The ball is put into play by use of the plunger, a spring-loaded rod that strikes the ball as it rests in an entry lane, or as in some newer games, by a button that signals the game logic to fire a solenoid that strikes the ball. With both devices the result is the same: The ball is propelled upwards onto the playfield. Once a ball is in play, it tends to move downward towards the player, although the ball can move in any direction, sometimes unpredictably, due to contact with objects on the playfield or by the player’s own actions. To return the ball to the upper part of the playfield, the player makes use of one or more flippers.
I think success is a lot like a pinball machine…
You put in your money, release a ball and hope like hell to keep that ball moving, and rack up enough points by the end of the game.
But, like pinball’s bumpers and alleys and pits, some of us face multiple obstacles to overcome:
lack of self-confidence
death of a loved one
lack of education
lack of skills
lack of social capital
the larger economy
Which means, when you “fail” — and, like many of us, might then wallow in shame and frustration and self-flagellation — be a little kinder to yourself.
I see the people who succeed, at least here in sharp-elbowed New York, and know the incredible advantages some of them bring, and take for granted, whether prep school and Ivy League educations or access to decision-making people in power through their social networks, often both.
They keep winning and think: I did that! All by myself!
It was said of one American President — using a baseball metaphor — he was born on third base, confident he had hit a triple.
As that little metal ball pings and caroms around the pinball machine — as in life — we react as quickly as we can, flipping flippers and trying our best to guide it and keep it flying.
But, as in life, not every game ends in delight.
So there’s a larger, deeper, more candid conversation we need to be having about who’s winning, who’s losing and why.
In the United States, there’s a firm and fixed belief that every success — and every failure — is due only to each individual’s hard work, determination and intelligence.
Talk to a person of color.
Talk to a woman of color.
Talk to an immigrant whose graduate degrees from a foreign/unknown institution mean nothing to American employers.
Talk to someone waylaid by their partner’s terminal illness, death and grieving.
Which is why we all need to lighten up on the fantasy that success is soooo easy to achieve, which — if you look at social media — can drive you mad with envy.
We hide our struggles and defeats: the crushing student loan debt, the chronic pain, the multiple surgeries, the needy relatives or un(der) employed partner…
We also need to lose the conviction that only visible wealth, prestige, power and luxury goods mark us as “successful” while kindness, generosity, frugality, humility and wisdom remain dismissed and perpetually undervalued.
We need to be ruthlessly candid about what powerful headwinds some of us face and what tailwinds propel some of us forward with a speed and velocity that look so, so effortless
When they’re not.
Your “failure” may have very little to do with your hard work, determination, education or skills.
Most people agree that what distinguishes those who become famously creative is their resilience. While creativity at times is very rewarding, it is not about happiness. Staw says a successful creative person is someone “who can survive conformity pressures and be impervious to social pressure.”
To live creatively is a choice. You must make a commitment to your own mind and the possibility that you will not be accepted. You have to let go of satisfying people, often even yourself.
My subconscious conjured an image of a fabulous party, filled with other writers and publishing types. A place where I could walk in the door to a chorus of cheers, the “Norm” moment, where guard could be let down completely, where there was only shared vocabulary and a fluid ease that would make the jitters go away. There was a social circle that would be the payout for all the rejection and worry and sweat equity I poured into my books. When I talked about it with my brother, I simply described it as “that.” I wanted to have “that.”
All I had to do was get a book deal. I would break out of the world I knew and set up in some secret corner of the social fabric, a backstage pass to the world of writers that I just *knew* was out there, even though I had never seen it before…
There is no party. Not beyond the hour or two at a con or publishing event where you get to show off for a shining moment, bask in the accolades for a few minutes, fan boy gush face to face over someone whose work you admire but never hoped to meet.
And then it’s over, and you’re left with the work.
My husband Jose recently passed a major professional milestone: 30 years as a photographer and photo editor at The New York Times. On 9/11, the day he was to have moved into my apartment in suburban New York from his home in Brooklyn, he instead unpacked his scanner, printer and computer — and helped his colleagues transmit their horrific images from his apartment. His grace under fire helped the paper win that year’s team Pulitzer Prize for photo editing.
