Stuck because play may not rank high on a list with ârentâ and âfoodâ and âdeadlinesâ, but still the drive wonât quiet. Stuck in the same room as âprofessional expectationsâ, âcareer goalsâ and âperformance reviewsâ, but unwilling to sit still. The creative is stuck with his humanity and so any demand for conscientious work must either be thoroughly human in its nature or risk cheapening his humanity through its completion.
With some courage, I believe we can re-emphasize the humanity inherent to deep creative work â even in âprofessionalâ contexts. In fact, I think itâs our only honest choice.
Any model which demands predictable results (âwe guarantee client satisfactionâ) sacrifices whatâs possible at the extremes. For a manufacturing company capable of 1000â1100 pieces per day, pushing to move an extra 100 pieces likely isnât worth the risk of injuring personnel, damaging equipment or exhausting the workforce. Instead, you build processes which squeeze the range of possible outcomesâââyou make your output predictable and accept that the âhighest endâ of the spectrum has been indefinitely chopped off (i.e. you will almost never move 1100 pieces), but so too has the lowest (i.e. you will very rarely injure an employee).
Creative work is different. You donât need to be told that, and yet Iâm sure youâve noticed that most creative businesses still feel compelled to run on similarly âpredictableâ models. Even without statistics showing that these models are predictably poor for creative work â with just 57% of agency projects completed within budget (Workamajig, 2020) â I believe our intuitions about the nature of the creative process can lead us to the same conclusion.
Say the client hires you for a project and youâre expected to deliver to a deadline. This isnât the time to drop whatâs worked in the past; to explore a new way of thinking; to put all preconceptions on hold and instead strive toward something truly novel and exceptional â at the risk of failing miserably. No, when failing miserably isnât an option â when the deadline or budget decides which areas of creative exploration are to be pre-emptively chopped off â then creating a masterpiece becomes increasingly unreachable, too.
By a recent report, creative workers are three times more prone to mental illness than the wider working population (Changing Arts and Minds, 2018). Highest on this list are depression and anxiety, but suicidal thoughts and physical attempts are also far too common for an industry where people are assumed to engage in âwork they loveâ. And rather than ascribe this statistic to the romantic notion that âcreative achievement is only reached through suffering, madness or bothâ, I prefer to look at the structures which guide and compensate creative work, then see if there are any bugs which may be making the creative sector miserable.
It isnât that every project must be considered a masterpiece; itâs that creative workers need to feel like every day might be the day where they get to work on their masterpiece. Unfortunately, itâs quite obvious to many creatives that day will never come at work â new quarters mean new budgets, new project turnaround goals, and new âdesign thinking workshopsâ to boost efficiency at solving problems predictably well. And when that next big client walks through the door, itâs rarely the time to âchallenge whatâs possibleâ â more often than not, thatâs simply when the squeeze gets tighter.
To make things a little more concrete, Iâll briefly discuss three aspects of (for lack of a better term) âtraditionally managed creative workâ which run counter to vulnerably creative environments and the work they produce.
Together, they form the central irony we face as creatives looking to earn a living through our work. Namely:
The very mechanisms put in place to compensate creative passions all too often take any passion or humanity out of the creative process being compensated.
So that we might be better off working in a patent office by day, and doing our âcreatingâ by nightâŚ
âMy dad didnât think of himself as working for IBM â he thought of himself as putting a man on the moon.â â Chip Heath, 2007
The âwhysâ of work matter. And if ever there were an industry where the answer to these âwhysâ might seamlessly align with personally fulfilling markers: it would be in creative fields. However, if you work in a creative team where the answer to âWhy am I re-working this website?â is âBecause the client needs you to make the fonts largerâ, then itâs difficult to tell yourself a compelling story about the hours you spend at work.
