Do you rely on inspiration or discipline to make work?

Originally asked

The Creative Independent, to working artists, its interview series

A repeated Creative Independent tension, asked as inspiration, muse, discipline, ritual, or the requirement to show up.

You answer as yourself. Nobody on FLAPSS answers as anybody else.

Recorded Athol Fugard said elsewhere, not written here
Do I have a muse? Well, I don’t know if this is an adequate answer, but I suppose my muse is the people of South Africa. I’ve often said that the little — or maybe the lot — I know about loving and hating was taught me by South Africa. Now that’s a big debt. When you owe that much to a situation that has shaped your conscience, your heart, your whole life, you’re profoundly indebted.

Academy of Achievement interview, San Francisco, California, 13 September 2014 source ↗

Others on this question

View all 52 →
Jonathan Lethem Novelist and essayist; National Book Critics Circle Award winner
So, yes, it is very hard work, and there are days where there’s something I have to do in the book, something I have to learn or put myself and the characters through that I am… That makes me fearful or sorrowful. But I do think also that this aspect of writing is over reported at the expense of the pleasurable aspect as well. If writers didn’t love to be in this space between themselves and their language, they probably wouldn’t do it. You’d give up.
Recorded The Talks, published interview, 27 March 2019 source ↗
Margaret Atwood Novelist, poet and critic
As for motivation, I'd say it's a combo of 50s Puritan work ethic and finish-it-itis -- I hate not finishing things.
Recorded r/books AMA, Reddit, 2014 source ↗
Ernst Mayr Naturalist and evolutionary biologist
Well, this meant 16 months' time to do all the work for a doctor in zoology, including writing a thesis, and it meant working 16 or 17 hours every day and no such things as Saturdays or Sundays or vacations or going to the movies or going out with girls. I just... it was a total grind for 16 months. But I made it;
Recorded Walter J. Bock, Web of Stories, October 1997 source ↗
Carrie helped me keep to a strict rhythm, but all the essays took shape in very idiosyncratic ways.
Recorded Brandon Stosuy, interview, The Creative Independent, 27 April 2022 source ↗

More from Athol Fugard

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Question What is the hardest thing that has happened to you, and what did you carry out of it? Failure & regret
I don’t think I could. Of course I’m saying this on American soil. I’m facing a few more months of work in this city, but at the end of it, I will be returning to South Africa. I would like to believe that if for some reason the situation deteriorated to the point where I was told, “If you leave South Africa, you can never come back,” I’d stay there. There were periods in my life when I could have been seduced away. I am incredibly fortunate that the government took away my passport at the point when I was most open to seduction. With my passport gone, I could have left on a one-way ticket. But the issue was so starkly highlighted that I had no problem in saying, “No.”
Recorded Lloyd Richards, Interview conducted in front of an audience at the Poetry Center of the 92nd Street YMHA, New York, The Paris Review, Issue 111, Summer 1989, 13 October 1985 source ↗
Question What is the thing you are best at that nobody watching can see? Craft & work
That is true. That one little corner of South Africa, Port Elizabeth and its immediate surroundings, is a region that I know like the back of the hand that holds my pen as I write about it. I can stand on a street corner in Port Elizabeth, look at anybody and put together some sort of biography. I know where they come from, where they’re going. I have a feel of the textures of their life. If I stand on a street corner in New Haven, which is a place I’ve gotten to know as well as any place outside of South Africa, I am still at a total loss to identify the people passing me on that street.
Recorded Lloyd Richards, Interview conducted in front of an audience at the Poetry Center of the 92nd Street YMHA, New York, The Paris Review, Issue 111, Summer 1989, 13 October 1985 source ↗

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