More on "Natural Talent"

[Richard A. McCullough]

I've received a few questions about my article "Regarding - Natural Talent" so I thought I'd clarify the point.

>>The more "natural talent" an artist was "born with" and the less training they have had in the correct technology in their craft the more vulnerable they are to outside criticism and self doubt.<<

Oh, I know it's a pretty sweeping statement.

But being one myself and raising three others, and having talked with many others - I've found this to be fare more the case, than not. So, it's a workable truth and will do nicely for explaining an observed phenomenon with artists - until a better one comes along.

Oh, the phenomenon -
The untrained, natural-born artist tends to interiorize when complemented on his art.

It's a missed withhold phenomenon.

Because he doesn't feel at cause over his art. Without being reacquainted with the principles of his particular craft (some study of the subject) he doesn't know whether his work is good or bad. So your complement will make him all sheepish, he'll stutter and blush, want know what to say and will want to get away from you.

You've missed his withhold. What he's withholding is that he doesn't "Know". He's not up to Know on the subject. But you're treating him like he is - so he feels like a faker.

Now the other artist type tends to display another social problem. You complement the artist that "Knows" his subject - and knows that he knows - he'll treat you with a certain arrogance. Because no matter what aspect of the work you attempt to talk about he is painfully aware of its flaws. He just sees the flaws. And you go gushing on and on and he just kind of looks at you and thinks, "Poor devil, doesn't really know what he's talking about. Because if he did, he'd see that it should have been better."

The successful artist is at Know - it's pretty lonely in that strata - as there aren't very many people that he can talk to. Lack of comparable reality.

So there you have it - a little thumbnail.

Just my observation of phenomena I've felt and witnessed and got curious about and this is my analysis of what's going on and why.

So, how does one handle the "untrained" artist?

With the untrained artist:
Keep your complements very short and light (unless you want to cave him in) and personal (related to you) rather than effusive, long winded and general. Example -

"I like that (picture, story, whatever)." - in conservatism. That's it, now shut up. And don't try to make intense eye contact like your trying to connect with your long lost brother or convince him that you "understand" him or his work. You don't. Hell, he doesn't even understand it himself. That, you see, is what drives him mad. Being driven by an urge that he doesn't understand and can't control.

The arrogant Pro:
Say something like, "Hay, that's really cool. I don't know shit about art - but I like that" - a little higher toned. Mild interest would be about right with a little flippancy thrown in. And then shut up. There will be an awkward silence in which you can offer to buy him a drink, or offer a smoke.

Now, change the subject. "So, what do you think of the game last night - those Lakers…"

He'll have sized you up. Determined that you're not a critic or a fake and that you're not trying to impress him. And you've given him an opportunity to talk about something besides art. Which he's very thankful for because it's a subject that he has a very hard time "not" thinking about.

Now, if you just let him talk, nod your head appropriately, he'll turn the conversation back to art and be very forthcoming about what he's thinking about, and what he's trying to do.

And he'll be talking to you like a bosom buddy in no time - because you listen, seem to understand and let him do all the talking.

The "cure" for the amateur is (of course) to get some training on his craft. That will give him the confidence that comes from being up at "Know" on the subject. And he won't get caved in or sheepish every time he's complemented on his work.

Not to mention the fact that being at "Know" on ones craft is the only way to avoid destruction at the hands of the critical suppressive person that cuts down artists and whatever they do.

One last point of interest.
Put two artists together who are both at "Know" and you'll likely have a cat fight. Unless they happen to be from two different art forms - in which case they'll probably get very interested in sharing different viewpoints.

Put two different artists together who are both below "Know" and anything could happen most of which is not good. It could become anything from a "pity party" to a game of "one-upmanship."

I trust this clarifies the point.

You can always write to me. Your communication is welcome and appreciated.
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[Richard A. McCullough]

Thanks for joining the conversation. It's good to hear from you.

I agree with everything you said with one small exception.

When I studied through all the Ron Mags I noted that LRH did not start out selling everything he wrote - he had to work up to it, and eventually he got pretty close.

The point is he learned the craft of storytelling, just like he learned photography and music.

Writers are not born they are made - self made or otherwise - they are made, all the same. It can become sort of a hidden standard when we are not able to see their learning, struggling process as is the case with most writers, musicians, painters, etc.

We only see their work when they've "made it". We never get to see what went in the trash -

Thomas Wolf is one notable exception. He published a collection of his early stuff - after he'd become a ledged. There are a couple Thomas Wolf's but this one published a book "Portrait of an Artist as a Young Dog". No idea if it's still in print. But it was an inspiration to me. Just sketches, half finished bites and pieces, so much like the very things I was filling spiral notebooks with at the time. Reading his fits and starts gave me hope that I was on the right track.

It would be wonderful if we could see more stuff like that. Then perhaps we wouldn't hold those who've "made it" in such awe and we could better understand how to follow them.

[Francis Don Daniels]

Richard,

I find your handlings for the "novice"and "pro" very useful. Employing the Tone Scale
properly to negotiate around buttons the artists may have works great. Something we
all should be aware of and use to maintain good ARC.

It's always a bit shaky trying to talk "shop" with another artist for these reasons.

Though your observations regarding the mis'd w/h phenomenon are accurate, I would
venture to say there are also other case aspects contributing to the situation.

And as with Jan, I hardly believe LRH needed much training either. So state of case has
a lot to with the need for training in one's craft.

Don

[jan grosvenor hadlow]

Yes.this is true. I make it my job, to use the ability to spot any artist and give them a hand.I like to indicate talent as who they are first, as for sure, it only needs rediscovering.Just having the ack,makes a universe of difference,I guess I dont use logic.Just use a small handout.
I would like to see more groups, and even teenagers pages..:

[Richard A. McCullough]

You are one of the extremely lucky few. I'm glad you didn't have any problems.

You and your experience are the exception rather than the rule. And although exceptions are interesting to consider they are not very helpful in evaluating the general scheme of things.

If all the artist that you know aren't really out there flourishing and prospering perhaps this might help you understand what might be going on in there universe.

[jan grosvenor hadlow]

I was born with my artist talent in tact, and recall in tact, didnt feel this effect.had a great free upbringing..
My viewpoint ony..is .
Natural talent, just needs to be acknowledged, and an explaination can be given. The only Missed withhold I had, was when asked..Where did you train, I answered, not this lifetime.as a truth, I didnt get any adverse reaction.