how to unleash your creative power
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How to
U nleash
Your
CreativePower.
by Steven Donnini
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What makes a persons knowledgemore valuable?
The inspiration to use it in a new way.
The First Edition of Creative Pathway (1998) was
utilized in a Sr. Communications course at New York
University in 2007. The Professor wrote, “I got
out your book/manuscript on creative thinking and
tried out a lot of the concepts. Guess what! It
worked—it worked really well. What the hell, the
kids caught on, grabbed it and went with it. I had
a great time.
The New Creative Pathways Creative
Development Book is a practical guide
to creative thinking and how to
create solutions on demand.
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The premise of this work is that everyone has
creative potential which can be developed to
enhance ones “Human Capital” value.
Un-Creative people stay poor, while
Creative People get Rich.
Creative people In today’s world, we are worth more
to employers and experience the joy of creative
thinking when we develop our natural creative
abilities in a practical way. This guide is
designed to unlock, unleash and release creative
unconsciousness where all creative ideas come from.
We work with techniques that “Create on Demand”
professionals use to create new solutions to
challenges they must face everyday. But first we
may need proof that we have at least some creative
thinking. That proof is in the dreams we have.
Some are incredible constructs of a visual nature.
Others exhibit fantasies of epic proportions. They
are proof that creative thinking exist in the most
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concrete thinkers. But how do we create a pathway
into the world of imagination?
First we need to get permission to allow our ideas
to pass by the inner-beliefs that act like idea
filters. If we believe that some subjects and
issues are taboo then allowing new ideas about
these subjects will be stopped before they come to
our consciousness. And we will never create new
solutions for problems that are created about those
subjects. The more rigid our thinking, the less
joy we can experience in life. If we have no
tolerance for chaos or ambiguity, we will become
rigid thinkers. In the Chapter “Creative
Engineering” we explore how to create multiple
solutions using the same information. In the
Chapter “Deconstruction” we become skilled at how
to breakdown problems into components and
reconstruct for new solutions. In a Chapter on
“Memory Devices” we study how to create “Ideas
Hooks” that work in the real world.
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Brainstorming in a large group is the worst
kind of creative development.
Then we begin to develop idea presentation skills
we become capable if selling them. But what to do
when you are invited to a Group Creative Meeting?
Making creative suggestions to a group is
treacherous. Your ideas may have been shout down
before and you can look like a fool. So, don’t
offer suggestions. You could look stupid, silly or
uninformed. Only ask questions you know the answer
to. It will keep you in the loop as a team member.
The most productive group creative is to organize
and manage an effective creative teams of two.
These are all practical creative tools that move us
beyond being just another clog in the wheel. There
are some simple and not so easy assignments to
challenge rigid thinking and intolerance for chaos.
Here many great ideas are unearthed. Once we open
the pathway from the unconscious to consciousness
the creative power of our unconsciousness is
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available for unlimited creative possibilities.
However this is a lifelong process that requires a
commitment to explore new ideas that take us to a
new level of creative consciousness. It is not for
the fearful, lazy or apathetic. Because what
stands between us and our naturally creative self
is our inner-beliefs about personal relationships,
social beliefs and old survival agreements about
life. Every old belief must be on the table for
re-evaluation for what is holding new ideas back.
What is a great idea?
The first answers came to me from Mortimer Adler.
6 great ideas. They are Truth, Goodness, Beauty,
Liberty, Equality and Justice. It’s likely we can
all agree on these six ideas as the most powerful
and relevant to us. In fact, its because they are
useful in everyday life. However, not every new
idea is ethical or practical to the same extent, so
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we need to apply some ethics to our creations. In
the Chapters on “Creative Ethics” and “Creative
Development Tools” we explore the attributes that
shape our ideas. Once we reach the point where new
ideas are ready for the world then it’s time to
face the mother of all creative thinking problems
“Dealing with Rejection”. There are some practical
considerations and some emotional issues to learn
to cope with. What can happen is that you haven’t
gotten an agreement or demonstrated the benefits to
the premise of your idea. If the premise is a
moral one then it could be easy. If it’s about
money, you will need independent backup data.
Whatever the premise is, it’s critical that you get
agreement from key people before you offer
solutions. Always present three premises and three
ideas. Why do that much work? If the rejection
problem is personal, then the solution can change
the direction of your life, so it’s worth the pain.
If it’s rejection based on your work, it could
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advance you greatly, even if you don’t sell your
idea on the first try. You made a good
presentation. The next time there’s a problem, you
will be on the short list of creative thinkers
invited to the party. You have become valuable,
although slightly wounded. The more rejection you
get the less it hurts. The only time I feel bad
about rejection of and idea, is when I didn’t do
the “Creative Development Work Plan”.
How to present your ideas.
The more complete your presentation, the better it
will communicate. Every presentation is
different, so consider how to edit it down if you
don’t have all the time you need to get through
the material. You may also consider that the
audience is different and take out or add someexecutions that are suitable for the audience.
The single biggest misstep is in not understanding
your audience. An example is the number of films
that are written and produced at great expense
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that fail to make even a showing. In fact, 98% of
these projects don’t make enough money to pay for
the film production and prints. These days
righting off the loss on ones income tax is very
unpopular. This year 9,000 feature films were
entered at Sundance. Why do they have such a high
failure rate? Since I am involved in film funding
I see many film production business plans and most
of them have no reliable notion of who will pay to
see the film. It’s the same with books and most
art. The creative part is lacking the knowledge
about who the audience is. To be successful it
will be a great advantage to know who will buy
your ideas and how to present them.
Presentation is a kind of magic, in that it can
have the illusion aspect of a magic act.
Structure your presentation in a progression of
agreements.
Are you thin skinned?
When you present your ideas to the wrong people you
will get rejection 90% of the time. Professional
creative people learn to deal with the bad feelings
that go with it. So, showing your ideas to
everyone you meet is a mistake. If someone who asks
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you, “What are you writing”, tell them, “Nothing”
or give them a one liner like, “You don’t want to
know.” If they’re someone who is supportive and
sincere that’s a different story.
All good experienced creative people are thin
skinned. It’s the nature of the beast. I would
expect nothing else.
However, learn not to make things worse by talking
too much about what you are working on until you
are ready.
Going forward together we create a new
world of creative solutions to difficult and
persistent dilemmas.
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To learn more Contact:
Steven Donnini
Donninifilms.com
email: [email protected]
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