The Artist's Way: A Spiritual Path to Higher Creativity

When we have a clear sense of identity, connection to our spirituality, and understanding of what we’re doing, we have unlimited access to the flow of creativity. However, creatives are great at blocking themselves, not just in the ways explored in previous chapters but also in simpler ways too: with food, sex, and other activities that can be distracting and limiting in too high of doses. Cameron states each of these things is good and necessary on its own, but when they are used as creative blocks, they’re detrimental. We often know they’re detrimental too, and we self-sabotage because we’re afraid of our own growth. This decision to block is another kind of creative U-turn, but once we’re aware of the blocks and how they don’t serve us we can move forward. Workaholism is another kind of creative block that’s harder to identify but incredibly detrimental, and Cameron provides a series of 20 questions designed to assess whether the artist has a work addiction. Though work is seen as positive, and the workaholic tendency is often supported by modern culture, Cameron insists that it be recognized as a major creative block. Further, sometimes there are just creative droughts during which we have to show up and continue the process because all droughts eventually end. They’re also necessary because they can bring us creative clarity. Fame and competition can also stand in the way of creative flow because the focus of the art is on the fame or competition instead of the work. When it comes down to it, these blocks are born out of a desire to be loved and win. Cameron suggests focusing on the work and making sure the strongest support comes from ourselves. Creativity takes time and is a process, and self-protection is needed to persist in the face of these blocks.

This week’s chapter includes a quiz to assess whether the artist suffers from workaholism. The tasks attempt to explore the artist’s habits that may get in the way of their creativity as well as touchstones that help the artist refocus and heal. The tasks also include what could be considered an artist’s manifesto that helps them give up the bad habits that keep them from creating and encourages them to make new habits that encourages creating. The check-in reminds the artist to allow the morning pages to be an exercise in free writing.

Accepting yourself as an artist and giving in to your inner child will build a greater sense of autonomy than relying on the results of your labor to dictate your worth. If a book doesn’t sell, it’s not a reflection of you, and if you give into cruel criticisms and other people’s wishes that don’t align with your authentic vision, you may sabotage your inner artist. Creativity is an endless spiritual practice rather than a single destination, and it requires courage to persist. This consistency of practice is key. Sometimes we get too stuck in our heads, and being overly cerebral can be a block of its own. To remedy this, Cameron suggests becoming more present in the physical body through sports or some other activity that connects us to the world outside us in a tangible way. Creativity requires patience and observation. Breakthroughs can occur on a long walk or a bike ride when we’re not necessarily reaching for an answer. This kind of exercise, engagement with our bodies and the world, moves us closer to our creative goals. Cameron tasks readers with building an artist’s altar that is a sensory experience of images and ideas that make us feel connected to our creativity and happiness. Having a ritual—such as lighting a candle, speaking a chant, or holding an object—associated with this creative space can also help.

The tasks this week focus on helping the artist reinforce the lessons they have learned on this journey and to set up a habit of continuing to nurture and cherish their creativity after they have completed the course. The check-in also focuses on how the morning pages and artist date have affected them and whether they have broadened the practices or invited others to begin these activities for themselves.

The culmination of Cameron’s ideas appears in the chapter, as creativity and spirituality are firmly linked through faith. We have to have faith in ourselves as artists and faith in the process, and what this ultimately means is that we must relinquish control. We have to enjoy the mystery of it and “trust the darkness” (195). We must allow the imagination to play through regular artist dates and risks. In pursuing a creative life, we face tests along the way, similar to what one of Cameron’s friends calls, “the Test,” like when a toxic former romantic partner calls you up as you’re about to get married to someone who treats you the way you should be treated (198). Artists often draw the Test to themselves to mitigate the fear of moving forward into new territory. Creatives must trust in themselves, silence the doubters, and have faith in the right people to pass the Test.

The final check-in and set of tasks focus on the artist continuing their practice and understanding that the 12 weeks they spent on this journey is just the beginning of their path to healing. Cameron has also included a new Creativity Contract that mirrors the one at the beginning of the book but helps the artist to commit to continuing to nurture their creativity and grow into new discoveries and understandings of themselves and the world around them.