinglycomfortableandInowpreferittogoingtothetheaterwithadate.”

I am often asked if artist’s datesmust really be undertaken solo and the

answer to that is yes. (We are not alone. We are with our own creativeconsciousness.) This makes us catnip to others, but we must resist thetemptationtotakethemwithusnomatterhowtheyplead.Whythisrigidity?Becausewhenwearewithasignificantother,ourconsciousnessisconstantlymonitoring their consciousness.We go to amovie and ask ourselves, “AretheyenjoyingthisasmuchasIam?”Ratherthanfocusingonourowninnerworld,wearefocusedoutward.Weareattendingnottoselfbuttoother.

“At first I found artist dates very difficult,”Maggie, themother of five,

confesses.“Ifeltsoguiltyaboutclaimingtimeformyself.Afterafewdates,Ibegantofeeldifferently.Ibegantoseethattakingtimeformyselfwasreally

cherishingmyselfandmycreativity.Myattitudeshifted.NowIfeltlikethathair-colorad.Youknowtheone:‘Becauseyou’reworthit.’”

Artist’sdatesdoconvinceusofourworth.Manystudentsreportthatit is

duringanartist’sdatethattheystronglysensethepresenceofalovingHigherPower.Nomatterwhatwecallit,thereisindeedabenevolentSomethingorSomebody that makes itself known to us when we take time out to makecontactwithourinneradventurer.Whenwedaretotakeanartist’sdate,wereachoutcreatortoCreator,artisttoArtist.OneneedonlyobservethenaturalworldtoseethatGodrevelsinadventure:cliffs, jungles,waterfalls,deserts,mountains,seas!Whenwetakeourweeklyadventure,weputourselvesinthepresence of the Great Adventurer, the Lord who invented Kilimanjaro andVesuvius.Asweareoutwardbound,wesenseaninwardgrace.Suchcontactisalmostautomatic.

“I decided to take a drive for my artist’s date,” Susan, a literary agent,

recounts.“I turnedontoacountryroadandbeforelongIwasina tunnelofgreen.‘Somethingmadeallthis,’Icaughtmyselfthinking—andIwouldhavesaidIwasanatheistoratbestanagnostic.”

Some people deliberately take spiritual artist’s dates. They visit a great

cathedral,marvelingatthehighvaultedceilingandthestainedglass.

“IwenttoSt.JohntheDivine,”Judith,aconcertpianist,relates.“Idecided

the church was truly well named. I did feel something divine as I wasstandinginthatvastspace.Myheartsoaredup.WhetherthatwasGodormemyself,Idon’tknow,butIenjoyedthesensationandIoftenthinkbacktothatmomentwhenImeditate.”

Likemorningpages,artist’sdatesareanactiveformofmeditation.Going

intoachildren’sbookstore,Alex,acontractor,felthimselfenteringanalteredstate.“IletmyselfbrowsethewayIthinkakidwouldbrowse.Ilookedatlotsof books on dinosaurs and a couple on trucks. I guess ‘big’ fills me withwonder.Maybethat’swhyIbuildthings.”

Artist’s dates do give us a sense of the bigness of the world. Jane, a

costume designer, takes her artist’s dates in the medieval section of theMetropolitanMuseum of Art. “I look at armor and I think, ‘People reallyworethat.’Itmakesthepastsomuchmorereal.YoucouldsaythatIsimplyconnecttomyowntradition.Forcenturiespeoplehavehadclothiers.Iamnotsodifferentfromsomeonesewingbycandlelight.”

Janeisnotaloneinusingherartist’sdatetofindcommonground.Gene,a

painter, divides his artist’s dates between contemporary galleries andmuseums.“ItisastoundingtomehowapaintingfromthreecenturiesagocanfeelabsolutelycontemporarywhilesomeofthecontemporaryworkthatIseefeels already dated. The one thing that always strikes me is that someonestood in front of an easel, just as I do. And someone painted stroke afterbrushstroke,justasIdo.Paintingisasolitaryact,butIbelong,ifyouwill,toacommunionofpainters.Wearealltogetherinoursolitude.”

Artist’s dates teachus how to cherish and enjoy solitude rather than fear

andavoidit.Aswepausetotakeinthebeautyoftheworld,wetakeinourownbeautyaswell.“Istartedtoactivelylikemyselfonartist’sdates,”reportsDavid, an actor. “I liked the adventure of them and I liked the notion ofmyself as anadventurer.For some time, Ihadbeen feeling too small.Withartist’sdates, Ibegantofeel justa littleheroic tomyselfagain. It remindedmeofhowI feltwhenI firststartedacting, likeIwas justa littlebit largerthanlife.”

“Formetheworldunderwentahugemetamorphosis,”saysGail,asculptor.

“Iwas turningagoraphobic in thenameofmyart.Myworldhadshrunk tomeandmystudio.Ifeltathomewithalumpofclaybuttheouterworldfelthostile tome. Iwasbecomingquite a recluse.Artist’s dates challengedmynotionthattheworldwasahostileplace.”

Many students report that the world feelsmore benevolent to them as a

resultofartist’sdates.Jean,ananimalportraitpainter,undertookteachingherdogs to hunt. Everyweekend she drovewith her dogs to a game preserve,where she felt a sense of enchantment in the wild marsh grasses andoverarchingskies.“Iwaspaintingnature,butIhadalmostforgottenhowtosimply enjoynature.”She laughs. “I have to say I thinkmypaintingshaveimprovedwithmytemperament.”

Jeanisnotaloneinnotingthatartist’sdatessweetenhermoods.Formany

studentsartist’sdatesbringaheightenedsenseofwell-being.Itisasiftheactofself-nurturancethatartist’sdatesrequirebringstousanewsensethattheuniverse itself isanurturingplace.It isas ifwecommit toourcareonly tofindthattheworldco-commits.

“I decided to takemy first dance class in twenty years,” Janet, a nurse,

reveals, “but Iwas afraid. Iwent to breakfast atmy normal diner andwasseatedatthecounternexttoawomanwhotaughtbeginner’sdance.Shewasverynice,andwhenI toldher that IwascomingbackshesuggestedIstartwithher.Sheevenofferedmemyfirstclassforfree.”

It isn’t unusual for theuniverse to support ourdesireswith somehelpful

synchronicity. Mark had a lively interest in Africa, which he decided toexploreinhisartist’sdates.HebeganwithamealatanEthiopianrestaurant.Onthebulletinboardattherestaurant,henoticedasignadvertisingAfricandance.“Whynot?”hetoldhimself,andtookdownthenumber.“AlthoughIthinkIamaklutz, Iactually loved theclass,”herecalls.“ButwhatI reallylovedwasthedrumming.Istruckupaconversationwiththedrummer,whosaidheofferedprivatelessons.IamnowinweeksixofdrumlessonsandIam loving it.” As a teenager, Mark had fooled around with a drum kit.Drummingagain,hefeltlikeateenager,youngandfullofvigor.

Artist’s dates often lead us to make peace with our past. Gabriella, a

caterer,hadriddenhunterjumpersasayounggirl.Nowinherearlyforties,she hadn’t ridden in more than twenty years. “I thought I would just rideonce,”shetellsme.“ButIrodeonceanditwassowonderfulthatIrealizedIwanted to ride always. I started taking weekly lessons, then I leased awonderfulhorse.Iamsorryforallthemissedyears,butwhenIamriding,Iforgetaboutthoseyears.Allthatexistsismeandthehorse.IfeellikeIamturningbackintothegirlIoncewas.”

Arenewedsenseofyouthfulexuberanceisafrequentfruitofartist’sdates.

Inseekingwhatitiswewouldliketodo,weoftenconsultayouthfulpartofourself,somethingthatmightbecalledour“innerexplorer.”Thispartofourselfisanoptimistandanamateurinthebestsenseoftheword.

Pam,asocialworker,discoveredinhermorningpagesthatsheyearnedto

try filmmaking. For an artist’s date, she went to a one-day workshop onindependent filmmaking. “I was so frightened,” she remembers. “I don’tknowwhatIexpected,buteveryonewasveryniceandveryencouraging.Noonelaughedatmyideaforashortfilm,andbyday’sendwhatseemedlikeapipe dream began to seem quite doable. I just had to be willing to be abeginner.”

Maviswentswimmingforanartist’sdateandlikeditsomuchshejoined

anathleticclub so shecould swimall the time. “Youknowhow it iswhenyouareinthewater.”Shelaughs.“Youfeelsoslimandsexy!”Ifshekeepsup her swimming,Mavismay actually end up slim and sexy—and not justwhenshe’sinthepool.

It is not uncommon for an artist’s date to be the seed of a larger good

unfolding.Theartist’sdate trainsus to take risksonourownbehalf.Thoserisksmaystartoutverysmall—goingtoafilm—andendupfarbigger:goingtofilmschool.Whenweexploreaninterest,webecomemoreinterestingtoourselves.Whenweseethatitispossibletorisk,wesoonseethatallriskcanbebrokendownintosmall“doable”dateswithourselves.

“Ididn’thavetobecomebraveenoughtogotofilmschool,”explainsPam.

“Ijustneededtobecomebraveenoughtogotodayoneoffilmschool.ThenIneededtobecomebraveenoughtogotodaytwo.Adayatatime,Iwasquitebraveenough,althoughwhenIlookedattheprospectasawholeitmademequakeinmyboots.”

“I had artists on a pedestal,”Vincent, a high school teacher, remarks. “I

thoughtofthemassuperhumanbeingsforwhommakingartwaseasy.Ineverthought of artists as being fearful, or stumbling or trying. When I begantakingartist’sdates, Iwasfearful,butbecauseIhadpromisedmyself that Iwould try to take them anyway, Imuddled through. Somewhere in there itoccurred to me that maybe all artists had fears and muddled through. Thebreakthroughformewasapoetryreadingwherethefeaturedpoetwasvisiblynervousyetperformedanyhow.Theverynextweek, I readoneofmyownpoemsattheopenmike.Ithought,‘Ifhecandoit,Icandoit.’AndIdid.”

