In 1829 Rossini was at an age which has often proven critical in the lives of musicians, painters and writers. Lapses into silence far more complete than Rossini's, creative failures, suicides, and unanticipated deaths have been common in the middle to late 30s. As Charles Rosen has noted, 'It is the age when the most fluent composer begins to lose the ease of inspiration he once possessed, when even Mozart had to make sketches and to revise'.

When you've got creative momentum, the last thing you want to do is stop. I'd write and write and wake up with my head slumped over and my fingers still on the keyboard and the last sentence trailing off like eeeeeejjjjjjjjjjjjj . . . Then I'd finally crawl to bed. Mornings were rough, but I got used to it. It was invigorating to write a couple thousand words while the rest of the world was asleep. More invigorating than rest.

During my 20’s and 30’s at some point I started to think, “I have to give it up and I have to grow up.” But the truth is that I can never give it up and that’s another thing that I always tell people, especially young people: don’t even bother thinking that you’re going to give up whatever your art or your creative thing is. It’s always there for you.

Call your personal board now and discuss the important questions. You cannot invent, re-invent or show creative brilliance without asking pertinent questions. You must demand answers from your life, from your present circumstances or from any challenge you may face. Why can’t you change? What does it take to get different results? What else can you do or try?

Within your ego mind there is a prison cell. Its bars are made of resentment and the door is hung on the hinges of disappointment and unfulfilled expectations. It is a cell, or so you imagine, for those you have not yet forgiven. This prison cell only lacks one thing—a lock for the door. And so youmust hold the door shut by force of will—expending tremendous energy to hold the door shut— energy that would otherwise be used to cultivate joy, creativity, and passion.

The best lesson from the myths of Newton and Archimedes is to work passionately but to take breaks. Sitting under trees and relaxing in baths lets the mind wander and frees the subconscious to do work on our behalf. Freeman Dyson, a world-class physi- cist and author, agrees: “I think it’s very important to be idle...people who keep themselves busy all the time are generally not creative. So I am not ashamed of being idle.

Whether it means prizing the value of lessons learned, building games into your creative process, or getting gifts upon certain milestones of achievement, self-derived rewards make a big difference…You cannot ignore or completely escape the deeply ingrained short-term reward system within you. But you can become aware of what really motivates you and then tweak your incentives to sustain your long-term pursuits.

Where visual artists are concerned, the Baroque sculptor and architect Bernini and the painter and sculptor Picasso were clearly adept at both experiential and instrumental attending, says Tellegen, as is the modern architect Frank Gehry. Choosing a literary example, he says that F. Scott Fitzgerald once admitted to "wrapping one of his romantic flings in cellophane" for later artistic use and notes that "this kind of heartless but honest professionalism is not uncommon among creative people.

From childhood's hour I have not been As others were; I was differentI was not raised; as others wereMy passions from a common sense of ideas. From the same source I have taken Thus, this is art that connects mankind My pains; I could not awaken Resurrected, because in art there's creativity My heart too complacent at the same rate; And all I loved indeed, I loved alone.I am alone.

Over the years I have written creative non-fiction related to the curricula I produced, first as an elementary school art instructor, then for nearly two decades as a museum education curator. While any curriculum I wrote was based on facts as well as best and accepted practices, to add imaginative interest and encourage my students’ engagement I put those facts in the context of stories, invented situations that brought to life the remote or unfamiliar