LEADERSHIP LIBRARY

IN BRIEF

Steven Pressfield’s main point is that success as a creator entails overcoming “Resistance”—a diabolical force driven by our own self-doubts, naysayers, and inertia. The “war” to create art is with Resistance. His main push is to face it down directly and just sit down and write (or paint, or dance, or whatever). In that message, the book serves as a kick in the pants.

Key Concepts

“There’s a secret that real writers know that wannabe writers don’t, and the secret is this: It’s not the writing part that’s hard. What’s hard is sitting down to write.”

Resistance

“In other words, any act that rejects immediate gratification in favor of long-term growth, health, or integrity. Or, expressed another way, any act that derived from our higher nature instead of our lower. Any of these will elicit Resistance.” (p. 6)

Resistance Only Opposes in One Direction—

“Resistance obstructs movement only from a lower sphere to a higher. It kicks in when we seek to pursue a calling in the arts, launch an innovative enterprise, or evolve to a higher station morally, ethically, or spiritually. So if you’re in Calcutta working with the Mother Teresa Foundation and you’re thinking of bolting to launch a career in telemarketing…relax. Resistance will give you a free pass.” (p. 17)

Professionals and Amateurs

“The conventional interpretation is that the amateur pursues his calling out of love, while the pro does it for money. Not the way I see it. In my view, the amateur does not love the game enough. If he did, he would not pursue it as a sideline, distinct from his ‘real’ vocation. The professional loves it so much he dedicates his life to it. He commits full-time.” (pp. 62-3)

A Professional Dedicates Himself to Mastering Technique

“The professional dedicates himself to mastering technique not because he believes technique is a substitute for inspiration but because he wants to be in possession of the full arsenal of skills when inspiration does come.” (p. 84)

The Magic of Making a Start

“Concerning all acts of initiative (and creation) there is one elementary truth, the ignorance of which kills countless ideas and splendid plans: that the moment one definitely commits oneself, then providence moves too. All sorts of things occur to help one that would not otherwise have occurred. A whole stream of events issues from the decision, raising in one’s favour all manner of unforeseen incentives and meetings and material assistance which no man would have dreamed would come his way.” (p. 122)

The Difference between Territory and Hierarchy

“Here’s another test. Of any activity you do, ask yourself: If I were the last person on earth, would I still do it? If you’re alone on the planet, a hierarchical orientation makes no sense. There’s no one to impress. So, if you’d still pursue that activity, congratulations. You’re doing it territorially.” (p. 158)

Quotables

“Resistance is the most toxic force on the planet. It is the root of more unhappiness than poverty, disease, and erectile dysfunction.”

“Call it an overstatement but I’ll say it anyway: it was easier for Hitler to start World War II than it was for him to face a blank square of canvas.”

“If you find yourself asking  yourself (and your friends), ‘Am I really a writer? Am I really an artist?’ chances are you are. The counterfeit innovator is wildly self-confident. The real one is scared to death.” (p. 39)

“The athlete knows the day will never come when he wakes up pain-free. He has to play hurt.” (p. 48)

“Someone once asked Somerset Maugham if he wrote on a schedule or only when struck by inspiration. ‘I write only when inspiration strikes,’ he replied. ‘Fortunately it strikes every morning at nine o’clock sharp.’ That’s a pro.” (p. 64)

“The professional cannot live like that. He is on a mission. He will not tolerate disorder. He eliminates chaos from his world in order to banish it from his mind. He wants the carpet vacuumed and the threshold swept, so the Muse may enter and not soil her gown.” (p. 77)

“Why have I stressed professionalism so heavily in the preceding chapters? Because the most important thing about art is to work. Nothing else matters except sitting down every day and trying.” (p. 108)

This is the other secret that real artists know and wannabe writers don’t. When we sit down each day and do our work, power concentrates around us.” (p. 108)

“Concerning all acts of initiative (and creation) there is one elementary truth, the ignorance of which kills countless ideas and splendid plans: that the moment one definitely commits oneself, then providence moves too. …I have learned a deep respect for one of Goethe’s couplets: ‘Whatever you can do, or dream you can, begin it. Boldness has genius, magic, and power in it. Begin it now.’” (p. 122)

“We thrash around, flashing out badges of status (Hey, how do you like my Lincoln Navigator?) and wondering why nobody gives a shit. We have entered Mass Society. The hierarchy is too big. It doesn’t work anymore.” (p. 149)

“Creative work is not a selfish act or a bid for attention on the part of the actor. It’s a gift to the world and every being in it. Don’t cheat us of your contribution. Give us what you’ve got.” (p. 165)