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 Louise Glück said elsewhere, not written here
Well, I hate the word, but it’s true that something sometimes visits and other times doesn’t. I wish I felt otherwise, but I feel as though there has to be some catalyst, some inspiration. All of a sudden there’s a phrase in your head. Where does that thing come from? I don’t know, and because I don’t know, I don’t know how to have more of them.

Academy of Achievement interview, Washington, D.C., 27 October 2012 source ↗

Others on this question

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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 ↗
Stephen Jay Gould, Ph.D. Palaeontologist and evolutionary biologist; essayist
I think it’s very different in what I do. Edison’s work was so much tinkering and trying it out and empirical testing. So much of my work is writing. I don’t know what you call the writing, it’s true that the actual inspiration, say for writing an essay, the outlining of it is probably a 15-minute to half-hour procedure, then you may spend about 20 hours writing it. But the writing isn’t perspiration in the same sense. It’s not inspiration, but it’s something in between. Any profession has a vast amount of tedium attached to it. There’s no sense not admitting it. If you’re passionate about it, tedium can be — not exactly a joy — but can be perfectly tolerable. The tedium of a pianist is 10 hours of practice a day or whatever, not all of which is inspirational. The tedium of an experimental scientist is calibrating the machines and doing it over and over again. The tedium of a paleontologist is poring over a microscope, or using a dental pick to chip away the sand grains from the fossil, or looking at the statistical figures in the columns of a computer printout. Every profession has massive tedium, that’s certainly true. You cannot be a successful professional (without it). But I think if you’re committed to it, as they say, it goes with the territory. It’s part of the work.
Recorded Academy of Achievement interview, Cambridge, Massachusetts, 28 June 1991 source ↗
Athol Fugard Playwright, director and actor
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.
Recorded Academy of Achievement interview, San Francisco, California, 13 September 2014 source ↗
François Ozon Film director and screenwriter
It’s a long journey, you know. I really believe in the work of the unconscious. You have an idea, you think about it. You dream about it. But, for me, it’s my way of working, it depends on writing of course. I don’t need to go every day in front of my computer and write something. It’s always a surprise. In the moment, it’s a necessity. You need to write, so you write a thing.
Recorded Filmmaker Magazine, March 2013 source ↗

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John Updike, László Krasznahorkai, Athol Fugard, Cheryl Strayed, François Ozon, Jonathan Lethem

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