Protecting Your Time to Do the Work

This post is the 1st in the series about top strategies for working artists to protect their time and make creative work.

Discipline is a funny topic, and for an artist it gets very complicated.  Art making requires that willingness to get into the flow and let it take you where it takes you.  But in order to do that, you need to create blocks of time.  You need to protect that time from all the other responsibilities of life.

When I began the inevitable self-analysis around birthday 39 (the beginning of one’s fortieth year) I discovered two things:

  • I have a history of not completing creative projects, whether large or small.
  • I have an endless supply of creative ideas, but lacked the discipline and self-trust to follow them through to a mature state.

I found that my inherent discipline was actually working against me.  My discipline had been coded up as responsibility to others.  It was deeply coded that way by decades of putting my own creative drives second or third or eighth, and even though that responsible discipline had already created plenty of material comfort and abundance, I was afraid of letting go or redirecting the discipline towards making art.

So I set to work.

These are my strategies for shifting the focus of your discipline.  I hope they work for you.

Top Strategies for Protecting Your Creative Time

Time Tracking

Being of an analytical type, I love an excuse to track things.  At the beginning of 2019 I had taken up using a bullet journal.

Like millions, I was inspired by the gorgeous bullet journals on social media (see examples here: #bulletjournal ) However, much as the inventor recommends, I prefer to use the journal as a practical tool.  I spend a minimum of time each week setting up pages, perhaps 20 minutes.  That’s an effective and appropriate amount of time to review and plan a week.

The secret brilliance behind writing things by hand is that you are more likely to remember, synthesize, and add efficiencies.

This strategy of time tracking was inspired by Jim Collins (Good to Great).  In an interview with Tim Ferris, he describes his yearly goal of doing a thousand hours of creative work.  From his experience, doing that quantity of creative work on a yearly basis will lead to finished products of value.

That sounded like a reasonable approach to me.  That is only 20 hours per week of creative work.  So I set about tracking.

2019-12-10 10.31.54

At the beginning of each month, I set up a vertical calendar in the bullet journal that allows me to track these items on a daily basis:

  • hours in studio
  • location
  • a “rating” for the day – generally, an emotional rating.  I used the same system as Jim Collins recommends.  It’s an arbitrary scale that goes from -2 to +2, with 0 as a neutral day.
  • my period.  (Guys, you might track that supposed 35 day hormonal cycle. I certainly notice my husband’s moods fluctuate cyclically.)
  • climbing (something that has had major influence on my mood in the past)
  • notes about the day

This daily data gets collated into a yearly tracker with 52 weeks.

2019-12-10 10.47.21

 

You can see I started tracking in March, above.

On the yearly tracker this data is shown:

  • numbered week of the year
  • emotional tally for the week (sum the daily “rating”- an incredible week would be a 14 using this scale, the worst week ever would be a -14)
  • hours in studio
  • estimated yearly total at current rate (I use an excel doc to come up with those numbers accurately.)

The purpose of time tracking is to really make clear, in a pragmatic and easily visualized way, why or why not you are creating art work.  It’s simple.  If there are no blocks of time filled in for a day or week, I need to restructure my time.  It is no longer abstract.

 

Structured Mondays

This is the second important strategy for protecting your time.  I chose Mondays; you could choose any day of the week. This is the day that I do not expect to work in the studio.

On Mondays, I do these tasks:

  • bookkeeping (we have several LLCs that require bookkeeping or bill paying from different accounts)
  • bill paying- both personal and work
  • email followups (bank, accountants, lawyers, whatever is pending from last week)
  • bank account reviews (checking for any issues)
  • sales tax, quarterly tax prep, yearly tax prep as appropriate
  • inventory – monthly

I used to just pay bills as they came in.  This seemed like a non-issue, because nearly everything was online and it only took a minute.  But, that minute actually represented a distraction and a break in the flow.

Now, I have a draw and a folder.  Any bills that show up digitally get dumped into a shared folder called “1 Bills to Pay”.  My husband and I both add to the folder.  Any physical bills go into drawer and get handled on Mondays.  By simply saying “I pay bills on Mondays” I batched the process and removed a level of stress and annoyance from my day.

Then, if by 3pm or 5pm I have time for a few hours in the studio, I’m thrilled!

 

Working From Home

This step can provide the single biggest gain in efficiency.  For years I had a studio outside of our home, because our home was tiny and my tools were big (industrial sewing machines.)

Your creative medium and your personality will really affect the best choices for you with regards to this strategy. For me, shifting to working at home has been essential to my efficiency. If you are a writer, this should be no big deal, but depending on the tools you have and use, this can be a major challenge.  We moved from a tiny downtown condo to a house outside the city. The move was prompted by a perfect storm of life factors, including a high energy dog, but it has resulted in my ability to now work from home.

Specifically, this means I am now able to work creatively and productively after 6pm without feeling like I am neglecting my marriage or home responsibilities.  Reducing car time or travel time is a magic efficiency gain of 10 or 20 hours per week- just enough time to really make a dent in that 1000 hours yearly goal.

In Summary

These are the three most impactful strategies I have found for protecting time in studio.  Being a working artist means that you are committed to making art, sharing art, and selling art.  In order to do this, you need to get past the idea generation stage and into the making stage. These strategies revolve around this idea that if you can put in 1000 hours of studio time a year, you can complete meaningful work.

  • Track time. The goal is 20 hours a week in studio. Keep it visual and easily understood. Visual data has an impact on the subconscious mind at levels that numbers do not.
  • Structure one day a week to handle all administrative tasks – such as Mondays.
  • Work From Home. Eliminate Travel Time.

 

What are your top strategies for protecting your time as a working artist?  Please leave comments and share your thoughts.  We really appreciate it!

About This Site

Hello There.  My name is Brook.

I’m writing this site to document tools and strategies that work well for working artists.  These are my questions:

  • How do I stay motivated?
  • How do I stay productive?
  • How do I keep completing work?
  • How do I share work?

I am deeply grateful to the work done by Julia Cameron (The Artist’s Way), Steven Pressfield (The War of Art), and David Lynch (Catching the Big Fish).  I have read these books several times and highly, highly recommend them.  These are not affiliate links.

But I find that these books speak to the challenges of getting started and finding one’s passion– they don’t speak as closely to the challenges of staying motivated and productive.  The discipline of passion.

So that is what this site is intended to be.  A document of ideas and strategies for staying productive on an ongoing basis.  A site about structuring a life as a working artist.

Some background:  I have had several careers in my life, as most forty-year olds have done in this day and age. Everything from clothing design to technology sales to real estate.  And I have returned to primarily art making.

I structure my life the way many academics structure their lives:  I work part time doing something tangential in order to create and publish (art)work.  And the question I ask myself every day is: how can I become more efficient and productive at the money-earning work I do, so that I can have more time available for the art work?

This is why the analogy of an academic is useful:  we need to create and publish, but we can’t also burden that creative work with earning money, not at an incipient stage.