Artist’sdatesgiveusafeelingofaccomplishment.Theyaddtotherichness

of our lives by giving us a sense of adventure and largesse.Many blockedartists suffer from a sense of martyrdom. They are often workaholics whohaveforgottenhowtoplay.Theartist’sdateisenforcedplay.

“My mother had a poem taped above the kitchen sink,” remembers

Christian,amusicproducer.“Itwasapoemagainstworkaholism.Itwent,‘Ifyournoseisdowntothegrindstonerough/Andyouholditdowntherelongenough/Soonyouwillsaythere’snosuchthing/Asbrooksthatbabbleandbirds that sing / Three things will all your world compose / Just you, thegrindstone,andyourdarnedoldnose.’”

Despitehismother’swarning,Christiangrewuptobeaworkaholic.“Igot

all ofmy self-esteem from the amount ofwork that I did. If you askedmehow I was doing, I told you what I was working on. Artist’s dates weremurder forme because theymeant I was actually supposed to take a littletimeoff.Ididthemovermydeadbody,butIdiddothem.Whatadifferencetheymade!”

Fortheworkaholicsamongus,astronginducementtotakingartist’sdates

is the positive impact they frequently have on productivity. It is as thoughwhenwe allow the slightest bit of positive inflow, we are rewarded by anincreaseinourcreativeoutflow.

“Iwas grapplingwith a rewrite on a novel,” saysAlice. “Itwas really a

case ofmy struggling uphill every day. I felt stale andwas afraid thatmyproseshowedit.IwenttomydeskeachdaylikeIwasgoingtothemine.Itoldmyself I had a deadline on the rewrite and that I wasmuch too busyworking to take an artist date. Unfortunately, I shared this opinion with awriterwhousedArtist’sWaytoolsinherownwork.Shesaid,‘Oh.Ifyou’reonadeadlineyoushouldactuallybedoublingyourartistdates.’Sheassuredmethatextraartistdateswerethekeytoherownproductivity—andsoItriedthem.Iwasastonishedbywhathappened.Iseemedtobefloodedwithnewandworkableideas.Myprosereactedlikeithadgonetoaspa!”

Whenwethinkofartasanimage-usingsystem,webegintogettheidea.Ifweacknowledgethatweareourselvesanecosystem—letussayasmallpond—wecanbegintoseehowthemakingofartcandepleteoursystemunlesswearecarefultokeepupafreshinflow.

Corneliusisayoungcomposerwhoalsoascribestothedoubleartist’sdate

theory. “ImademyNewYear’s resolution to do two artist dates aweek. IfiguredIwasworkingontwoprojects,amusicalandanopera,andthateachprojectdeserveditsownbooster.”

Artist’s dates increase our productivity by decreasing our tendency to

stalling through personal soap opera and dramatics. It is difficult to workwhenwe are feeling sorry for ourselves and it is difficult to feel sorry forourselves when we are taking artist’s dates. For many artists, it is learnedbehavior to be constructive rather than destructive. Rather than indulge inself-dramatization,wecanputhealthydramaintoourlivesthroughahabitofsmalladventures.

“IwaschronicallydepressedandImadesureyouknewit,”admitsEdward,

asubstituteteacherwhodreamedofasongwritingcareer.“Ialwayshadataleofwoeanditalwaysgotinthewayofmyactuallymakingmusic.Ineededtofindanewroommate.Ineededtofindanewjob.Myexcusesfornotworkingonmyartwereendless,andIreallydidn’tseehowsomeenforcedplaywasgoing tohelpmeatall. ‘Justdo it,’myArtist’sWayfriendswould tellme.‘Youdon’thave tounderstand it for it towork.’Myfirstartist’sdatewasafleamarket.AllIdid,itseemedtome,wasstareattablesfullofjunk—thenIwenthomeand satdownat thepiano for the first time inmonths. I startednoodlingandbeforeIknewwhatIwasdoing,Iwroteasong.”

Edward has been doing artist’s dates for six months now. He has also

writtenadozensongs.Withmorningpagesandartist’sdatesinplace,hehasmadeabeginningonpositiveworkhabits.“IwasinthehabitofnotworkingandnowIamalmostinthehabitofworking,”hesays.“Idogettothepianoafewtimesaweek.IamnotasproductiveasI’dliketobe,butIamalotmoreproductivethanIwas.”

Artist’sdatesteachushowtoinitiate,execute,andhaveclosureonevents.

We plan the artist’s date ahead of time. We anticipate our excursion andexperiencewhateverresistancerearsitshead.Veryoftenourresistanceseemsreasonable. “Why can’t I takeFredwithme?”we ask.Or, “I really shouldwork late onWednesday, and themovie probably isn’t that good anyway.”Whenwe tell ourselves no, Fred can’t tag along, and that we will see themovieasplanned,welearnanimportantlessoninproductivity,namely,thatourmooddoesn’tmatterandthatexcusesnottoworkwillalwayssurfaceandevensoundastonishinglyplausible.Learningtonotwriggleoutofourartist’sdatesteachesustonotwriggleoutofourothercommitmentstoourselves.

“I did it! I did it!” we may want to crow after we have successfully

completed a planned artist’s date. This is the reward of closure, a sense ofwell-beingandaccomplishment.Manyartistshavedifficultywithfinishingapiece of work. They start work but cannot seem to bring it to completion.Artist’sdatesteachusthejoysofcommitmentandclosure.

James traces his master’s in poetry to his history with artist’s dates. “I

beganwithopenmikes,thenIprogressedtomoreformalreadings.Ibegantofeel comfortable in the world of academe. I stopped defining my work as‘streetsmart’andstartedtoseethatitmightbejustplainsmart.Whenotherpoets reached out to me, I allowed them to persuade me to undertake amaster’sdegree.Iwasintimidatedatfirst,butIfoundallmyexperiencewithopenmikesandreadingsreallyhelpedme.Iwentfrombeinga‘streetpoet’toapoet,period.”

Manyofusundergoasizableshift in identityasa resultofartist’sdates.

Wemay,likeJames,learntoviewourselvesdifferently.Orwemay,indeed,becomequitedifferent.“IlivedinNewYorkbutIwasactuallyfrightenedbythecity,”confessesHannah,atransplantedmidwesterner.“MyfamilythoughtIwaslivingthisglamorousbig-citylife,butIreallyhadaveryshortleash.Iwent tomy job andhome tomy studio apartment.The rest of the citywasterraincognita.Artistdateschangedallthat.Istartedonedateatatime,onearea at a time, to exploreManhattan. Iwent to thegarmentdistrict.Then Iwenttotheplantdistrict.IwenttoChinatown.ThenIwenttoLittleItaly.Itaught myself the subway system. I took one of those open-topped touristbuses. After six months, Brooklyn stopped seeming like such a foreigncountry.IeventookmyselftoaGreekneighborhoodoutinQueens.”Thereisatell-taleprideinHannah’svoiceassherecountsheradventures.Whileshe

didn’texactlyshiftfromanintroverttoanextrovert,shedidshiftfromatimidpersontoabraverone.

Timothy’s shiftwasquitedifferent fromHannah’s.Anextrovert tobegin

with, hewaswell used to hopping frantically from adventure to adventure.“My friends used to callme the EnergizerBunny,” he jokes. “Iwas like ahyperactivechild,bouncingfromactivitytoactivity,crowdtocrowd.FormewhatwasdifferentabouttheartistdatewasthatIwassupposedtodoitalone.Thiswas surprisingly tough forme. I foundmyartist datesmadememorereflective.Asaresult,Ibegantobeable,forthefirsttime,tostayhomealonebymyselfandenjoysomesolitude.Solitudehadfrightenedmebefore.”

Whether we are introverted or extroverted, artist’s dates make us more

comfortable with ourselves. For Hannah, they were the end to her painfulseclusion. For Timothy, they marked a stopping to his frantic, adrenaline-drivenlife.

Andrew, a corporate lawyer, discovered a life outside of his job. “I had

begun to feel that Iwas adull person.What I didn’t realizewas that I hadenthusiasmsandinterestsbutItampedthemdown.OnceIbegantofollowupon my interests, those interests became stronger—and I became moreinterestingtomyself.”

AnyonemeetingAndrewtodaywouldneverthinkofhimasadullman.He

ismid-stride onwriting amystery novel.He leads a lively life ofmuseumshows and concerts. He is a frequent theatergoer and an avid attendee atliteraryevenings.Hishabitofartist’sdateshasbecomeforhimawayoflife.

ThegreatactingcoachMichaelChekhovadvisedhisstudents,“Ifyouwant

toworkonyourart,workonyourlife.”

The world is a rich and variable place, simply “throbbing with life,” in

HenryMiller’sphrase.Asweallowourselvestotasteitsmanyfruits,ourownworkbecomesmorerichandmorevaried.Aswenurtureourownroots,webecomemorefruitful.

WeekOne

RecoveringaSenseofSafety

Thisweekinitiatesyourcreativerecovery.Youmayfeelbothgiddyanddefiant,hopefulandskeptical.Thereadings,tasks,andexercisesaimatallowingyoutoestablishasenseofsafety,whichwillenable

youtoexploreyourcreativitywithlessfear.

1

Setyouralarmtowakeupahalf-hourearlier thanusualeverymorning;getupanddothreepagesoflonghand,stream-of-consciousnessmorningwriting.Donot reread these pages or allowanyone else to read them. Ideally, stickthem in a largemanila envelope, orhide themsomewhere.Welcome to themorningpages.Theywillchangeyou.

ListbelowafewcreativeaffirmationsfromWeekOnethathaveparticular

significanceforyou.Alsobelow,copyany“blurts”fromyourmorningpages—thosenegativestatementsaboutyourselfandyourlifethattendtocropupineachday’smorningpages.Converttheseblurtsintopositiveaffirmations.

Tasks

Anaffirmationisastrong,positivestatementthatsomethingisalreadyso.

