Some harsh but very very true words
When people let me review their portfolios (on career day or open days at my game design school) I explicitly ban them from commenting during the review… …because otherwise they will follow the impulse to downplay everything I see in an attempt at being humble.
"this is an old image…"
"I’m not happy with that one…"
"this is just a sketch…"
"I did this really quickly…"
"there is better stuff on later pages…"
It’s totally understandable to have those impulses. The quality of art is not empirical data and therefore impossible to measure. Good art, bad art, it all comes down to standards. And you don’t want to come off as naive or self-absorbed.
But just don’t do it. Don’t talk yourself down in front of others. In the best case you have someone supportive who now thinks “damn, this person needs to be prepped up all the time. Do I really want to work with somebody like that” or in worst case “now that you say it, yeah, this is kinda lame/rushed/unfinished/lazy, go away.”
You can only submit what you have. If that is not enough, then it’s not enough. Your attitude will not change that. But if it is enough, you can do serious harm by not being confident of who you are now.
This means appreciating what you are able to do right now and have a clear vision of what you want to learn, be confident that you will learn it in time.
This is really important. Eliminate this urge. Eliminate it professionally, when having contact with people in a position to buy your work. Eliminate it socially, when you just share your work for fun. Destroy this urge as thoroughly as you possibly can.
Because when you have done that, you’ll find that you feel at least 25% less shitty about your own work. You lose the urge to do it. You stop reinforcing those negative thoughts, and they retreat. They may never go away completely (although they might!) but this is good practice for ignoring those thoughts flat-out.
Don’t shit-talk yourself. Even if you can’t be SO PROUD, don’t ever try to influence anyone’s opinion toward your work in the negative.
Try to love your work. Try to see what you learned from each piece, even if it’s a failure. If you feel that you learned nothing, appreciate the fact that just spending time on it is honing your skills and giving you valuable practice.
i used to be super not-confident in my own work. When I stopped pointing out the flaws in my own stuff, I felt better about it almost immediately.
THIS! I see so many people post art or stories and say it’s just a drabble or doodle, it probably isn’t any good, people aren’t going to like it.
There are always going to be people who are willing to tear you down. Don’t do their work for them. Even if you can’t say good things, it doesn’t mean you have to say negative things.
This is so important and it took me forever to learn. I used to sit in directing class critiques, already defeated, already tearing apart my own work. My teacher in Junior year eventually just said: “Rebecca, I can see you freaking out before we’ve even said a word. You don’t know what we’re going to say. Be proud of what you’ve presented, even if it is a work in progress.” Making art is so much about confidence; about having the inner strength to take risks and believe in yourself. It does take time, but sometimes, it’s just as simple as stepping up to your critique assuming your own brilliance.
Untitled (Perfect Lovers) 1991. Clocks, paint on wall.
Untitled (Perfect Lovers) consists of two clocks, which start in synchronisation, and slowly, inevitably fall out of time due to the failure of the batteries and the nature of the mechanism. In a moving comment on his personal experiences, the piece refers to Gonzalez-Torres’ HIV positive partner Ross Laycock, and his slow decline and inevitable death due to AIDS. The clocks act as two mechanical heartbeats; representative of two lives destined to fall out of sync, and holds a poignant poetry about personal loss and the temporal nature of life.
“Don’t be afraid of the clocks, they are our time, time has been so generous to us…We conquered fate by meeting at a certain time in a certain space…we are synchronized, now forever. I love you.
otp: *stands next to each other*
me: holy shit
1. Anyone who says “write what you know” either doesn’t know what they’re talking about or doesn’t know how to form a sentence. Know what you write. Do your research, but don’t think that just because you haven’t done your research yet doesn’t mean you’re not qualified to write about whatever you want. Don’t pigeonhole yourself. Pigeonholing sounds like a bad sex position, anyway.
2. Write badly. Write terribly, obnoxiously, fearlessly, write complete garbage, write melodrama, write too many details and extra scenes you’re going to have to cut later. Here’s a secret: Everyone’s first draft is shit. Yes, even Kerouac - have you read On the Road? Give yourself permission to suck. Write badly on purpose, but write badly in the way only you can write badly. Revision is for final drafts, not first drafts.
3. Semicolons are beautiful, but only if you actually know how to use them. Learn how to use them. Then use them. Don’t let your creative writing professor tell your that your poetry looks like an essay when you use actual punctuation; your creative writing professor is not you. Your creative writing professor doesn’t know what he’s talking about.
4. Except that your creative writing professor does know what he’s talking about. Listen to him. Learn from him. Write down all his advice in your notebook, but when it comes time to start writing - close the notebook.
5. Write every day.
6. But if you don’t write every day, don’t beat yourself up about it. Don’t beat yourself up, period. Self-loathing is antithetical to writing, unless you’re Gerard Manley Hopkins, but trust me, you don’t want to live the way Hopkins lived.
7. Stop thinking so damn much. Blare the music when you write; sit in a crowded coffee shop; drink; let yourself go. The first draft doesn’t want to be constrained; the first draft wants to be put on the page. The first draft wants a word count, not a rubric.
8. You’re always allowed to slam the door on someone who’s distracting you from your writing. Unless that person is a tax collector or your mother. Never slam a door on your mother unless she’s a drunk.
9. Everything has been done before. Get over it.
10. Love what you do. If you burn out, if you don’t love it anymore, either quit or find a way to love it again. Don’t do it for anyone else - no one’s paying you to be a writer. Pay yourself. Pay yourself in interesting characters and immersive plots and worlds you wish you could play around in. Give your writing to yourself. Treat it like a gift from you to you, because if you don’t love your final draft, no one else will, either.
26 Male Survivors Of Sexual Assault Quoting The People Who Attacked Them
This needs more notes.
no one seems to care if they are guys
reminder that rape and sexual abuse happens to everyone, not just girls
reminder that rape and sexual abuse needs to be acknowledged no matter a person’s gender and “no one seems to care if they are guys” is a typical antifeminist theory that is disproven by the fact that this photo set has 100,000+ notes alone