Coaching practices for The Artist S Way in a New Job
Describe almost anything you are working through and IX Coach finds the practices whose real-world fit is closest. For The Artist S Way in a New Job, these are the strongest matches in the current practice library.
Does this sound like the set of challenges you might be facing?
- I hoard everything until it’s finished and perfect, so I work in total isolation and only ever show the polished result
- My whole approach is to wait until I’m in the mood to do the work, and the mood comes maybe one day in ten, so weeks go by with almost nothing made
- I can’t see my own work for what it actually is anymore
- I’ve got a new hire starting and the lazy move is to just hand them whatever’s piled up in the backlog
- Everything I make now has to justify itself
Practices that may help
- The Artist’s Way, Made Practical
Julia Cameron’s method treats creative block as something you clear with daily practice rather than wait out: free-writing three pages every morning, taking a weekly solo "artist date," and recovering a sense of play. The tools are practitioner methods refined over decades of teaching — largely anecdotal, though morning pages overlap with expressive-writing research that does have real support. - Share the process, not just the result
Show the work in progress to attract collaborators, feedback, and serendipity.
Steal Like an Artist, in Practice - Turn pro: do the work on a schedule, not a mood
Commit to showing up for your creative work at the same time every day, regardless of how you feel.
The War of Art, Made Practical - Approach your own work with beginner’s mind
When evaluating your work, try to experience it as a stranger would — without the story of how it was made.
The Creative Act: Rick Rubin’s Approach to Making - Use genius mapping in onboarding
Surface a new hire’s geniuses early so you design their role around energy, not just skills.
The 6 Types of Working Genius (Patrick Lencioni) - Keep side projects and play
Protect a low-stakes project with no goal — the “waste” is where the real ideas surface.
Steal Like an Artist, in Practice - Cultivate awareness as your primary creative tool
Pay unusually close attention to what you notice, what you feel, and what catches you — these are the raw material.
The Creative Act: Rick Rubin’s Approach to Making - Artist dates
A weekly solo outing to do something playful and replenishing — alone, by design.
The Artist’s Way, Made Practical - Borrow the conventions of a different field and apply them to yours
Take the organizing principles of an adjacent discipline and treat them as constraints for your creative problem — the unfamiliar conventions force beginner perception.
The Beginner’s Mind in Creative Practice - Treat creativity as combination
Make new work by joining two existing things that haven’t been joined before.
Steal Like an Artist, in Practice
Related concerns
- The Artist S Way At Work
Show the work in progress to attract collaborators, feedback, and serendipity.
Share the process, not just the result
- Artists Way Practices
Show the work in progress to attract collaborators, feedback, and serendipity.
- The Artist S Way
Julia Cameron’s method treats creative block as something you clear with daily practice rather than wait out: free-writing three pages every morning, taking a weekly solo "artist date," and recovering a sense of play. The tools are practitioner methods refined over decades of teaching — largely anecdotal, though morning pages overlap with expressive-writing research that does have real support.
- The Artist S Way On A Budget
Julia Cameron’s method treats creative block as something you clear with daily practice rather than wait out: free-writing three pages every morning, taking a weekly solo "artist date," and recovering a sense of play. The tools are practitioner methods refined over decades of teaching — largely anecdotal, though morning pages overlap with expressive-writing research that does have real support.
- The Artist S Way When Burned Out
Julia Cameron’s method treats creative block as something you clear with daily practice rather than wait out: free-writing three pages every morning, taking a weekly solo "artist date," and recovering a sense of play. The tools are practitioner methods refined over decades of teaching — largely anecdotal, though morning pages overlap with expressive-writing research that does have real support.
- The Artist S Way When Starting Out
Show the work in progress to attract collaborators, feedback, and serendipity.
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