SHAKTIGAWAIN

2

Takeyourselfonanartist’sdate.Youwilldothiseveryweekforthedurationof thecourse.Asampleartist’sdate:Take fivedollars andgo toyour localdollar store. Buy silly things like gold stick-on stars, tiny dinosaurs, somepostcards, sparkly sequins, glue, kid’s scissors, crayons. You might giveyourselfagoldstaronyourenvelopeeachdayyouwrite.Justforfun.Recordyourexperiencesbelow.

Goconfidentlyinthedirectionofyourdreams!Livethelifeyou’veimagined.Asyousimplifyyourlife,thelawsoftheuniversewillbesimple.

HENRYDAVIDTHOREAU

3

TimeTravel:Describebelow threeoldenemiesofyourcreative self-worth.Pleasebeasspecificaspossibleindoingthisexercise.Yourhistoricmonstersarethebuildingblocksofyourcorenegativebeliefs.(Yes,rottenSisterAnnRita from fifth grade does count, and the rotten thing she said to you doesmatter. Put her in.) This is yourmonster hall of fame.Moremonsterswillcome to you as youwork through your recovery. It is always necessary toacknowledge creative injuries and grieve them. Otherwise, they becomecreativescartissueandblockyourgrowth.

Makeyourownrecoverythefirstpriorityinyourlife.

ROBINNORWOOD

4

TimeTravel:Selectandwriteoutonehorrorstoryfromyourmonsterhalloffame. You do not need to write long or much, but do jot down whateverdetailscomeback toyou—theroomyouwere in, thewaypeople lookedatyou,thewayyoufelt,whatpeoplesaidordidn’tsaywhenyoutoldaboutit.Includewhateverranklesyouabout theincident:“AndthenIremembershegavemethisrealfakeysmileandpattedmyhead….”

Youmayfinditcathartictodrawasketchofyouroldmonsterortoclipout

an image that evokes the incident for you. Draw a cartoon trashing yourmonster,oratleastdrawaniceredXthroughit.

5

Below,writealettertotheeditorinyourdefense.Writethisletterinthevoiceofyourwoundedartistchild:“Towhomitmayconcern:SisterAnnRitaisajerkandhaspigeyesandIcantoospell!”Foraddedfun,copythisletterontonicestationeryandmailittoyourself.

6

TimeTravel:Below,listthreeoldchampionsofyourcreativeself-worth.Thisisyourhallofchampions,thosewhowishyouandyourcreativitywell.Alsorecord (be specific) encouraging words they’ve said to you. Even if youdisbelieveacompliment,recordit.Itmaywellbetrue.

Ifyouarestuckforcompliments,gobackthroughyourtime-travellogand

lookforpositivememories.When,where,andwhydidyoufeelgoodaboutyourself?Whogaveyouaffirmation?

Additionally, youmaywish towrite the compliment out and decorate it.

Post itnearwhereyoudoyourmorningpagesoron thedashboardofyourcar.IputmineonthechassisofmycomputertocheermeasIwrite.

EverytimewesayLettherebe!inanyform,somethinghappens.

STELLATERRILLMANN

7

TimeTravel:Selectandwriteoutonehappypieceofencouragementbelow.Describewhy thisvoteof confidencemeant somuch toyou.Onceyouaredone,writeathank-youlettertothepersonwhogaveyouthisencouragement—evenifitwasyou.Mailittoyourselfortothelong-lostmentor.

8

ImaginaryLives: If youhad fiveother lives to lead,whatwouldyoudo ineachofthem?Iwouldbeapilot,acowhand,aphysicist,apsychic,amonk.Youmight be a scuba diver, a cop, awriter of children’s books, a footballplayer, a belly dancer, a painter, a performance artist, a history teacher, ahealer,acoach,ascientist,adoctor,aPeaceCorpsworker,apsychologist,afisherman,aminister, anautomechanic, acarpenter, a sculptor, a lawyer, apainter,acomputerhacker,asoap-operastar,acountrysinger,arock-and-rolldrummer.Whateveroccurstoyou,jotitdown.Donotoverthinkthisexercise.

Thepointoftheselivesistohavefuninthem—morefunthanyoumight

behavinginthisone.Lookoveryourlistandselectone.Thendoitthisweek.Forinstance,ifyouputdown“countrysinger,”canyoupickupaguitar?Ifyoudreamofbeingacowhand,whataboutsomehorsebackriding?Jotdownsomenotesbelowonhowthisfelt.

9

In working with affirmations and blurts, very often injuries and monstersswimback tous.Writeabout thembelowas theyoccur toyou.Next,workwitheachblurtindividually.Turneachnegativeintoanaffirmativepositive.

Undoubtedly,webecomewhatweenvisage.

CLAUDEM.BRISTOL

10

Takeyourartistforawalk,justthetwoofyou.Abrisktwenty-minutewalkcandramaticallyalterconsciousness.Below,recordreflectionsyoumadeonthiswalk.

You will do check-ins every week. If you are running your creative weekSunday to Sunday, do your check-ins each Saturday. Remember that thisrecovery is yours. What you think is important, and it will becomeincreasingly interesting to you as you progress. It’s best to answer by handand allow about twentyminutes to respond.The purpose of check-ins is togiveyouajournalofyourcreativejourney.Itismyhopethatyouwilllatershare the toolswithothers and indoing so findyourownnotes invaluable:“Yes,IwasmadinWeekFour.IlovedWeekFive….”

1. How many days this week did you do your morning pages?

Sevenoutofseven,wealwayshope.Howwastheexperienceforyou?

2. Did you do your artist’s date this week? Yes, of course, wealwayshope.Andyetartist’sdatescanberemarkablydifficulttoallowyourself.Whatdidyoudo?Howdiditfeel?

3. Were there any other issues this week that you considersignificantforyourrecovery?Describethem.

Check-In

WeekTwo

RecoveringaSenseofIdentity

Thisweekaddressesself-definitionasamajorcomponentofcreativerecovery.Youmayfindyourselfdrawingnewboundariesandstakingoutnewterritoriesasyourpersonalneeds,desires,andinterestsannouncethemselves.Thesetasksareaimedatmovingyouintoyourpersonal

identity,aself-definedyou.

1

Affirmative Reading: Every day,morning and night, get quiet and focusedandreadtheBasicPrinciplestoyourself.(Seepagexi.)Recordanyattitudinalshifts.Canyouseeyourselfsettingasideanyskepticismyet?

Tasks

2

Where does your time go? List your five major activities this week. Howmuchtimedidyougivetoeachone?Whichwerewhatyouwantedtodoandwhich were shoulds? Howmuch of your time is spent helping others andignoringyourowndesires?Haveanyofyourblockedfriendstriggereddoubtsinyou?

Draw a circle below. Inside this circle, place topics you need to protect.

Placethenamesofthoseyoufindtobesupportive.Outsidethecircle,placethenamesofthoseyoumustbeself-protectivearoundjustnow.Usethismapto support your autonomy. Add names to the inner and outer spheres asappropriate:“Oh!DerekissomebodyIshouldn’ttalktoaboutthisrightnow.”

3

Listtwentythingsyouenjoydoing(rockclimbing,roller-skating,bakingpies,makingsoup,makinglove,makingloveagain,ridingabike,ridingahorse,playingcatch,shootingbaskets,goingforarun,readingpoetry,andsoforth).Whenwasthelasttimeyouletyourselfdothesethings?Nexttoeachentry,placeadate.Don’tbesurprisedifit’sbeenyearsforsomeofyourfavorites.Thatwillchange.Thislistisanexcellentresourceforartist’sdates.

4

Fromtheprecedinglist,writedowntwofavorite thingsthatyou’veavoidedthatcouldbethisweek’sgoals.Thesegoalscanbesmall:buyonerolloffilmandshootit.Remember,wearetryingtowinyousomeautonomywithyourtime.Lookforwindowsoftimejustforyou,andusetheminsmallcreativeacts.Get to the record store at lunchhour, even ifonly for fifteenminutes.Stoplookingforbigblocksoftimewhenyouwillbefree.Findsmallbitsoftimeinstead.Recordbelowwhatyoudidandhowyoumanagedtofititintoyourschedule.

DipbackintoWeekOneandreadtheaffirmations.Notewhichonescausethemostreaction.Oftentheonethatsoundsthemostridiculousisthemostsignificant.Writethreechosenaffirmationsfivetimeseachdayafteryourmorningpages;besuretoincludetheaffirmationsyoumadeyourselffromyourblurts.

5

Return to the list of imaginary lives from last week. List five more livesbelow.Nowwritedownplansfordoingbitsandpiecesof theselivesintheoneyouarelivingnow.Ifyouhavelistedadancer’slife,doyouletyourselfgodancing?Ifyouhavelistedamonk’slife,areyoueverallowedtogoonaretreat?Ifyouareascubadiver,isthereanaquariumshopyoucanvisit?Adayatthelakeyoucouldschedule?

6

LifePie:Drawacirclebelow.Divideitintosixpiecesofpie.Labelonepiece“spirituality,” another “exercise,” another “play,” and so on with “work,”“friends,”and“romance/adventure.”Placeadotineachsliceatthedegreetowhichyouarefulfilledinthatarea(outerrimindicatesgreat;innercircle,notsogreat).Connectthedots.Thiswillshowyouwhereyouarelopsided.

Asyoubeginthecourse,itisnotuncommonforyourlifepietolooklikea

tarantula. As recovery progresses, your tarantula may become a mandala.Workingwith this tool,youwillnotice that thereareareasofyour life thatfeel impoverished and on which you spend little or no time. Use the timetidbitsyouarefindingtoalterthis.

If your spiritual life is minimal, even a five-minute pit stop into a

synagogueorcathedralcan restorea senseofwonder.Manyofus find thatfiveminutesofdrummusiccanputus in touchwithour spiritualcore.Forothers,it’satriptoagreenhouse.Thepointisthateventheslightestattentionto our impoverished areas can nurture them. List threeways tomake yourcirclelesslopsided.

