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The Creative Tank

By   /   July 8, 2010  /   11 Comments

How to keep your creative well from running dry.

If you are anything like I am, you have many different ways in which you create. I think it is safe to say that we are all musically creative. We write, arrange, sketch, play, edit, perform, design, distort, and produce audio for various formats and productions. In my own career, however, I also like to work on my website, which I take care of myself. I love to take certain segments of our podcasts and edit/tweak them as a temporary (and I let me stress the word temporary!) tangent from my current scoring assignment. Though I am in no way, shape, or form a graphic designer, I have a fairly evolved sense of design aesthetic, and I very much enjoyed creating my own logo for my company. I design and create my own demo materials, promotional literature, and to a more limited degree, I like opening up Photoshop and seeing what trouble I can get into with my photos and graphics. To me, each one of these things is another creative outlet, and all of them allow me to divert my creative attention, albeit momentarily, to things other than film scoring. After all, you need an ear break every once in awhile, right?

I once heard a speaker talk about our “Creative Gas Tank.” As he put it, our creative gas tank is the level of output we are able to handle as creative individuals. Just like an automobile, we have a creative reserve to draw from that is only so deep. Once that reserve is tapped, we must refill somehow in order to continue our creative flow. Like the car you drive, if your tank is empty, it is only a matter of miles/feet/inches before you break down on the side of the road.

Obviously, you need to “refuel” when necessary, and there are as many ways to do that as there are to empty the tank. I take a lot of walks around the neighborhood of my studio. Even a little bit of simple physical activity is enough to grease my creative wheels and get me back to creating on all cylinders. Time spent with my family is often my #1 choice for getting recharged. It is very easy for me to “forget” about work when I am with them, and yet when it’s time to get back to it, I never feel more refreshed and energized than I do when I’ve just spent time with them. Other times, working on a completely unrelated creative task (like the ones mentioned above) will replenish whatever creative capital I’ve spent.

For you, refueling might look a bit different. Like me, it could be time away from the project spent either with some other creative task or out with your family taking a break from all things creative. For others of you, it might be working on a piece of music that is wholly different from the current assignment, maybe a pop tune or an arrangement of your latest concert piece.

What things refill your creative tank? What actions can you specifically point to that have given you the freedom to then come back to your assignment armed with a fresh perspective and ready to jump back in where you left off?

Hit the COMMENTS!

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About the author

Founder & Editor-in-Chief

SCOREcast founder and editor-in-chief, Deane Ogden, is an American composer, recording artist, and studio and live drummer for radio and records. As an advocate for professional creative arts education, Deane speaks globally at creative and cultural conferences and is passionate about the convergence of art and business.

  • http://twitter.com/DeaneOgdenMusic Deane Ogden

    Bellis—I'm so glad to hear that you do this too!

    I always laugh when I see or hear an interview with a composer/actor/director and they talk about “not watching/listening to their work”. First of all, I find that to be quite goofy (if they weren't just a LITTLE vain, how did they ever become an actor?). Secondly, I think it is, in many cases, disingenuous. For any of us to not take stock from time to time of what we've accomplished in the past is, to me, a dangerous thing.

    As you stated, Richard, the action of re-examining what you have accomplished prior to the current project can instill that feeling of confidence that comes when you are about 25% in and the first idea has taken root. This is the best time for me, for it is then that I know I am going to ACHIEVE, come hell or high water. I've done it before, I can do it again. Here we go!

  • Eric Nielsen

    Yes, I agree on all accounts. Taking a walk, spending time with the family, and even picking up or doing the laundry are enough to recharge. I've been spending a bunch of time listening to scores, old and new, as well, too. I need to be careful, though with all other stuff going on – too much other stuff is, well, too much.

    @Adrian Ellis – very cool regarding LD. 'Yes', with practice can is valuable and, 'no', you're not crazy. I've read a book by Stephen LaBerge on the topic and found it to be a good place to start. I just haven't quite figured out how to write out a sketch while dreaming so I can review it later! ;-)

  • Mike Newport

    So many great points. I'm definitely an advocate of not completely squeezing the sponge dry in the wee hours – starting the next day can be so much harder.

    If there's any ideas which I may forget i'll sketch them out quickly, but the thought of picking back up with all those ideas excites me way more than knowing I worked until I got stuck and that's where I have to pick up again.

