Podcast appearances and mentions of Austin Kleon

For a hundred years, parents attempting to undertake creative endeavours have had a ready-made excuse, courtesy of Cyril Connolly: “The enemy of art is the pram in the hall.”Kids, the thinking goes, are where creativity goes to die. But Austin Kleon thinks Connolly got it exactly backwards.This month on the podcast, I sat down with Austin—author of the New York Times bestselling trilogy Steal Like an Artist, Show Your Work and Keep Going—to talk about his new book, Don't Call It Art: 10 Ways to Create Like a Kid Again. This book is a love letter to his two sons, and a collection of everything they taught him about creativity.Austin spent his career helping people tap into their creative potential, Then his kids arrived, and he realised he wasn't the teacher anymore. He was, in his words, “the apprentice to the beginners,” the studio assistant in his own home, saving the drawings, keeping the paper trail, and watching two small artists figure out how to “let it rip.”We talk about why children aren't an obstacle to your creative life but an opportunity for it to grow, the gentle art of benevolent neglect, and how watching your kids create might be the best way to quiet your own inner critic—and re-parent the artist you used to be.Subscribe to the Podcast* Spotify* Apple Podcasts* YouTube* Pocket CastsWhere to Find Austin Kleon* Buy Don't Call it Art* Read his blog, especially the parenting tag* Subscribe to his newsletter* Follow him on InstagramEpisode ReferencesBooks & Essays* The Element: How Finding Your Passion Changes Everything by Sir Ken Robinson* The Idle Parent Manifesto by Tom Hodgkinson* Bringing Up Bebe by Pamela Druckerman* Several Short Sentences About Writing by Verlyn Klinkenborg* 100 Essays I Don't Have Time To Write by Sarah Ruhl* The Argonauts by Maggie Nelson* Hold Still: A Memoir with Photographs by Sally Mann* Playing With My Son by Andy Baio* Heidi's Horse by Sylvia Fein* American Elf by James KochalkaFeatured Artists, Musicians & Innovators* John Baldessari – The legendary conceptual artist whose revolutionary “Post-Studio Art” teaching style shaped a generation of creators.* Creative Growth: Childhood to Maturity at MoMA – The historic 1939 solo exhibition tracking artist Dahlov Ipcar's development from a young child to an adult.* Lynda Barry – The MacArthur-winning cartoonist, author of What It Is, and professor of interdisciplinary creativity.* Ruth Asawa – The brilliant San Francisco wire sculptor who believed art education should be accessible to all children.* Eleanor Coppola – The visionary documentary filmmaker who beautifully balanced her own creative life alongside an iconic filmmaking family.* Brian Eno – The experimental ambient music pioneer whose philosophy centers on answering the ultimate creative question: “What is it that I actually like?”* Michel de Montaigne – The Renaissance essayist whose father instituted a spartan pedagogical plan, including raises with peasants and learning Latin as a first language.Misc* Cyril Connolly's “Pram in the Hall”* Jeff Tweedy on Making Art without ControlTimestamps03:10 — Pre-publication anxiety and “the gulp”: Austin's advice for a first-time author05:03 — Why a second book is like a second child06:04 — Austin's family: Megan, two boys, and a houseful of weirdos in Austin, Texas07:12 — A love letter to his kids: bottling the energy of two “cavemen Picassos”09:55 — Growing up in rural Ohio: pigs, county fairs, and a broad definition of creative work12:10 — Ken Robinson's “I'm drawing a picture of God” story13:29 — Puberty and the arrival of the inner critic14:31 — Milton Glaser's perfect combination: a mother who says “you can do anything,” a father who says “prove it”16:11 — Parenting tension as a guitar string: freedom, constraint, and Bringing Up Bébé18:50 — The story of how Owen held his pen—and the magic line that disappeared22:31 — Benevolent neglect: D.H. Lawrence, The Idle Parent, and butting out25:25 — “I was the apprentice to the beginners”: becoming the studio assistant in his own home25:59 — Where Don't Call It Art comes from: John