Ishutmyeyesinordertosee.

PAULGAUGUIN

7

TenTinyChanges:Listtenchangesyou’dliketomakeforyourself,fromthesignificanttothesmallorviceversa(“getnewsheetssoIhaveanotherset,gotoChina,paintmykitchen,dumpmybitchyfriendAlice”).Doitthisway:

Asthemorningpagesnudgeusincreasinglyintothepresent,wherewepayattention toourcurrent lives, a small shift likeanewlypaintedkitchencanyieldaluxuriouslylargesenseofself-care.

8

Selectonesmallitemfromthelistoftenchangesandmakeitagoalforthisweek.Atweek’send,describeyourresultsbelow.

1. How many days this week did you do your morning pages?

(We’rehopingseven,remember.)Howwastheexperienceforyou?Howdidthemorningpagesworkforyou?Describethem(forexample,“Theyfeltsostupid.I’dwritealltheseitty-bittydisconnectedthingsthatdidn’tseem to have anything to do with one another or with anything”).Remember,ifyouarewritingmorningpages,theyareworkingforyou.What were you surprised to find yourself writing about? Answer thisquestioninfullonyourcheck-inpage.Thiswillbeaweeklyself-scanofyourmoods,notyourprogress.Don’tworryifyourpagesarewhinyandtrite.Sometimesthat’stheverybestthingforyou.

2.Didyoudoyourartist’sdate thisweek?Remember thatartist’sdatesareanecessaryfrivolity.Whatdidyoudo?Howdiditfeel?

3. Were there any other issues this week that you considersignificantforyourrecovery?Describethem.

Check-In

WeekThree

RecoveringaSenseofPower

Thisweekmayfindyoudealingwithunaccustomedburstsofenergyandsharppeaksofanger,joy,andgrief.Youarecomingintoyourpowerastheillusoryholdofyourpreviouslyacceptedlimitsisshaken.Youwillbeaskedtoconsciouslyexperimentwithspiritualopen-mindedness.

1

Describe your childhood bedroom. If youwish, youmay sketch this room.Whatwasyourfavoritethingaboutit?What’syourfavoritethingaboutyourbedroomrightnow?Nothing?Well,getsomethingyoulikeinthere—maybesomethingfromthatoldchildhoodbedroom.

Tasks

Thereisavitality,alifeforce,anenergy,aquickening,thatistranslatedthroughyouintoaction,andbecausethereisonlyoneofyouinalltime,thisexpressionisunique.Andifyoublockit,itwillneverexistthroughanyothermediumandwillbelost.

MARTHAGRAHAM

2

Describe five traits you liked in yourself as a child.Next,write a little bitaboutwhyeachoneappealstoyou.

WheneverIhavetochoosebetweentwoevils,IalwaysliketotrytheoneIhaven’ttriedbefore.

MAEWEST

3

List five childhood accomplishments (got straight A’s in seventh grade,trained thedog,punchedout the classbully, short-sheeted thepriest’sbed).Reflectbelowonyourmemoriesofthoseexperiencesofsuccess.

Anda treat:List fivefavoritechildhoodfoods.Buyyourselfoneof them

thisweek.Yes,Jell-Owithbananasisokay.

4

Habits: Take a look at your habits.Many of themmay interferewith yourself-nurturing and cause shame. Some of the oddest things are self-destructive.DoyouhaveahabitofwatchingTVyoudon’tlike?Doyouhaveahabitofhangingoutwithareallyboringfriendandjustkillingtime(there’san expression!)? Some rotten habits are obvious, overt (drinking toomuch,smoking,eating insteadofwriting).List threeobvious rottenhabits.What’sthepayoffincontinuingthem?

Somerottenhabitsaremoresubtle(notimetoexercise,littletimetopray,

alwayshelpingothers,notgettinganyself-nurturing,hangingoutwithpeoplewhobelittleyourdreams).List threeofyoursubtlefoes.Whatusedotheseformsofsabotagehave?Bespecific.

5

Makea listof friendswhonurtureyou—that’snurture (giveyouasenseofyourowncompetencyandpossibility),notenable(giveyouthemessagethatyouwill never get it straight without their help). There is a big differencebetweenbeinghelpedandbeingtreatedasthoughwearehelpless.Describewhichofthesefriends’traits,particularly,serveyouwell.

6

Call a friendwho treats you like a really good and bright personwho canaccomplish things. Part of your recovery is reaching out for support. Thissupportwillbecriticalasyouundertakenewrisks.

7

Inner Compass: Each of us has an inner compass. This is an instinct thatpointsustowardhealth.Itwarnsuswhenweareondangerousground,andittellsuswhensomethingissafeandgoodforus.Morningpagesareonewayto contact it. So are some other artist-brain activities—painting, driving,walking, scrubbing, running. Thisweek, take an hour to follow your innercompassbydoinganartist-brainactivityandlisteningtowhatinsightsbubbleup.Recordthembelow.

Creativeworkisplay.Itisfreespeculationusingthematerialsofone’schosenform.

STEPHENNACHMANOVITCH

8

Listfivepeopleyouadmirewhomyouwouldfeelsafepraisingpublicly.Nowlistfivepeopleyousecretlyadmire.Whattraitsdothesepeoplehavethatyoucancultivatefurtherinyourself?

Creativityis…seeingsomethingthatdoesn’texistalready.YouneedtofindouthowyoucanbringitintobeingandthatwaybeaplaymatewithGod.

MICHELESHEA

9

Listfivepeoplewhoaredeadwhomyouwishyouhadmetwhiletheywerealive.Nowlist fivepeoplewhoaredeadwhomyou’dlike tohangoutwithforawhile ineternity.What traitsdoyou find in thesepeople thatyoucanlookforinyourfriends?

10

Comparethetwosetsoflists.Takealookatwhatyoureallylikeandreallyadmire—and a look at what you think you should like and admire. YourshouldsmighttellyoutoadmireEdison,whileyourheartbelongstoHoudini.GowiththeHoudinisideofyouforawhile.

1.Howmanydaysthisweekdidyoudoyourmorningpages?How

wastheexperienceforyou?Ifyouskippedaday,whydidyouskipit?

2. Did you do your artist’s date thisweek? (Yes, yes, and it wasawful.)Whatdidyoudo?Howdiditfeel?

3.Didyouexperienceanysynchronicitythisweek?Whatwasit?

4. Were there any other issues this week that you considersignificantforyourrecovery?Describethem.

Check-In

WeekFour

RecoveringaSenseofIntegrity

Thisweekmayfindyougrapplingwithchangingself-definition.Thetasksaredesignedtocatapultyouintoproductiveintrospectionandintegrationofnewself-awareness.Thismaybebothverydifficult

andextremelyexcitingforyou.

1

Environment: Describe your ideal environment. Town? Country? Swanky?Cozy? One paragraph. One image, drawn or clipped, that conveys this.What’syourfavoriteseason?Why?Gothroughsomemagazinesandfindanimageofthis.Ordrawit.Placeitnearyourworkingarea.

Tasks

Whenthesoulwishestoexperiencesomethingshethrowsanimageoftheexperienceoutbeforeherandentersintoherownimage.

MEISTERECKHART

2

TimeTravel:Describeyourselfateighty.Whatdidyoudoafterfiftythatyouenjoyed?Bevery specific.Nowwrite a letter fromyou at eighty to you atyour current age.Whatwould you tell yourself?What interestswould youurgeyourselftopursue?Whatdreamswouldyouencourage?

3

Time Travel: Remember yourself at eight.What did you like to do?Whatwereyourfavoritethings?Nowwritealetterfromyouateighttoyouatyourcurrentage.Whatwouldyoutellyourself?

4

Environment:Lookatyourhouse.Isthereanyroomthatyoucouldmakeintoasecret,privatespace foryourself?Convert theTVroom?Buyascreenorhangasheetandcordonoffasectionofsomeotherroom?Thisisyourdreamarea.Itshouldbedecoratedforfunandnotasanoffice.Allyoureallyneedisa chair or pillow, something to write on, some kind of little altar area forflowersandcandles.Thisistohelpyoucenteronthefactthatcreativityisaspiritual,notanego,issue.Describeyournewprivatespacebelow.

5

Use your life pie (fromWeek Two) to review your growth.Has that nastytarantulachangedshapeyet?Haven’tyoubeenmoreactive,lessrigid,moreexpressive?Becarefulnot toexpect toomuch toosoon.That’s“raising thejumps.”Growthmusthavetimetosolidifyintohealth.Onedayatatime,youarebuildingthehabitpatternsofahealthyartist.Easydoesdoit.Listbelowongoing self-nurturing toys you could buy your artist: books on tape,magazinesubscriptions,theatertickets,abowlingball.

6

Writeyourownartist’sprayer.(Seepages207-208ofTheArtist’sWay.)Useiteverydayforaweek.

IlearnedthattherealcreatorwasmyinnerSelf,theShakti….ThatdesiretodosomethingisGodinsidetalkingthroughus.

MICHELESHEA

7

Anextendedartist’sdate:Planasmallvacationforyourself. (Oneweekendday.Get ready to execute it.) Below, describewhat you did on this artist’sdate.

8

Open your closet. Choose one low-self-worth outfit (you know the one) tohand down to a friend or donate to a charity. Make space for the new.Describethisoutfitandhowdisposingofitmadeyoufeel.

9

Lookatonesituationinyourlifethatyoufeelyoushouldchangebuthaven’tyet.Whatisthepayoffforyouinstayingstuck?

10

Ifyoubreakyourreadingdeprivation(seepages87-89ofTheArtist’sWay),writeabouthowyoudidit.Inatantrum?Aslipup?Abinge?Howdoyoufeelaboutit?Why?

1. How many days this week did you do your morning pages?

(Tantrumsoftenshowupasskippingthemorningpages.)Howwastheexperienceforyou?

2.Didyoudoyourartist’sdatethisweek?(Doesyourartistgettodomorethanrentamovie?)Whatdidyoudo?Howdiditfeel?