The fact that you are creating for someone else isnât the issue here; itâs necessary that the products of your efforts are indeed useful. The issue lies in the experience of the creative process itself. The motivations, incentives, recognitions and feelings of growth associated with oneâs work. When the creative cannot access any human element or purpose in a project, she cannot bring her full self to its production. When she never sees nor knows what her design was used for, where her copy appeared, how it made people feel, what influence it had on her clientâs business or community; when she doesnât know these things, she creates at a distance, removed from the work by those layers which separate her from a final audience. Her creative purpose has become diluted, which is also to say all potency has been stripped from the products of her work.
Many recent insights from research on the neuroscience of creativity speak to the importance of âswitching offâ. Daydreaming, mind-wandering, napping, lowering of inhibitions; when activity in certain regions of the brain decreases, this is when one tends to see higher levels of creative generativity (Jung et. al., 2010). Unfortunately, the modern workplace doesnât always make it easy to switch off. Whether thatâs due to ambient distractions from open-plan offices (see âStaying Focused in a Noisy Open Officeâ) or simply not having processes in place which tell you with certainty âI have the next 90 minutes to myselfâ (see Cal Newportâs âDeep Workâ), the migration of creative work into a âmanagedâ office environment can be a serious blow to the originality and novelty of ideas.
It isnât that the creative process must happen in isolation â itâs that creative interactions, co-operations and collaborations are less effective when creatives feel they are always âon call to be creativeâ.
The thought of Beethoven composing an awful symphony or Shakespeare writing an amateurish play will always be difficult to square with the strong associations we have for their great genius â but of course, it happened. In 1997, Keith Simonton put forward his âEqual Odds Ruleâ, suggesting that even creative achievement can be understood as a numbers game of sorts; to summarise, if you want to write your masterpiece, the best thing you can do is to get busy writing.
Youâre likely not surprised by this. A version of the expression has appeared so many times, in so many different formats, that it hardly seems worth repeating: âfail small, but often,â âit takes a lot of bad writing to get a little good writingâ, âI havenât failed, Iâve just found 10,000 ways that wonât workâ. Quantity, failure and probability all have their place in the creative process, but the creative business models we have today donât quite know how to factor that in. We donât feel we can quote the client a â10% masterpiece â 10% flopâ â but for any true exploration to occur, this must be implied. Creative output exists on a wide spectrum, and predicting where the next work will show up on that scale is impossible â if you drown your workplace in processes which ensure it ends up in the 50â65% pass range, youâll squeeze all the joy and brilliance out of your creative talent. And if you do that for long enough, you may just be squeezing them out of the workplace altogether.
The primary consequence of these factors Iâd like to discuss is what happens to the individualâs creative drive. What began as a hope for co-operation or collaboration is soon turned inward, into a private endeavour. The creative feels that he cannot explore or play during working hours, and so he must repress these instincts and âdo his real creating on his own timeâ (if not after hours, perhaps in retirement). Thus, we can see that his creative profession quickly risks becoming a kind of âpseudo-creativeâ space: one which is labeled creative by all external viewers, but does not actually fulfill the creativeâs desire for exploration, play and meaning. Instead, it becomes a practice of technical proficiency, where the fastest, most âskilledâ and efficient are rewarded over the slow thinkers, the assumption-testers and 15%-floppers.
The final irony of this arrangement is that the creative who âholds her creative drive privateâ through the working hours may feel little incentive to access it on her own time. The pseudo-creative environment provided by a workplace with colourful posters, ping pong tables and plenty of talk about âcreativityâ is mentally fatiguing â so that by the time she comes home, has dinner and unwinds with something decidedly ânon-creativeâ, the last thing she wants to do is âmore creative workâ (she must get up early for another full day of âcreatingâ, after all).
Despite having worked her way up to an arrangement where she can finally be âpaid to be creativeâ, she may learn that the creative drive which brought her there has no genuine outlet and so remains wholly dissatisfied.
The problems identified run deep through the creative sector and are by no means an easy fix. Much better to consider them three viable challenge spaces where innovative solutions could well prove disruptive. Here are the three challenge spaces I would prompt you and your creative team to explore:
Ultimately, if creative industries are to retain the essence of what makes them so appealing and valuable in the first place, designing new models of work which allow us to optimise for humanity and fulfillment through the creative process may just become our highest priority.
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