Baldessari and why the title disarms the critics27:40 — Capture mode: diaries, one-liners, and drawing comics of your kids30:57 — Save the drawings: Heidi's Horse, Dahlov Ipcar at MoMA, and keeping a paper trail39:03 — What Owen's music taught Austin: Brian Eno and “what do I actually like?”41:41 — Unrepeatable experiments: Montaigne's Latin, Kraftwerk over The Beatles, and Andy Baio's video game history44:37 — Scarcity vs. abundance fatherhood: Kevin learns piano alongside his daughter45:58 — The pram in the hall is wrong: what mother-artist memoirs taught Austin about integration52:09 — “Go to therapy before you have kids”: what children reflect back at you, and re-parenting yourself with Fiona AppleCreditsHost: Kevin MaguireManaging Producer: Elizabeth Van BrocklinSound Editor: Sam WilliamsTheme Music: SOHN Get full access to The New Fatherhood at www.thenewfatherhood.org/subscribe

Pre-Order My New Book “Mysterious Things” and Help Us Spread the Word: invisiblethings.co --- This episode is for you if you need: 1 - Tactics for escaping overthinking. 2 - More fun in your creative practice. 3 - Insights on how to find your child like passion for creating again. 4 - Something unexpected to spark you! This is a phenomenal chat with the great Austin Kleon. The guy is full of creative wisdom and is BACK with another banger of book for creatives. It's called “Don't Call it Art” and it is chock full of stuff to get you making stuff and having fun again doing it!   SHOW NOTES: ICON 13 ILLUSTRATION CONFERENCE $100 OFF:www.eventbrite.com/e/1808652431109/?discount=ICON13FriendofBoard Austin Kleonhttps://austinkleon.com Don't Call It Art by Austin Kleonhttps://geni.us/iHeRR Producer / Editor: Sophie Miller http://sophiemiller.coAudio Editing / Sound Design: Conner Jones http://pendingbeautiful.coSoundtrack / Theme Song: Yoni Wolf / WHY? http://whywithaquestionmark.comSpotify Playlist of WHY? Songs Used on This Podcast: https://open.spotify.com/playlist/4ZIE7PHG5I1Ddg1BuVGRzj?si=4x_BzDZjQgqSpoaLXdVACg&pi=h4HsIKG0SP6Kg   SPONSORS:SQUARESPACEHead to https://www.squarespace.com/PEPTALK to save 10% off your first purchase of a website or domain using code PEPTALK RULARula patients typically pay $15 per session when using insurance. Connect with quality therapists and mental health experts who specialize in you at https://www.rula.com/peptalk #rulapod Learn more about your ad choices. Visit megaphone.fm/adchoices

On this week's Art Ed Radio, host Tim Bogatz sits down with bestselling author Austin Kleon! Austin is a writer, artist, and creative thinker behind Steal Like an Artist, Show Your Work, and Keep Going, and his brand-new book, Don't Call It Art: 10 Ways to Create Like a Kid Again, is out now. In this episode, Austin unpacks his deceptively simple "algebraic equation" for unlocking creative play (time + space + materials = play) and explains why losing even one of those elements is enough to make any artist feel stuck. He and Tim also explore how to fight perfectionism, why copying is actually a natural and powerful stage of creative development, and how blind contour drawings, printmaking, and collaboration can all serve as tools to silence your inner critic. For art teachers heading into summer, this conversation is essential listening. Austin and Tim discuss the power of becoming a "curious elder", approaching what your students love with genuine curiosity, not judgment, and why that openness can unlock new ideas in your own practice. Austin also shares thequestion he believes every creative person should ask themselves, makes the case for 15-minute daily habits over long uninterrupted blocks of time, and offers practical, liberating advice for teachers who want to reconnect with the artist inside them. Resources and Links Check out AustinKleon.com and his Free Friday Newsletter Learn more about the new book, Don't Call It Art Tiny Acts, Big Impacts: The Power of Creative Play for Art Teachers Dear Art Teacher, You Deserve to Be the Artist Too! 4 Summer Books to Help Art Teachers Fuel Their Creative Process Four Ways to Steal Like an Art Teacher Come join the Art of Ed Community!