3.Didyouexperienceanysynchronicitythisweek?Whatwasit?

4. Were there any other issues this week that you considersignificantforyourrecovery?Describethem.

Check-In

WeekFive

RecoveringaSenseofPossibility

Thisweekyouarebeingaskedtoexamineyourpayoffsinremainingstuck.Youwillexplorehowyoucurtailyourownpossibilitiesbyplacinglimitsonthegoodyoucanreceive.Youwillexaminethecostofsettlingforappearinggoodinsteadofbeingauthentic.Youmayfindyourselfthinkingaboutradicalchanges,nolongerrulingoutyourgrowth

bymakingothersthecauseofyourconstriction.

Thefollowingtasksexploreandexpandyourrelationshiptothesource.

1

ThereasonIcan’treallybelieveinasupportiveGodis…

Listfivegrievances.(Godcantakeit.)

Tasks

2

StartinganImageFile:IfIhadeitherfaithormoneyIwouldtry…

List fivedesires.For thenextweek, be alert for imagesof thesedesires.

When you spot them, clip them, buy them, photograph them, draw them,collectthemsomehow.Withtheseimages,beginafileofdreamsthatspeaktoyou.Add to it continually for the duration of the course. Paste a couple ofespeciallypowerfulimageshereanddescribetheirpullforyou.

3

Onemoretime,listfiveimaginarylives.Havetheychanged?Areyoudoingmorepartsofthem?Youmaywanttoaddimagesoftheselivestoyourimagefile.

4

IfIweretwentyandhadmoney…

Listfiveadventures.Again,addimagesofthesetoyourvisualimagefile.

5

IfIweresixty-fiveandhadmoney…

List and describe five postponed pleasures. And again, collect these

images.Thisisaverypotenttool.

6

TenwaysIammeantomyselfare…

Justasmakingthepositiveexplicithelpsallowitintoourlives,makingthe

negativeexplicithelpsusexorciseit.

7

TenitemsIwouldliketoownthatIdon’tare…

Andagain,youmaywanttocollecttheseimages.Inordertoboostsales,

experts in salesmotivationoften teach rookie salespeople topost imagesofwhattheywouldliketoown.Itworks.

ToaccepttheresponsibilityofbeingachildofGodistoacceptthebestthatlifehastoofferyou.

STELLATERRILLMANN

8

Honestly,myfavoritecreativeblockis…

TV,overreading,friends,work,rescuingothers,overexercise.Younameit.

Whetheryoucandrawornot,pleasecartoonyourselfindulginginit.

9

Mypayoffforstayingblockedis…

Thisyoumaywanttoexploreinyourmorningpages.

10

ThepersonIblameforbeingblockedis…

Again,useyourpagestomulloverthis.

1.Howmanydaysthisweekdidyoudoyourmorningpages?Are

youstartingtolikethem—atall?Howwastheexperienceforyou?Haveyoudiscovered the page-and-a-half “truth point” yet?Manyof us findthatpaydirtinourwritingoccursafterapageandahalfofvamping.

2. Did you do your artist’s date this week? Have you had theexperienceofhearinganswersduringthisleisuretime?Whatdidyoudoforyourdate?Howdiditfeel?Haveyoutakenanartist’sdateyet thatreallyfeltadventurous?

3.Didyouexperienceany synchronicity thisweek?Whatwas it?Tryinauguratingaconversationonsynchronicitywithyourfriends.

4. Were there any other issues this week that you considersignificantforyourrecovery?Describethem.

Check-In

WeekSix

RecoveringaSenseofAbundance

Thisweekyoutackleamajorcreativeblock—money.YouareaskedtoreallylookatyourownideasaboutGod,money,andcreative

abundance.Theessayswillexplorethewaysinwhichyourattitudeslimitabundanceandluxuryinyourcurrentlife.Youwillbeintroducedtocounting,ablock-bustingtoolforclarityandrightuseoffunds.

Thisweekmayfeelvolatile.

1

NaturalAbundance:Pickfiveflowersorleaves.Youmaywanttopressthesebetween wax paper and save them in this book. If you did this inkindergarten, that’s fine. Some of the best creative play is done there. Letyourselfdoitagainandrecordbelowhowthiswhimsicalactivityinfluencedyourthinkingonthecreativeprocess.

Tasks

Asanartist,itiscentraltobeunsatisfied!Thisisn’tgreed,thoughitmightbeappetite.

LAWRENCECALCAGNO

NaturalAbundance:Findfiveprettyorinterestingrocks.Ienjoythisexerciseparticularlybecauserockscanbecarriedinpockets,fingeredinbusinessmeetings.Theycanbesmall,constantremindersofourcreativeconsciousness.

2

Creation:Bakesomething.(Ifyouhaveasugarproblem,makeafruitsalad.)Creativitydoesnothavetoalwaysinvolvecapital-Aart.Veryoften,theactofcookingsomethingcanhelpyoucooksomethingupinanothercreativemode.(When I am stymied as awriter, Imake soups andpies.)Reflect belowonhowthissimplecreativeactofcookinginfluencedyourrelationshiptolargerartprojectsyouareworkingon.

Clearing:Throwoutorgiveawayfiverattypiecesofclothing.

3

RereadtheBasicPrinciples.(Seepagexi.)Dothisoncedaily.Readanartist’sprayer—yours fromWeek Four, or mine on pages 207-208 of The Artist’sWay.Dothisoncedaily.Copybelowthesentencesfromthesepagesthatfeelparticularlyrelevanttoyou.

Communication:Sendpostcardstofivefriends.Thisisnotagoody-two-shoesexercise.Sendthemtopeopleyouwouldlovetohearfrom.

4

Clearing:Mapoutbelowafewchangesinyourhomeenvironmentthatwouldgiveyoumorephysicalandemotionalspace.Makethem.

5

Acceptance: Any new flow in your life? Below, practice saying yes tofreebies.

6

Prosperity:Anychangesinyourfinancialsituationoryourperspectiveonit?Anynew—evencrazy—ideasaboutwhatyouwouldlovedoing?Pullimagesaroundthisandaddtoyourimagefile.Pasteafewofthemhere.

1. How many days this week did you do your morning pages?

(Haveyouused themyet to thinkaboutcreative luxury foryourself?)Howwastheexperienceforyou?

2.Didyoudoyour artist’s date thisweek? (Haveyou consideredallowingyourselftwo?)Whatdidyoudo?Howdiditfeel?

3.Didyouexperienceanysynchronicitythisweek?Whatwasit?

4. Were there any other issues this week that you considersignificantforyourrecovery?Describethem.

Check-In

WeekSeven

RecoveringaSenseofConnection

Weturnthisweektothepracticeofrightattitudesforcreativity.Theemphasisisonyourreceptiveaswellasactiveskills.Theessays,exercises,andtasksaimatexcavatingareasofgenuinecreativeinterest

asyouconnectwithyourpersonalangels.

1

Makethissentenceamantra:Treatingmyselflikeapreciousobjectwillmakemestrong.Watercolororcrayonorcalligraphthissentencebelow.Youmayalsowishtodosoonablanksheetandpostitwhereyouwillseeitdaily.Wetendtothinkbeinghardonourselveswillmakeusstrong.Butitischerishingourselvesthatgivesusstrength.

Tasks

Trustinyourself.Yourperceptionsareoftenfarmoreaccuratethanyouarewillingtobelieve.

CLAUDIABLACK

2

Giveyourselftimeouttolistentoonesideofanalbum,justforjoy.Youmaywanttodoodleinthespaceprovidedhereasyoulisten,allowingyourselftodrawtheshapes,emotions, thoughtsyouhear in themusic.Noticehowjusttwenty minutes can refresh you. Learn to take these mini artist’s dates tobreakstressandallowinsight.

3

Take yourself into a sacred space—a church, synagogue, library, grove oftrees—andallowyourselftosavorthesilenceandhealingsolitude.Eachofushasapersonalideaofwhatsacredspaceis.Forme,alargeclockstoreoragreat aquarium store can engender a sense of timelesswonder. Experimentandrecordafewofyourreflectionsontheseactivitiesbelow.

4

Createonewonderfulsmellinyourhouse—withsoup,incense,firbranches,candles—whatever. Note below how this infuses your day in terms ofcreativity.

Wearyourfavoriteitemofclothingfornospecialoccasion.

5

Collage: Collect a stack of at least ten magazines, which you will allowyourselftofreelydismember.Settingatwenty-minutetimelimitforyourself,tear(literally)throughthemagazines,collectinganyimagesthatreflectyourlife or interests. Think of this collage as a form of pictorial autobiography.Include your past, present, future, and your dreams. It is okay to includeimagesyousimplylike.Keeppullinguntilyouhaveagoodstackofimages(at least twenty).Nowtakeasheetofnewspaper,astapler,orsome tapeorglue,andarrangeyourimagesinawaythatpleasesyou.(Thisisoneofmystudents’favoriteexercises.)Describeyourcollagebelow.

Whenyoustartapainting,itissomewhatoutsideyou.Attheconclusion,youseemtomoveinsidethepainting.

FERNANDOBOTERO

Buyyourselfonewonderfulpairofsocks,onewonderfulpairofgloves—onewonderfullycomforting,self-lovingsomething.

6

Quicklylistfivefavoritefilms.Doyouseeanycommondenominatorsamongthem?Aretheyromances,adventures,periodpieces,politicaldramas,familyepics,thrillers?Doyouseetracesofyourcinematicthemesinyourcollage?

Whenaninnersituationisnotmadeconscious,itappearsoutsideasfate.

C.G.JUNG

7

Nameyourfavoritetopicstoreadabout:comparativereligion,movies,ESP,physics, rags-to-riches, betrayal, love triangles, scientific breakthroughs,sports … Are these topics in your collage? How do they appear in thecollage?

Giveyourcollageaplaceofhonor.Evenasecretplaceofhonorisallright—inyourcloset,inadrawer,anywherethatisyours.Youmaywanttodoanewoneeveryfewmonths,orcollagemorethoroughlyadreamyouaretryingtoaccomplish.

