Gilbert writes that someone should be creative simply because they enjoy being creative. It's not about toiling away in pursuit of a goal, but rather the making of things because they’re fun to make. If they're not fun, then why make them? Additionally she covers how creativity and a creative life isn't necessarily about writing or producing art and Gilbert tells the story of her friend who started figure skating again in her 40's. She skated in the mornings prior to her day and wasn’t winning medals, but did so because she loved to skate.
CREATIVITY RELATED TO EVERYDAY LIFE
In writing about her figure skating friend, Gilbert notes that she didn't quit her job to pursue skating, bur rather maintained her responsibilities in life, and skated as a vocation. Also, Gilbert covers how her father would hold down a normal job and then outside of work pursue whatever was interesting to him, with one example beekeeping. The idea covered in the book is that people have responsibilities and once those are met, there's usually still going to be time that can be made available for creative side endeavors that are fun. In fact, Gilbert also writes of how creativity generally shouldn’t be expected to pay the bills as it’s not a fair burden to put on those pursuits.
SOURCES OF CREATIVITY
Another concept that Gilbert writes about is that creative pursuit doesn't have to be about pursuing a passion. If someone is passionate about a particular thing and pursues it in a healthy way (again, with also meeting the responsibilities of life) that’s great, but it's also great to simply pursue things of interest. Through seeing what's of interest, then learning about and working on that thing, a lot of cool learning and work can develop. Maybe it'll become a passion, but maybe remain an interest until that interest replaced by something new that strikes the fancy, and that's totally fine.
EXPECTATIONS OF CREATIVE WORK
Gilbert also covers about when working on something, the result isn’t always going to be great. I found particularly cool her writing about creativity and particularly creative genius not as character traits, but as things, which sometimes you've got and sometimes you don't, no big deal. With this the case, people should be willing to just do and produce stuff and not get too hung up on how great a particular output is. The important thing for someone who enjoys to create is that they just create. Sometimes the work great, but if not, you finish it and then move on to the next thing. Gilbert makes the case that perfection can be the enemy of good and that heck, if there has to be a choice made between them, done is better than good. Related to this, Someone shouldn’t dwell on their failures or successes, but simply create and move on as motion always beats inertia.
THE IMPORTANCE OF CREATIVE WORK
Additionally noted in the book is that creativity as a pursuit isn't essential, it’s not medicine or subsistence farming, its fun and people being creative shouldn't take it too seriously. This is especially the case if someone worried about what others might say of their creative work. Gilbert writes that people really aren't paying that much attention so those who want to be creative should relax, find things of interest, learn about and pursue them, make stuff and put it out there for others. Whether others are long captivated by work isn't as important as the person doing the work enjoying the creation of it, and believing that what they do has value. Covered in the book is the importance of someone having a sense of entitlement that they're allowed to be there, and perhaps this sense of entitlement is delusional, but Gilbert writes of how if you're going to live your life based on a delusion, as many of us do, choose a delusion that's helpful to you.
On this topic of people and their reaction to work created by others, Gilbert notes how when something created, people are free to do with it what they may, including completely misunderstand it. The artist free to create what they want, and receiver of the art free to consume it as they want.
The last thing to note about Big Magic is that toward the end of the book, Gilbert writes about her first published story, "Pilgrims" from 1993. She wrote the auto-biographical piece and Esquire bought the finished story, but then needed to cut pages from the magazine and gave her a choice to either cut 30% or hope it would run later. She choose to cut and Gilbert wrote of actually finding value in the process of cutting the story and how the shorter version neither better not worse than what she started with, just different. That story getting published in Esquire, and it may never have if she hadn't been willing to cut it for that particular issue, wound up getting her an agent and on her way to success in writing. All from viewing the story not as a sacred thing that couldn’t be revised, but rather something she enjoyed writing, put out there and then moved on from.
Big Magic was a really enjoyable read for me and one of the things I found I kept thinking throughout was that Gilbert's advice on creativity reminded me of writing on life produced by the late public policy expert John Gardner. With this the case, it was fascinating to me to see that when I wrote in 2013 about Gilbert’s book The Signature of All Things, I referenced part of that novel reminding me of writing from Gardner.