Have you ever lost the joy in your creative work — that sense of fun you had when you were starting out, before the admin and the algorithms drained it away? How do mid-career creatives get it back, and what can a four-year-old teach us about play? Austin Kleon talks about productive procrastination, silly rituals, the case for paper reference books in an AI world, and how his newsletter went from a marketing cost to the day job that keeps the lights on. In the intro, Does social media still sell books? [Self-Publishing with ALLi]; Trial by algorithm [The Bookseller]; Publishing's AI Hypocrisy Problem [The New Publishing Standard]; ALLi AI survey for authors; Brave New Bookshelf Podcast, and Pics from signing at BookVault. Today's show is sponsored by ProWritingAid, writing and editing software that goes way beyond just grammar and typo checking. With its detailed reports on how to improve your writing and integration with writing software, ProWritingAid will help you improve your book before you send it to an editor, agent or publisher. Check it out for free or get 15% off the premium edition at www.ProWritingAid.com/joanna This show is also supported by my Patrons. Join my Community at Patreon.com/thecreativepenn Austin Kleon is the New York Times and international bestselling author of nonfiction books, including Steal Like an Artist, Show Your Work!, and Keep Going, as well as an artist, professional speaker, and poet. His latest book is Don't Call It Art: 10 Ways to Create Like a Kid Again. You can listen above or on your favorite podcast app or read the notes and links below. Here are the highlights and the full transcript is below. Show Notes Why Austin wrote Don't Call It Art now, and what his kids taught him about creative joy Productive procrastination, silly rituals, and treating writing like Lego Comedy as a philosophical position, and giving yourself permission to be bad in private Sharing process in the algorithm era, and why your whole life is the process Bibliomancy, paper reference books, and what AI can't give you that a dictionary can Style, the Taco Bell distinctiveness rule, and how Austin's newsletter became his day job You can find Austin at AustinKleon.com. Transcript of the interview with Austin Kleon Jo: Austin Kleon is the New York Times and international bestselling author of nonfiction books, including Steal Like an Artist, Show Your Work!, and Keep Going, as well as an artist, professional speaker, and poet. His latest book is Don't Call It Art: 10 Ways to Create Like a Kid Again. So welcome back to the show, Austin. Austin: Thank you for having me back. It's nice to talk to you again. Jo: You were on the show in March 2020, and at the time, your book was Keep Going, which was prescient considering the pandemic and politics. So I wondered, why this book, Don't Call It Art, now? Was this something you see in the creative community or your own life that made you want to write this book? Austin: Keep Going is a book about what happens when the world goes crazy around you and you're still trying to do your creative work. This is a book about what happens when inside has bottomed out. Keep Going is a book about the world bottoming out, and you're worried that your own creative work is going to bottom out too. How do you keep pushing through and keep making stuff? This book, to me, is about what happens when you bottom out inside—when you've lost that love and feeling for the thing that you wanted to do, and you're just not connecting with it in the way that you used to or the way that you want to. How do you get back? How do you return to that sense of joy and wonder and fun that we have when we're starting out? And for me, it was being around my little kids that taught me how to tap into that. My kids were natural—they didn't have any creative hangups. I would spend all day talking to people who had creative hangups, and then I'd get back in the house, and I'd just be around these beings who didn't have any of them. It was really instructive. I felt like, if I could bottle the energy of my kids when they were about four years old and try to put it in a book, I think it could really help a lot of the people that I run into, and the people with the kinds of problems I hear from. Jo: You mentioned bottoming out. How do people know when they've hit that point? Austin: You just don't want to do it anymore. You're kind of like, “This just isn't giving me back what it used to.” When we start with our creative work, that's the thing that juices us. We come away from it feeling full up. I think you hit a certain point where you start to feel drained after it. Or maybe you don't feel drained by the thing itself that you're doing—maybe it's all the stuff around it, which is more often the case. For example, if you're a mid-career writer like me, who's been publishing books for 16 years now, I still really like writing. I still really like drawing. I still really like cutting and pasting and putting things together. It's the admin around the work—the emails, the meetings, the running-a-business part of it—that's super draining for me, and that stuff can start to bleed over into the creative work. So it's really important for me to make sure that I'm having some playtime, some R&D, some research and development time, to make sure it's not just all business. When you take the thing that you love and you turn it into the thing that you make a living from, you can really run into a lot of problems. Jo: I'm at 20 years, so I know exactly what you're saying, and a lot of listeners are the same. We love writing books, but it's all the stuff that goes around it. So for those of us who do this for money as well as passion, what are some practical ways to have more fun with our creativity? Austin: Something I learned from my kids is that you really are your most creative when you're supposed to be doing something else. So one of the things I use a lot in the studio is productive procrastination. Whatever I'm supposed to be working on, I start another little project, and that's my little naughty fun time. When I first come into the studio, I try to do something that I'm not supposed to be doing—something that I won't have much to show for. That could be making one of my blackout poems. That could be making a collage in my notebook. It could also be sitting here. I have a bass in the studio now, so I can practise my bass guitar. Sometimes I'll do that for the first 15 minutes just to get in that headspace of, “Hey, what's it like to do something just for yourself? Just because you want to do it?” The juice that you get from that little naughty “I'm going to do what I'm not supposed to be doing right now” thing, that carries into the rest of the day. It's like a nice start to things. Jo: Do you think that play could be something different to what we make our money with? For me, writing novels and stories is great fun in one way, but it's also what I then publish and make money on. So writing stories is more serious, I guess, than playing with Lego or something. Austin: Right. So the trick is, how can you make writing your