Check-In

1.Howmanydaysthisweekdidyoudoyourmorningpages?Have

youallowedyourselftodaydreamafewcreativerisks?Areyoucoddlingyourartistchildwithchildhoodloves?

2.Didyoudoyourartist’sdate thisweek?Didyouuse it to takeanyrisks?Whatdidyoudo?Howdiditfeel?

3.Didyouexperienceanysynchronicitythisweek?Whatwasit?

4. Were there any other issues this week that you considersignificantforyourrecovery?Describethem.

WeekEight

RecoveringaSenseofStrength

Thisweektacklesanothermajorcreativeblock:time.Youwillexplorethewaysinwhichyouhaveusedyourperceptionoftimetoprecludetakingcreativerisks.Youwillidentifyimmediateandpracticalchangesyoucanmakeinyourcurrentlife.Youwillexcavatetheearlyconditioningthatmayhaveencouragedyoutosettleforfarlessthanyoudesirecreatively.

1

GoalSearch:Youmayfindthefollowingexercisedifficult.Allowyourselftodoitanyway.Ifmultipledreamsoccurtoyou,dotheexerciseforeachoneofthem.Thesimpleactofimaginingadreaminconcretedetailhelpsustobringitintoreality.Thinkofyourgoalsearchasapreliminaryarchitect’sdrawingforthelifeyouwouldwishtohave.

Tasks

Yourdesireisyourprayer.Picturethefulfillmentofyourdesirenowandfeelitsrealityandyouwillexperiencethejoyoftheansweredprayer.

DR.JOSEPHMURPHY

TheSteps

1. Name your dream. That’s right. Write it down. “In a perfect

world,Iwouldsecretlylovetobea____.”

2.Nameoneconcretegoalthatsignalstoyouitsaccomplishment.Onyouremotionalcompass,thisgoalsignifiestruenorth.(Forexample,twowomenmaywanttobeactresses.Theysharethatdream.Forone,anarticle inPeoplemagazine is the concrete goal.Toher, glamour is theemotional center for her dream; glamour is true north. For the second

woman,theconcretegoalisagoodreviewinaBroadwayplay.Toher,respectasacreativeartististheemotionalcenterofherdream;respectistrue north. Actress One might be happy as a soap star. Actress Twowouldneedstageworktofulfillherdream.Onthesurface,bothseemtodesirethesamething.)

3. Inaperfectworld,wherewouldyou like tobe in fiveyears inrelationtoyourdreamandtruenorth?

4.Intheworldweinhabitnow,whatactioncanyoutake,thisyear,tomoveyoucloser?Describethisactionindetailbelow.

5. What action can you take this month? This week? This day?Rightnow?

6.Listyourdream(forexample,tobeafamousfilmdirector).Listits truenorth (respectandhigherconsciousness,masscommunication.)Selectarolemodel(WaltDisney,RonHoward,MichaelPowell).Makeanactionplan.Fiveyears.Threeyears.Oneyear.Onemonth.Oneweek.Now.Chooseanaction.Readingthisbookisanaction.

2

NewChildhood:Whatmightyouhavebeen ifyou’dhadperfectnurturing?Write a page of this fantasy childhood. What were you given? Can youreparentyourselfinthatdirectionnow?

3

Color Schemes: Pick a color and write a quick few sentences describingyourselfinthefirstperson.(“Iamsilver,high-techandethereal,thecolorofdreams and accomplishment, the color of half-light and in between. I feelserene.”Or, “I am red. I am passion, sunset, anger, blood,wine and roses,armies,murder,lust,andapples.”)Whatisyourfavoritecolor?Whatdoyouhavethatisthatcolor?Whataboutanentireroom?Thisisyourlifeandyourhouse.

4

Listfivethingsyouarenotallowedtodo:killyourboss,screaminchurch,gooutsidenaked,makeascene,quityourjob.Nowdothatthingonpaper.Writeit,drawit,paintit,actitout,collageit.Nowputsomemusiconanddanceit.

5

StyleSearch:Listtwentythingsyouliketodo.(Perhapsthesametwentyyoulistedbefore,perhapsnot.)Answerthesequestionsforeachitem.

Doesitcostmoney,orisitfree?Expensiveorcheap?Aloneorwithsomebody?Job-related?Physicalrisk?Fast-pacedorslow?Mind,body,orspiritual?

6

IdealDay:Planaperfectday inyour lifeas it isnowconstituted,using theinformationgleanedfromthepreviousexercises.

7

Ideal Ideal Day: Plan a perfect day in your life as you wish it wereconstituted. There are no restrictions. Allow yourself to be and to havewhatever your heart desires. Your ideal environment, job, home, circle offriends,intimaterelationship,statureinyourartform—yourwildestdreams.

ChooseonefestiveaspectfromyourIdealday.Allowyourselftoliveit.YoumaynotbeabletomovetoRomeyet,buteveninastill-grungyapartmentyoucanenjoyahomemadecappuccinoandacroissant.

1. How many days this week did you do your morning pages?(Have you been very tempted to abandon them?) How was theexperienceforyou?

2.Didyoudoyourartist’sdatethisweek?(Haveyoubeenallowingworkaholismorothercommitmentstosabotagethispractice?)Whatdidyoudo?Howdiditfeel?

3.Didyouexperienceanysynchronicitythisweek?Whatwasit?

4. Were there any other issues this week that you considersignificantforyourrecovery?Describethem.

Check-In

WeekNine

RecoveringaSenseofCompassion

Thisweekfindsusfacingtheinternalblockstocreativity.Itmaybetemptingtoabandonshipatthispoint.Don’t!Wewillexploreandacknowledgetheemotionaldifficultiesthatbesetusinthepastaswemadecreativeefforts.Wewillundertakehealingtheshameofpast

failures.Wewillgainincompassionaswereparentthefrightenedartistchildwhoyearnsforcreativeaccomplishment.Wewilllearntoolsto

dismantleemotionalblocksandsupportrenewedrisk.

1

Readyourmorningpages!Thisprocessisbestundertakenwithtwocoloredmarkers,onetohighlightinsightsandanothertohighlightactionsneeded.Donot judge your pages or yourself. This is very important.Yes, theywill beboring. Yes, they may be painful. Consider them a map. Take them asinformation,notanindictment.

TakeStock:Whomhaveyouconsistentlybeencomplainingabout?What

have you procrastinated on?What blessedly have you allowed yourself tochangeoraccept?Writeaboutthesethingsbelow.

Take Heart:Many of us notice an alarming tendency toward black-and-

white thinking:“He’s terrible.He’swonderful. I lovehim.Ihatehim.It’sagreatjob.It’saterriblejob,”andsoforth.Don’tbethrownbythis.

Acknowledge:Thepageshaveallowedustoventwithoutself-destruction,

to plan without interference, to complain without an audience, to dreamwithout restriction, to know our own minds. Give yourself credit forundertaking them. Give them credit for the changes and growth they havefostered.

Tasks

BereallywholeAndallthingswillcometoyou.

LAO-TZU

2

Visualizing: You have already done work with naming your goal andidentifying true north. The following exercise asks you to fully imaginehavingyourgoalaccomplished.Pleasespendenoughtimetofillinthejuicydetailsthatwouldreallymaketheexperiencewonderfulforyou.

Nameyourgoal:Iam______________.

Inthepresenttense,describeyourselfdoingitattheheightofyourpowers!Thisisyouridealscene.

Readthisaloudtoyourself.

Postthisaboveyourworkarea.

Readthisaloud,daily!

Forthenextweekcollectactualpicturesofyourselfandcombinethemwithmagazine images to collage your ideal scene described above. Remember,seeing isbelieving, and the addedvisual cueofyour real self inyour idealscenecanmakeitfarmorereal.

Learningismovementfrommomenttomoment.

J.KRISHNAMURTI

3

Priorities:Listforyourselfyourcreativegoalsfortheyear.Listforyourselfyourcreativegoalsforthemonth.Listforyourselfyourcreativegoalsfortheweek.

4

CreativeU-Turns:AllofushavetakencreativeU-turns.Nameoneofyours.Namethreemore.Nametheonethatjustkillsyou.

Forgive yourself. Forgive yourself for all failures of nerve, timing, and

initiative.Deviseapersonalized listofaffirmations tohelpyoudobetter inthefuture.

Very gently, very gently, consider whether any aborted, abandoned,

savaged,orsabotagedbrainchildrencanberescued.Remember,youarenotalone.AllofushavetakencreativeU-turns.

ChooseonecreativeU-turn.Retrieveit.Mendit.

DonottakeacreativeU-turnnow.Instead,noticeyourresistance.Morning

pagesseemingdifficult?Stupid?Pointless?Tooobvious?Dothemanyway.

What creative dreams are lurching toward possibility? Admit that they

frightenyou.

Choose an artist’s totem. It might be a doll, a stuffed animal, a carved

figurine,orawind-uptoy.Thepointistochoosesomethingyouimmediatelyfeelaprotectivefondnesstoward.Giveyourtotemaplaceofhonorandthenhonoritbynotbeatinguponyourartistchild.

1. How many days this week did you do your morning pages?

Regarding your U-turns, have you allowed yourself a shift towardcompassion,atleastonthepage?

2. Did you do your artist’s date this week? Have you kept theemphasisonfun?Whatdidyoudo?Howdiditfeel?

3.Didyouexperienceanysynchronicitythisweek?Whatwasit?

4. Were there any other issues this week that you considersignificantforyourrecovery?Describethem.

Check-In

Welearntodosomethingbydoingit.Thereisnootherway.

JOHNHOLT(EDUCATOR)

WeekTen

RecoveringaSenseofSelf-Protection

Thisweekweexploretheperilsthatcanambushusonourcreativepath.Becausecreativityisaspiritualissue,manyoftheperilsarespiritual.Withthisweek’stasks,wesearchoutthetoxicpatternsweclingto

thatblockourcreativeflow.