He grew up poor, the son of a Baptist preacher in Santa Fe, NM, far from the centers of media power and influence. He attended state school on scholarship. He’s slight, quiet, modest. Everyone else in his family became teachers.
One day, shooting for the Associated Press, the White House press corps — accompanying then First Lady Rosalynn Carter, landed in El Paso.
“Someday that’s going to be me,” said Jose, as he saw its four or five wire service photographers emerge from the plane.
Several colleagues snickered at his hubris.
And then he was, during his eight-year career in the White House Press Corps, photographing Presidents Bush, Reagan and Clinton.
Here’s his brand-new blog, Frame36a, (which refers to the extra frame we used to be able to squeeze from a 36-image roll of film), which will offer advice, insights and fantastic back-stories to some of his best photos.
We all won’t have a career like his.
But anyone with creative ambition — musical, artistic, photographic, literary, choreographic — will face obstacles, whether you’re 17, 27 or 57: lack of funds, no representation, a lost prize or fellowship or scholarship.
After a decade or so, they’ll probably morph into different challenges, but it’s rarely easy.
If you think it should be, this isn’t the world for you.
You don’t have to start out by winning a major prize or selling your work for a lot of money. You just have to get started. I began my career as a photographer, and one of my first sales was to my own high school, an image they bought for the school library. Was I scared to pitch our principal? Hell, yes! But it worked. I also had a show of my images in a Toronto library, again, because I dared to ask. The smaller the ask, the less scary it should be. Those initial triumphs are essential baby steps to your self-confidence as a creative person able to find, and sell into, the marketplace of ideas.
Don’t wait for permission to create! You don’t need a certificate or degree from anyone, anywhere, to create interesting, challenging and worthwhile work. Don’t be terrified if your competitor graduated from RISD or has a Phd from Harvard or was a star at the Iowa Writers’ Workshop. If you have the passion and drive to find the toughest teachers out there — and they might be someone you meet at a conference or class — you’ll be on your way. I sold my first photos, three magazine covers, when I was still in high school. Jose was selling his photos while a freshman in college to the Associated Press; by the time we both graduated, we had large and impressive portfolios of nationally-published work. We were far, far ahead of our 22-year-old peers competing for work and jobs.
Don’t give up if you fail the first (second, third) time
I’m amazed how quickly some people give up. I interviewed three times at Newsweek and was never hired there. No harm, no foul. I’ve had an awesome life and career without them. I’ve applied two (three?) times for the Alicia Patterson Fellowship, and was one of 14 finalists (of 347 applicants) last time. I’ll probably apply a few more times until I get it. In the meantime, I just keep improving my skills and strategies.
If you’re really aiming high, you’re always competing against highly-educated, smart, talented and well-prepared competitors. Expect it and arm yourself accordingly. If you want it badly enough — whatever it is — you’ll keep coming back to get it. Or you’ll find something more interesting instead.
Both of my non-fiction books, both of which were published by major New York houses to excellent reviews, were each rejected by 25 publishers first. Fun!
It’s too easy to watch others win awards and prizes and fellowships and hate them. Bandage your ego and get back in the game.
Find people whose work inspire you
This is essential. People who have succeeded in your field have likely hit (and surmounted) many of the same obstacles along the way that you’re facing. Read, listen to and watch them: at conferences, in TED talks, their websites or blogs or books. Follow them on social media like Instagram and Twitter.
If you’re feeling bold, reply to them or re-tweet their words. A relationship with someone who’s already carved their path is helpful. Don’t expect them to mentor you, though. Successful creatives are really busy!
Understand your industry or field: who has power and why?
The best way to get ahead creatively is not to shut yourself away in your studio or a hut in the woods, no matter how romantic that sounds. If you don’t keep up with the movements, controversies and players in your field, you’re too isolated and have no real idea how to access the powers-that-be, the ones whose choices are going to affect your ability to succeed as well.
Make sure to attend at least one conference a year in your industry so you can hear the latest and network with your peers. Showing up in person helps to prove your commitment; people see that and respond accordingly.
Self-doubt and self-confidence will perpetually war within you
It’s the ultimate paradox: to create means taking a risk, putting your skills and ideas into public view for possible rejection or criticism, but it also requires and demands enough confidence in your work to put it out there in the first place.
