Another little ditty from Mastery.
When John Keats (1795-1821) was eight years old, his father died in a riding accident. His mother never quite got over the loss and died seven years later—essentially leaving John, his two brothers, and one sister orphaned and homeless in London. John, the eldest of the children, was taken out of school by the appointed trustee and guardian of the estate, and enrolled as an apprentice to a surgeon and apothecary—he would have to earn a living as quickly as possible, and this seemed the best career for that.
Several years into this process, Keats came to a fateful decision—he would devote his life to writing poetry. That was his calling in life and he would find a away to make a living at it. To complete the rigorous apprenticeship he had already put himself through, he decided that what he needed was to write a very long poem, precisely 4000 lines. The poem would revolve around the ancient Greek myth of Endymion. “Endymion,” he wrote a friend, “will be a test, a trial of my Powers of Imagination and chiefly of my invention …—by which I must make 4000 lines of some circumstances and fill them with Poetry.” He gave himself a rather impossible deadline—seven months—and a task of writing fifty lines a day, until he had a rough draft.
Three quarters of the way through, he came to thoroughly hate the poem he was writing. He would not quit, however, willing his way to the end, meeting the deadline he had set. What he did not like about Endymion was the flowery language, the over-writing. But it was only by means of this exercise that he could discover what worked for him. “In Endymion,” he later wrote, “I leaped headlong into the Sea and thereby became better acquainted with the Soundings, the quicksands and the rocks, than if I had stayed upon the green shore and … took tea and comfortable advice.”
In the aftermath of writing what he considered to be a mediocre poem, Keats took stock of all of the invaluable lessons he had learned. Never again would he suffer from writer’s block—he had trained himself to write past any obstacle. He had acquired now the habit of writing quickly, with intensity and focus—concentrating his work in a few hours. He could revise with equal speed. He had learned how to criticize himself and his overly romantic tendencies. He could look at his own work with a cold eye. He had learned that it was in the actual writing of the poem that the best ideas would often come to him, and that he had to boldly keep writing or he would miss such discoveries. Most important of all, as a counterexample of Endymion, he had hit upon a style that suited him—language as compact and dense with imagery as possible, with not a single wasted line.
With these lessons in hand, in the years 1818 to 1819, before he became gravely ill, Keats would produce some of the most memorable poems in the English language, including all of his greatest odes. This added up to perhaps the most productive two years of writing in the history of Western literature—all of it set up by the rigorous self-apprenticeship he had put himself through.
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By nature, we humans shirk from anything that seems possibly painful or overtly difficult. We bring this natural tendency to our practice of any skill. Once we grow adept at some aspect of this skill, generally one that comes more easily to us, we prefer to practice this element over and over. Our skill becomes lopsided as we avoid our weaknesses. Knowing that in our practice we can let down our guard, since we are not being watched or under pressure to perform, we bring to this a kind of dispersed attention. We tend to also be quite conventional in our practice routines. We generally follow what others have done, performing the accepted exercises for those skills.
This is the path of amateurs. To attain mastery, you must adopt what we shall call Resistance of Practice. The principle is simple—you go in the opposite direction of all of your natural tendencies when it comes to practice. First you resist the temptation to be nice to yourself. You become your own worst critic; you see your work as if through the eyes of others. You recognize your weaknesses, precisely the elements you are not good at. Those are the aspects you give precedence to in your practice. You find a kind of perverse pleasure in moving past the pain this might bring. Second, you resist the lure of easing up on your focus. You train yourself to concentrate in practice with double the intensity, as if it were the real thing times two. In devising your own routines, you become as creative as possible. You invent exercises that work upon your weaknesses. You give yourself arbitrary deadlines to meet certain standards, constantly pushing yourself past perceived limits. In this way, you develop your own standards for excellence, generally higher than those of others.
In the end, your five hours of intense, focused work are the equivalent of ten for most people. Soon enough you will see the results of such practice, and others will marvel at the apparent ease in which you accomplish your deeds.