    That said – I often find when I do reach a block, the best thing is time away from what i've been working on – and in a way doing anything I can to 'forget' what i've written; be that going for a walk or to a cafe, or listening to some other music – when I come back with fresh ears and objectivity has returned it's like listening with someone else's ears and often then I can hear exactly what I need to do to get the piece to where I want it.

    - and thanks from me too for ScoreCast – it's a great inspiration!

    Mike

  • bellis

    Absinthe?

  • http://www.adrianelliscomposer.com/AdriansBlog Adrian Ellis

    Just for the hell of it, I'll go radical.

    Lucid Dreaming.

    For any of you who've experienced LD (NOT L.S.D.), you know it's one of the most powerful experiences you can have in life. Imagine, a dream where you activate your conscious mind, and the dream crystallizes to the point where it feels no different than waking life (taste, touch – fully real environments and interactions)… except you can fly, blow down buildings, go into space, meet Alfred Einstein – AND… solve problems or imagine/create/write the most incredible music. Remember those dreams where you heard the most amazing music EVER but you couldn't remember it on waking? Well, LD is the way to solve that problem. You can tap into the most powerful parts of your subconscious mind. I know this sounds like a load of New-Agey hooey, but trust me, as a skeptic I've had unbelievable experiences with this. Best of all, it's ridiculously fun and you wake up feeling energized, in an ecstatic mind-set that lasts for days.

    Of course, like anything worth doing, it takes consistent and disciplined practice and habit to get results on a regular basis.

    I'll leave it at that and see what happens – either I'll be the honorary SCO 'Crazy Guy' (fine by me!) or maybe you'll be intrigued.

  • http://richardbellis.com Mscbybls

    Hi Deane
    I am always a little intimidated at the very beginning of a scoring project. That time before note “one” goes into the sequencer or down on the sketch pad. My ritual is to play the mixes of a few of my previous scores. I can remember feeling exactly the same apprehension before starting each one and hearing how they eventually turned out gives me the confidence I need to just relax and start.

  • Andreas Brunosson

    Hello there Deane! Apart from being social, taking a walk or just taking care of everyday stuff, I've noticed another thing that really helps me to pick up a project in the condition i left it in. When im in “the zone” at late hours, and when creativity flows without a problem, i just stop to work if i know i really should go to bed, rather than staying up and squeezing the creative sponge that the late hours have given me. Then the next day, the creative sponge will be as soaked as it was in the late hours and resuming any project is a walk on clouds. It is also very likely to happen if i stop during the day when creativity is at its peak. I think its good to let the creative pot boil sometimes.

    //Andrew from Sweden

  • Paul Hartwig

    Great article! Thanks for sharing, I go for a run or just get away from the studio for a bit.

    Thanks,
    Paul

  • http://www.joelciulla.com Joel Gregory Ciulla

    Hi Deane,

    Really great point on ” refueling the creative tank “. I'm in a studio environment just about everyday. I give my ears a break everyday with ” silence” for at least an hour or more to relieve the “noise hangover” . Another thing I do while driving is NOT listen to any music ( sometimes ) and listen to talk radio or nothing at all. We're so conditioned to crank the stereo while driving alone, its good to have a diversion.

    Along with that, I open up old books like ” Principles of Orchestration ” by Rimsky-Korsokov (and other basic books like this) which I studied @ CSULA in the early '80's and just remind myself of the basics. Going back to basics always gets my mind thinking. Everything we do as composers is based off of the basics, because you can break the rules when you understand them.

    Along with Alain Mayrand, I'll pick up a score and analyze it in my mind only, no listening to a track. Its a form of ear training review for me.

    Great subjects you bring up. Keep up the great work and thank you.

    Joel

  • http://deaneogden.com Deane Ogden

    I'm so with you, Alain. “Listening” is a big part of my refueling process. In fact, I can look back at many a dry spell in my career and attribute it to the fact that I was not listening to enough music other than my own. Big lesson for me. Thank you for sharing that!

  • http://www.alainmayrand.com/ Alain Mayrand

    Hey Deane, being relaxed for me is the #1 thing to call the muse. Being stressed about a deadline usually leads to a nice big creative freeze, so I have learned to relax to get the juices flowing.

    So if I feel like I am “running on empty” I get out of my studio, do some picking up, some laundry, anything that empties my mind and it really takes only minutes before I go running back into my studio.

    I also like to “stand on the shoulders of giant” in order to keep developing new ideas and stay fresh. (Assimilate, don't imitate!) Score reading and analysis are important for me, among other things. New ideas get me excited and fills up my creative tank in no time!

    Those are a few things that work for me.

    Alain

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