No creative person I know, or know of, hasn’t suffered — sometimes mightily — from this internal war.
Writers, even the most visibly accomplished, the ones we envy and admire, (who now have a reputation they might squander), lose their nerve or voice. Performers vomit and tremble before setting foot on stage. Artists burn work they’ve spent months or years to produce.
We’re human. It happens.
Make peace with your fears. Name and number them — “Oh, yeah, self-doubt 34a, how the hell are you these days?”
Then keep moving.
You will have to hustle, self-promote and shout louder than you might ever prefer
If you are a modest, gentle soul — like my lovely Jose — you may find the creative path more difficult, surrounded by arrogant, shouty chest-beaters. If you truly crave Big Success, however you choose define it, you may have to toot your own horn loud and long, no matter how declasse your family or friends or native culture consider that.
Volunteer your time and skills within your creative community
I think this is overlooked as a key to long-term success.
You don’t have time? Make it. People most respect, value and reach out to help those they respect personally — not just someone whose work they read about or saw in a show or in concert. I was only 19, still in college, when I volunteered to interview lions of Canada’s journalism industry for a book. How else could I ever have met or spoken to them, let alone learned their wisdom? Then they also knew who I was. Win-win.
I’ve served for years on volunteer boards for writers’ groups. It helped to hone my people skills, (still a work in progress!), taught me about fund-raising and how to defend and explain my ideas to a skeptical group.
It also shows clients and colleagues my pride in, and commitment to, my larger creative community.
Find, or create, a group that meets weekly, or monthly. Create an on-line listserv or Facebook group. Mentoring others comes back in waves of generosity, for years.
Make time to reflect, recharge and revive your spirit
No matter what you hope to create or produce, make time to recharge. Sit still in silence every day. Stare at the sky, no matter what the weather. Make notes whenever you get an idea. Keep them!
Travel as far and as often as you can afford
There’s no better way to sharpen your senses than to step out of habitual behaviors and routines: taking the same subway line or bus route; eating the same cereal at breakfast; seeing the same faces at work. Even a two-hour road trip to a nearby town or city or nature preserve can offer you new ideas and insights.
Have a clear vision of what you hope to accomplish, today and/or in a decade
You can’t get there, wherever there is, without a clear idea what it is. Only by naming it can you start to lay the necessary groundwork — whether admission to the best program of study, a fellowship, a job, access to a busy mentor, publication of your novel or a gallery show. It’s too daunting to stare only at the cloud-shrouded Everest of your final goal. Focus on the foothills!
I recently started a writers’ group and called it Story Sherpas — no one gets there alone, without the help and support of a team along the way.
Study the work of the very best in your field
Don’t assume the best are working today. They might have powerful lessons to offer from their endeavors — possibly centuries ago.
Save a lot of money!
Creative “success” can, and often does, evaporate overnight — and with it your ability to dick around and await your muse.
Read this cautionary tale, from a New York writer whose book advance was a stunning $200,000, way more than any writer I know has ever received. She blew it.
Don’t ever rest on your laurels. They can wither mighty fast.
Interesting piece inThe New York Times about young men, especially, skipping college to head to the oil and gas boom in Montana:
Here in oil country, some teenagers are choosing the oil fields over universities, forgoing higher education for jobs with salaries that can start at $50,000 a year.
It is a lucrative but risky decision for any 18-year-old to make, one that could foreclose on his future if the frenzied pace of oil and gas drilling from here to North Dakota to Texas falters and work dries up. But with unemployment at more than 12 percent nationwide for young adults and college tuition soaring, students here on the snow-glazed plains of eastern Montana said they were ready to take their chances.
“I just figured, the oil field is here and I’d make the money while I could,” said Tegan Sivertson, 19, who monitors pipelines for a gas company, sometimes working 15-hour days. “I didn’t want to waste the money and go to school when I could make just as much.”
One of the greatest beliefs in the United States is that everyone must go to college. This, despite the fact many students drop out, are graduating saddled with enormous debt and many can’t find paid work.
So, why not take $40,000 and sock away as much of it as possible? It could fund college later (or not), or travel, or a home you choose to own (or rent out for income.)
I have a lot of difficulty with this persistent insistence that college is the only viable place for people who have graduated high school to grow up, learn about the world, acquire skills, mix with people their age of very different backgrounds and work to high standards independently.