1

TheDeadlies:Take apieceofpaper and cut seven small strips from it.Oneachstripwriteoneofthefollowingwords:“alcohol,”“drugs,” “sex,” “work,”“money,”“food,”“family/friends.”Foldthesestripsofpaperandplacetheminan envelope.We call these folded slips “the deadlies.” You’ll see why in aminute.Nowdrawoneofthedeadliesfromtheenvelopeandwritefivewaysinwhich it has had a negative impact on your life. (If the one you chooseseemsdifficultor inapplicable toyou,consider this resistance.)Youwilldothisseventimes,eachtimeputtingbackthepreviousslipofpapersothatyouare always drawing from seven possible choices. Yes, youmay repeatedlydrawthesamedeadly.Yes,thisissignificant.Veryoften,itisthelastimpactonthefinallistofanannoying“Ohno,notagain”thatyieldsabreak,throughdenial,intoclarity.

Tasks

Hewhoknowsothersiswise;hewhoknowshimselfisenlightened.

LAO-TZU

IwilltellyouwhatIhavelearnedmyself.Forme,alongfiveorsixmilewalkhelps.Andonemustgoaloneandeveryday.

BRENDAUELAND

2

Touchstones:Makeaquicklistofthingsyoulove,happinesstouchstonesforyou.Riverrockswornsmooth,willowtrees,cornflowers,chicory,realItalianbread,homemadevegetablesoup,theBoDeans’music,blackbeansandrice,the smell of new-mown grass, blue velvet (the cloth and the song), AuntMinnie’scrumbpie…

Youmaywanttocopythemonablanksheetofpaperandpostitwhereit

canconsoleyouandremindyouofyourownpersonaltouchstones.Youmaywant to drawone of the itemson your list—or acquire it. If you love bluevelvet,getaremnantanduseitasarunneronasideboardordresser,ortackittothewallandmountimagesonit.Playalittle.

3

TheAwfulTruth:Answerthefollowingquestions.

Tellthetruth.Whathabitdoyouhavethatgetsinthewayofyourcreativity?

Tellthetruth.Whatdoyouthinkmightbeaproblem?Itis.

Whatdoyouplantodoaboutthehabitorproblem?

Whatisyourpayoffinholdingontothisblock?

Ifyoucan’tfigureoutyourpayoff,askatrustedfriend.

Tell the truth.Which friendsmake you doubt yourself ? (The self-doubt isyoursalready,buttheytriggerit.)

Tell the truth.Which friends believe in you and your talent? (The talent isyours,buttheymakeyoufeelit.)

Whatisthepayoffinkeepingyourdestructivefriends?Iftheansweris“Ilikethem,”thenextquestionis“Why?”

Which destructive habits do your destructive friends share with yourdestructiveself?

Which constructive habits do your constructive friends share with yourconstructiveself?

Howoften—evenbeforewebegan—havewedeclaredatask“impossible”?Andhowoftenhaveweconstruedapictureofourselvesasbeinginadequate?…Agreatdealdependsuponthethoughtpatternswechooseandonthepersistencewithwhichweaffirmthem.

PIEROFERRUCCI

4

SettingaBottomLine:Workingwithyouranswerstothequestionsonpage133, try setting a bottom line for yourself. Begin with five of your mostpainfulbehaviors.Youcanalwaysaddmorelater.

•Ifyounoticethatyoureveningsaretypicallygobbledupbyyour

boss’sextraassignments,thenarulemustcomeintoplay:Noworkaftersix.

• If youwake at six and couldwrite for an hour if youwere notinterruptedtolookforsocksandmakebreakfastanddoironing,therulemightbe:NointerruptingMommybeforesevenA.M.

•Ifyouareworkingtoomanyjobsandtoomanyhours,youmayneedtolookatyourbilling.Areyoupricingyourselfappropriately?Dosome footwork. What are others in your field receiving? Raise yourpricesandloweryourworkload.

BottomLine

1.Iwillnolongerworkweekends.

2.Iwillnolongerbringworkalongwithmeonsocialoccasions.

3.Iwillnolongerplacemyworkbeforemycreativecommitments.(Nomorecancelingpianolessonsordrawingclassbecauseofasuddennewdeadlinefrommybosstheworkaholic.)

4.Iwillnolongerpostponelovemakingtodolate-nightreadingforwork.

5.Iwillnolongeracceptbusinesscallsathomeaftersix.It’safunnythingaboutlife;ifyourefusetoacceptanythingbutthebest,youveryoftenget

it.

W.SOMERSETMAUGHAM

5

Cherishing:

1.Listfivesmallvictories.

2.Listthreenurturingactionsyoutookforyourartist.

3.Listthreeactionsyoucouldtaketocomfortyourartist.

4.Makethreenicepromisestoyourself.Keepthem.

5.Doonelovelythingforyourselfeachdaythisweek.

Check-In

1.Howmanydaysthisweekdidyoudoyourmorningpages?Has

reading your pages changed your writing? Are you still allowingyourselftowritethemfreely?

2.Didyoudoyourartist’sdatethisweek?Letyourselfdoanextraone.Whatdidyoudo?Howdiditfeel?

3.Didyouexperienceanysynchronicitythisweek?Whatwasit?

4. Were there any other issues this week that you considersignificantforyourrecovery?Describethem.

WeekEleven

RecoveringaSenseofAutonomy

Thisweekwefocusonourartisticautonomy.Weexaminetheongoingwaysinwhichwemustnurtureandacceptourselvesasartists.

Weexplorethebehaviorsthatcanstrengthenourspiritualbaseandthereforeourcreativepower.Wetakeaspeciallookatthewaysinwhichsuccessmustbehandledinorderthatwenotsabotageourfreedom.

1

Writedownthefollowingheadingswithspaceforlistsbeloweachofthem:Health, Possessions, Leisure, Relationships, Creativity, Career, andSpirituality.Withno thoughtas topracticality, list fivewishes ineacharea.Allright,it’salot.Letyourselfdreamalittlehere.

Tasks

Artdoesnotreproducethevisible;rather,itmakesitvisible.Themoondevelopscreativityaschemicalsdevelopphotographicimages.

NORMAJEANHARRIS

TapeyourownvoicereadingtheBasicPrinciples(seepagexi).Chooseafavoriteessayfromthisbookandtapethataswell.Usethistapeformeditation.

2

WorkingwiththeHonestChangessectioninWeekFourofTheArtist’sWay,inventory for yourself the ways you have changed since beginning yourrecovery.

Writeout,inlonghand,yourartist’sprayerfromWeekFour.Placeitinyourwallet.

3

Listfivewaysyouwillchangeasyoucontinue.

4

List fiveways youplan to nurture yourself in the next sixmonths: coursesyouwill take, suppliesyouwill allowyourself, artist’s dates, andvacationsjustforyou.

5

Below, plan one week’s nurturing for yourself. This means one concrete,lovingactioneverysingledayforoneweek:pleasebinge!

6

Oncemore, reexamine yourGod concept.Does your belief system limit orsupport your creative expansion?Are you open-minded about altering yourconceptofGod?

Writeandmailanencouraginglettertoyourinnerartist.Thissoundssillyandfeelsvery,verygoodtoreceive.Rememberthatyourartistisachildandlovespraiseandencouragementandfestiveplans.

7

List tenexamplesofpersonal synchronicity that support thepossibilityofanurturingcreativeforce.

Check-In

1.Howmanydaysthisweekdidyoudoyourmorningpages?How

wastheexperienceforyou?Haveyourecommendedmorningpagestoanyoneelse?Why?

2.Didyoudoyour artist’s date thisweek? (Haveyou consideredschedulinganentireartist’sday?Whew!)Whatdidyoudo?Howdiditfeel?

3.Didyouexperienceanysynchronicitythisweek?Whatwasit?

4. Were there any other issues this week that you considersignificantforyourrecovery?Describethem.

WeekTwelve

RecoveringaSenseofFaith

Inthisfinalweek,weacknowledgetheinherentlymysteriousspiritualheartofcreativity.Weaddressthefactthatcreativityrequiresreceptivityandprofoundtrust—capacitieswehavedevelopedthroughourworkinthiscourse.Wesetourcreativeaimsandtakeaspeciallookat

last-minutesabotage.Werenewourcommitmenttotheuseofthetools.

1

Writedownanyresistance,angers,andfearsyouhaveaboutgoingonfromhere.Weallhavethem.

2

Takealookatyourcurrentareasofprocrastination.Whatarethepayoffsinyourwaiting?Locatethehiddenfears.

3

SneakapeekatWeekOne,CoreNegativeBeliefs,onpage30ofTheArtist’sWay.Laugh.Yes, thenastycritters are still there.Noteyourprogress.Readyourselftheaffirmationsonpages36and37.Writesomeaffirmationsaboutyourcontinuedcreativityasyouendthecourse.

Mendanymending.

4

UseyourGodjar.Startwithyourfearlistfromthisweek’sTaskOne.Whenworried, remindyourself it’s in the jar—“God’s got it.”Then take the nextaction.Describethisprocessbelow.

SelectaGodjar.Awhat?Ajar,abox,avase,acontainer.Somethingtoputyourfears,yourresentments,yourhopes,yourdreams,yourworriesinto.

5

Nowcheckhow:Honestly,whatwouldyoumostliketocreate?Whatoddballpaths would you open-mindedly dare to try? What appearances are youwillingtoshedtopursueyourdreams?

Repotanypinchedandlanguishingplants.

6

Listfivepeopletowhomyoucantalkaboutyourdreamsandwithwhomyoufeelsupportedtodreamandthenplan.

7

RereadTheArtist’sWay.Shareitwithafriend.Rememberthatthemiracleisoneartistsharingwithanother.TrustGod.Trustyourself.

GoodluckandGodblessyou!

Check-In

1.Howmanydaysthisweekdidyoudoyourmorningpages?Have

youaccepted themyet as apermanent spiritualpractice?Howwas theexperienceforyou?