For some, it’s joining the military. Or going overseas on a student visa, to work as a nanny or au pair or volunteer. Or staying home and working a variety of less-prestigious jobs until you actually know what truly interests you, and what you are good at and who is hiring and what they pay, entry-level or beyond. Then, if you choose higher education, you know exactly what you’re getting into!
For all its benefits and pleasures, college very rarely teaches the skills you really need in the “real world”, whether running your own business, freelancing or working most effectively within a team or office. (Invoicing 101? Sucking Up 302? Backstabbing 205?)
A student at any college will often sense a conflict between prestige and truth, the prestige of the teacher, the school, or the culture. He will soon learn that everything contains some truth worth knowing about, and that the best way to deal with error is to see the truth in which it is embedded.
Or, again to change the metaphor, college life is a minefield, studded with all different kinds of devices, waiting to be crossed. Wise young people will read independently in reliable books, to locate and identify hidden explosives rather than step on them. But the venturesome student will in fact want to know what such mines really are, and how they came to be constructed and buried. They will follow the example of Aquinas, who insisted that the accurate understanding of error is quite a necessary and legitimate side of our learning and living. Thus, we want to know how they function, how the mines are hidden. Yes, we want to know how to avoid stepping on them and indeed how to eliminate them, the first step of which effort is to know what they are and why they were made.
I graduated from the University of Toronto, Canada’s top school, then as now. People I studied with now run think tanks and museums and private schools and have accomplished some great things. I liked having tough professors and smart people around me.
As an English major, my courses were very narrowly restricted, even as an undergrad, to 75 percent English literature. The only other things I studied were political science and philosophy (freshman year), French (three years) and Spanish (four years). I knew I wanted to become a foreign correspondent, so I needed to be able to work in other languages, write well and quickly and have the intellectual confidence to make my arguments persuasively.
Those are the skills I’ve used ever since. My ability to read Chaucer in Middle English or parse Volpone or Victorian poetry? Nope. Never.
If you’re in college, or heading there, why? What do you expect to get out of it?
If you’ve long since graduated, do you regret your choice of school or major?
Life sure hasn’t gone the way I planned. That’s an understatement. I thought things would be different. As a kid, I used to think that life got easier as you got older. Now here I am pushing 40 and boy was I wrong about that. The older I get, things seem to get more complicated and every decision I have to make feels like the weight of the world.
Being a grown up is hard.
I am now at an age that feels absolutely geriatric, 55. Ahead lies a diminishing number of years on this earth, and physical decline. Cool! If I don’t have a few back-up plans (what if I get really sick? what if my husband dies?), I’m toast.
I’m writing this post sitting in a hotel room in Washington, D.C. I came by train from New York on Sunday to compete Monday for a fellowship that, if I win, offers $20,000 for six months to research an issue of interest to me. There are 14 finalists and they’ll pick maybe six.
I have to plan on not winning. Not to be negative, but realistic.
I have so many other ideas I can barely keep track of them all: writing (and I hope selling) two more non-fiction book proposals; three assignments from The New York Times and another which I hope will send me on my next trip; a conference I hope to create next fall; rustling up people to donate their talent for a fund-raiser; planning travel for 2013…
My point is that “planning” your life is truly a fool’s errand, no matter how comforting it appears. You can aim for goals, and likely hit many, if not most. But some you are going to miss.
If you do not grasp this reality, young, you may face a life of tremendous frustration and bitterness.
Some dreams will be snatched out of your grasp. Some people will disappoint you and betray you and lie to you and disappear. Some things are just shitty luck: infertility and/or miscarriage; accidents; disability or chronic illness. You still have to deal!
Here are some of the twists and turns my life took after I chose to leave my hometown of Toronto, age 30:
— Took a newspaper job in Montreal. Hated it! The winter was brutally long, cold and snowy. The crime rate was crazy, and frightening. The paper’s management were…not what I wanted.
— Moved to a small town in New Hampshire to follow the man I planned to marry, an American. I tried harder than I have ever tried in my entire life to make friends, and it proved impossible. He was doing medical training, so he was either gone, exhausted or emotionally withdrawn.