2.Didyoudoyourartist’sdatethisweek?Willyouallowyourselftheseonapermanentbasisaswell?Whatdidyoudo?Howdiditfeel?

3.Didyouexperienceanysynchronicitythisweek?Whatwasit?

4. Were there any other issues this week that you considersignificantforyourrecovery?Describethem.

Asarecoveringcreative,younowhaveputmanyhoursintoyourrecoveryoverthesethreemonths,changingrapidlyasyougrew.Foryourrecoverytocontinue,yourequireacommitmenttofurthercreativeplans.Thecontractonthefollowingpagewillhelpyouaccomplishthem.

CREATIVECLUSTERSGUIDE

WHEN THE ARTIST’S WAY was first published, I expressed a wish forArtist’sWaygroupstospringintobeing.Ienvisionedthemaspeer-runcircles—“creative clusters”—where people would serve one another as believingmirrors, uniting with the common aim of creative unblocking. It was myvisionthatsuchcircleswouldbefreeofcharge,thatanyonecouldassembleone,usingthebookasaguideandatext.Manysuchpeer-runcirclesdidformandmanymoreareformingstill.Suchartist-to-artist,heart-to-hearthelpandsupportistheheartofTheArtist’sWayandTheVeinofGold.

Not surprisingly, many therapists, community colleges, wellness centers,

universities,andteacherssoonbeganrunningfacilitatedArtist’sWaygroups,forwhich theychargeda fee.TheArtist’sWaygroupswere led rather thansimply convened. To the degree to which they adhered to the spiritualprinciplesofcreativerecoveryandintroducedpeopletotheuseofthetools,they were—and are—valuable. Any group that starts with such a leadershould, however, rapidly become autonomous, “graduating” to a peer-run,nonprofitstatus.

Thereareno“accredited”Artist’sWayteachers.IchosenottofranchisetheArtist’sWaybuttoofferitasagift,freeofcharge.Itismybeliefthatcreativerecoveryatitsbestisanonhierarchical,peer-run,collectiveprocess.Inthisitdiffersfromtheacademicandtherapeuticmodels.AnyprofessionalusingtheArtist’sWayshouldrealize thatautonomous,peer-runcreativeclustersmustremain theeventualgoal.Facilitatedgroupscanserveasasortofbridge tothisend.

In my years of teaching and traveling, I have frequently encounteredexcellent results frompeer-group clusters.Onoccasion, I have encounteredsituationswheretheArtist’sWayhasbeenundulymodified.Wheneverthereis a misplaced emphasis on intellectual “analysis” or therapeutic“processing,”thereistheriskofunderminingcreativeunfolding.Veryoften,what couldbe interpreted as “neurosis”or a deep-seatedproblem is simplycreativeresistance.

TheArtist’sWayandTheVeinofGoldandallmyother“teaching”booksare experiential books. They are intended to teach people to process andtransformlifethroughactsofcreativity.Bothbooksandallcreativeclusters

shouldbepracticedthroughcreativeaction,notthroughtheory.Asanartist,Iknowthis.TheArtist’sWayandotherbooksarethedistillateofthirtyyearsofartisticpractice.

It ismy belief andmy experience as a teacher that all of us are healthyenoughtopracticecreativity.Itisnotadangerousendeavorrequiringtrainedfacilitators. It is our human birthright and somethingwe can do gently andcollectively. Creativity is like breathing—pointersmay help, butwe do theprocessourselves.Creativeclusters,wherewegatheraspeerstodevelopourstrength, are best regarded as tribal gatherings,where creative beings raise,celebrate,andactualizethecreativepowerthatrunsthroughusall.

GUIDELINES

1.UseaTwelve-WeekProcesswithaWeeklyGatheringofTwo to

Three Hours. The morning pages and artist’s dates are required ofeveryone in thegroup, including facilitators.Theexercisesaredone inorderinthegroup,witheveryone,includingthefacilitator,answeringthequestions and then sharing the answers in clusters of four, one chapterperweek.Donot share yourmorning pageswith the groupor anyoneelse.Donotrereadyourmorningpagesuntil later in thecourse, ifyouarerequiredtodosobyyourfacilitatororyourowninnerguidance.

2.Avoid Self-Appointed Gurus. If there is any emissary, it is theworkitself,asacollectivecomposedofallwhotakethecourse,athomeorotherwise.Eachpersonisequallyapartofthecollective,noonemorethananother.Whiletheremaybe“teachers,”facilitatorswhoarereliedonduring the twelve-weekperiod to guide others down the path, suchfacilitatorsneedtobepreparedtosharetheirownmaterialandtaketheirown creative risks. This is a dialectic rather than a monologue, anegalitariangroupprocessratherthanahierarchicalone.

3.Listen.We each get what we need from the group process bysharingourownmaterialandbylisteningtoothers.Wedonotneedtocomment on another person’s sharing in order to help that person.We

must refrain from trying to “fix” someone else. Each group devises acooperative creative “song” of artistic recovery. Each group’s song isunique to thatgroup—like thatofapodor familyofwhales, initiatingand echoing to establish their position.When listening, go around thecircle without commenting unduly on what is heard. The circle, as ashape, is very important.We are intended towitness, not control, oneanother.Whensharingexercises,clustersoffourwithinthelargergroupsare important: five tends to become unwieldy in terms of timeconstraints; three doesn’t allow for enough contrasting experience.Obviously,notallgroupscanbedividedintoequalfours.Justtrytodosowheneveryoucan.

4.RespectOneAnother.Becertainthatrespectandcompassionareaffordedequallytoeverymember.Eachpersonmustbeabletospeakhisownwoundsanddreams.Nooneistobe“fixed”byanothermemberofthegroup.Thisisadeepandpowerfulinternalprocess.Thereisnoonerightwaytodothis.Loveisimportant.Bekindtoyourself.Bekindtooneanother.

5.ExpectChangeintheGroupMakeup.Manypeoplewill—somewillnot—fulfill thetwelve-weekprocess.Thereisoftenarebelliousorfallow period after the twelve weeks, with people returning to thedisciplines later. When they do, they continue to find the processunfoldingwithin them a year, a few years, ormany years later.Manygroupshaveatendencytodriveapartateighttotenweeks(creativeU-turns)becauseofthefeelingsoflossassociatedwiththegroup’sending.Facethetruthasagroup;itmayhelpyoustaytogether.

6.BeAutonomous.Youcannotcontrolyourownprocess,letaloneanyoneelse’s.Knowthatyouwillfeelrebelliousoccasionally,thatyouwon’twanttodoallofyourmorningpagesandexercisesattimesinthetwelveweeks.Relapseisokay.Youcannotdothisprocessperfectly,sorelax,bekindtoyourself,andholdontoyourhat.Evenwhenyoufeelnothingishappening,youwillbechangingatgreatvelocity.Thischangeis a deepening into your own intuition, your own creative self. Thestructureofthecourseisaboutsafelygettingacrossthebridgeintonewrealmsofcreativespiritualawareness.

7.BeSelf-Loving.Ifthefacilitatorfeelssomehow“wrong”toyou,change clusters or start your own. Continually seek your own innerguidanceratherthanouterguidance.Youareseekingtoformanartist-to-artist relationshipwith theGreatCreator.Keepgurusatbay.Youhave

yourownanswerswithinyou.

AWordtoTherapists,Teachers,WritingInstructors,andOtherArtist’sWayGroupLeaders.Thankyouforthewonderfulworkyoudo.WhileIknowthatmanyofyouareusingTheArtist’sWaytorungroups,IhopeandexpectthatyouwillgoontoexploreyourowninterestsusingTheArtist’sWayforyourprocessalso.Iencourageyoutofollowyourowncreativevision,tostriveforyourowntruenorth.Youwillfindthatthefacilitationprocesscontinuesyourowngrowthexperience.

I cannot state emphatically enough that the Artist’s Way fame and pathshould not be used in ways that differ substantially from the Artist’sWaytechniquesasspelledoutinthebook.Ihavetestedthetoolsforadecadeandahalfinordertofindthemroadworthy.IaskthatyourefrainfrompresentingyourselvespubliclyasArtist’sWay“experts,”thoughyoumayusethebookwithinyourpractice.IaskthatyourememberthatthewisdomofTheArtist’sWayisacollective,nonhierarchicalexperience.Ihaveheardofabusesofthisprinciple,suchasagroupleader’srequiringthemorningpagestobereadinthe group. This is not in the spirit of the book. Facilitated groups should“graduate”intofree,peer-runclusters.

A Word to Therapeutic Clients. Please remember that the book itselfremainstheprimarysourceoftheArtist’sWayteachings,andthatit isyourinterpretation,andyourworkwith thebookand its tools, thatarecentral toyou in your recovery. I remind you that the work is your own, not justsomething done under the influence of amagic teacher. Please “own” yourrecoveryasyourrecovery.

ThankYou.IamdelightedTheArtist’sWayisusedinthemanycontextsinwhich it is (such as colleges and universities, by therapists, by peer-runclusters). I again offer the reminder that theArtist’sWay is intended to beused in keepingwith the spirit of the book aswritten. There is always thebookitselftoreferto.Thisisanindividual’sjourneythatmaybefacilitatedbythegroupprocess.Ifyoucannotfindorstartagroup,consideryouandthebooktoconstituteone!

PassItOn.Tothoseformingapeer-runcluster,youdonotneedtomaketheArtist’sWayamoneymakingventure,formeorforyou.Ifyoufollowthespiritualpracticeoftithing,Irecommendbuyingthebookandpassingiton.

Toordercall1-800-788-6262orvisitwww.penguin.com

ABOUTTHEAUTHOR

JuliaCameronhasbeenanactiveartistformorethanthirtyyears.Sheistheauthor of twenty-four books, fiction and nonfiction, including The Artist’sWay,Walking inThisWorld,TheVeinofGold,TheRight toWrite,andTheSound of Paper, her bestselling works on the creative process. A novelist,playwright,songwriter,andpoet,shehasmultiplecreditsintheater,film,andtelevision.