— Moved to New York City to make it as a journalist. I was promised a month’s try-out, paid, at Newsweek International. When I called to confirm my start date (after we had moved to NY and bought an apartment and he had changed training programs) they said “Oh, we have an internal candidate. We don’t need you.” I insisted and still did not get the job.
And that’s only the first five years!
My life since 1989 has included a two-year marriage to the doctor; three recessions, four orthopedic surgeries since 2000, losing a few staff jobs, three days in the hospital with pneumonia, dating a convicted criminal…and writing two terrific books, finding a lovely new husband and enjoying my new left hip.
None of this was planned.
Sure, I had some hopes: good journalism jobs (check); get married (check, check); write a book (check, check). So I’m happy with this. But so many things have blown up in my face, metaphorically speaking, along the way as well.
If you are not ready — emotionally, physically and financially — to adapt to whatever life throws at you, you’ll waste a lot of time when things go south in a fog of cognitive dissonance, moaning “What happened?” instead of packing your parachute.
I recently met a photographer who spends more than 200 days (and nights) every year traveling the world. His latest trip had been to Kenya, Tanzania, South Africa and Botswana. We traded notes on our impressions, but also on the sheer joy of getting paid to roam the globe on someone else’s dime, using our skills wherever we end up, whether roaming the veldt or tundra.
“I’ve made a career out of being curious,” he said gratefully.
We had never met before, but because our careers are largely predicated on our ongoing willingness to jump into whatever subject our client wants, whether an Arctic village in December (for me, while at the Montreal Gazette) or a random writer (his work shooting me last week), we had an immediate understanding of, and appreciation for, what we do professionally.
Leakey and his workers devise and build their own lathes and saws, tough enough to carve into the hard acacia wood. They’re inventing their own dyes for the Leakey Collection’s Zulugrass jewelry, planning to use Marula trees to make body lotion, designing cement beehives to foil the honey badgers. They have also started a midwife training program and a women’s health initiative.
Philip guides you like an eager kid at his own personal science fair, pausing to scratch into the earth where Iron Age settlers once built a forge. He says that about one in seven of his experiments pans out, noting there is no such thing as a free education.
Some people center their lives around money or status or community or service to God, but this seems to be a learning-centered life, where little bits of practical knowledge are the daily currency, where the main vocation is to be preoccupied with some exciting little project or maybe a dozen.
Some people specialize, and certainly the modern economy encourages that. But there are still people, even if only out in the African wilderness, with a wandering curiosity, alighting on every interesting part of their environment.
The late Richard Holbrooke used to give the essential piece of advice for a question-driven life: Know something about something. Don’t just present your wonderful self to the world. Constantly amass knowledge and offer it around.
I chose journalism for many reasons — perhaps the main one being the chance to get paid to learn and share what I find out.
My intense and unquenchable curiosity about the world remains undiminished, allowing me to explore subjects that intrigue me, tell others about them, and get paid for so doing. I know of no other work that would allow me, as journalism has, to sit and query everyone from a female Admiral to Olympic athletes to convicted felons, Prime Ministers and scientists, conducting interviews from Sicily to Salluit.
I still love that, so curiosity has also been the engine of my worklife.
What made you choose the work you do?
What aptitudes and qualities do you use in it…and are they what you wanted or hoped for?
I had lunch yesterday with a smart, talented, ferociously ambitious journalist. He’s 31 and desperate to “make it.”
“I’ve paid my dues!” he said, exasperated.
Fact is, he had paid plenty of dues, in his own way. In a media world where few definitions remain static — a story, a journalist, a clip, a body of accomplished work — this won’t get easier anytime soon.
One of the problems with dues, unlike the classic definition of the word — as in union dues paid to an organization that clearly wants your dough and loyalty and numbers you in its ranks — is its fluid meaning. My friend has worked in two challenging places and produced consistently excellent material. Wasn’t that enough?
Not to the editor he called at a Very Big Magazine who drawled (ouch): “I’ve never heard of you.”
Dues are a currency whose value fluctuates wildly. One day you’ve got enough to buy a house — and people you want to work with are calling you. The next day it’s barely enough for a bagel, and you’re the one whose name rings no bells.
In the world of journalism and publishing, at least, whatever you think you’ve achieved means nothing — until someone agrees with you.