stories like playing with Lego? That's kind of been my whole career. I hate staring at Microsoft Word and that blinking cursor, taunting you like, “Come on, what have you got?” A lot of my creative life has been about trying to make it more playful, trying to make it feel more like a game. That's how I came up with my blackout poems. I take an article from The New York Times and I black it out until it only has a few words left behind. It sort of looks like if the CIA did haiku, for some people listening. That was one little exercise. Then weirdly, that side thing that I thought was just play, just fun—that turned into my first book. So then it's, okay, what else can I mess around with and play with? I do a lot of collage work in the studio, and I rarely actually use that for any of the books. Sometimes I use it for my newsletter to illustrate the newsletter. But it's always about trying to figure out, how can I make writing a game? How can I make it more playful? There are different things that I do to make it feel more playful. One of them's really stupid. I really believe in silly rituals because I think silliness is really powerful. People talk about their daily rituals—Mason Currey has that great book, Daily Rituals: How Artists Work. When I was reading that book, I realised it was really the silly stuff that I really liked. There was, I think it was Balzac counting out coffee beans or something before he got to write. Or Steinbeck sharpening 12 pencils or something goofy like that. So one of the things I like to do before I write is that I have these cigarette pencils. They're pencils that look like cigarettes in the studio. I put one in my mouth before I start writing, and I pretend to be some old '40s writer on a typewriter. I like doing goofy stuff in the studio because I think when you do goofy stuff—stuff that you'd be embarrassed if anyone else saw it—it gets you in that playful state. Jo: It's interesting. In your book, you have a section that says, “Don't take things too seriously.” For many of us, we write memoir for example, and that is very close to us. It's like the deepest expression of what we want to say in the world. It feels very serious. So how can we hold things more lightly and not take things so seriously? Austin: For me, comedy is actually a philosophical position. What I mean by that is, I think a lot of people set out with a tragic model of creative work. They think, “Oh, I have this special gift,” or, “I have this thing that I really need to do, and I need to put it out into the world, and I need to make the world look more like I want it to look.” They have this idea that, “Through blood and sweat and tears, I'm going to see this thing through, and I'm going to push it into the world, and I'm going to have my way.” I think there's another way of working where it's more like, “I'm just a normal person trying to play with my environment, and take my experiences and put them into something interesting. So I'm going to play and use my wits, and we're going to see what we come up with.” Those really are two modes of life. The pandemic taught me that it was really when we were keeping our sense of humour, when we were having a laugh and keeping our egos in check around the house and just acknowledging how goofy we all were and how ridiculous the situation was, that seemed to be when we were really thriving. Versus, “Well, we're in this tough situation. We've got to make it into what we want it to be.” That felt really bad. But when we cruised along and we were just improvisational, when we went at things with a kind of lightness, that worked. There's a great Italo Calvino essay about lightness in Six Memos for the Next Millennium. Lightness is really underrated. Even when we're going about heavy work, having a sense of lightness and play with it just makes the work better. That's a philosophical position of mine. I aspire to comedy. I aspire to a comic outlook on life. I'm just a creature with a body who's going to die, and I'm fundamentally ridiculous. Life is pretty absurd. You just make the best of it. Jo: There's certainly some truth there. Staying on a similar theme, you have a chapter in the book on permission to be bad. Many of the listeners also have your book Show Your Work, and it shaped many of us into sharing our work in progress. It feels quite dangerous now, in a world where judgment is much louder than it maybe was when you wrote Show Your Work. So tell us a bit about permission to be bad versus should we keep some of this private? Austin: Permission to be bad is about the making part of things. It's the private part. It's permission to be bad when you're in private, when you're actually doing the work. Show Your Work is a book about what you do after you've done the work, or while you're doing the work. It was never about putting up a webcam and running a 24/7 feed. It was more like, hey, what are the ways that I can connect with the kind of audience I can build while I'm making the work itself? So the way I see permission to be bad is, you really have to give yourself permission when you're not sharing, when you're off screen, to really be as bad as you want to be. It doesn't necessarily mean quality-wise. I think it also means letting yourself write stuff that you would never say on social media. Letting yourself read stuff that you wouldn't admit you were reading on social media. Letting yourself listen to stuff. Letting yourself really be that unfiltered, unhinged, private person that you want to be. Then when it comes to sharing, you put some time in between that input time, that making time, and the sharing time, and then you share what you think is going to be useful or helpful or interesting to other people. Jo: I think you wrote that book before TikTok, and how fast people are moving. Do you think people need to slow down a bit in what they share, maybe? Austin: I don't know. I obviously had a lot more faith in social media back then. I use all the principles from Show Your Work in my newsletter. Newsletters are very much the new kind of great thing. They're doing a lot of the work that social media used to do, in that you're still able to have this direct connection with the people that you're trying to reach. The big problem with social media now is that it's all algorithmically tuned, where the people that are following you don't see the stuff that you're doing most of the time. What you have to do now, if you want the people who are following you to see your stuff on social media, is you have to make stuff that the algorithm likes. That's a whole different thing. As far as the Show Your Work principle—which is share your process as much as your product—that carries over to any platform. In my newsletter every Friday, I share a list of 10 things that were going on behind the scenes here. It might have been what I was watching on TV, what I listened to, a new pen I was trying out, or something like that. The Friday newsletter is almost always process stuff. When I talk about process, my definition is actually very broad. For a lot of people, it's drafting, editing, whatever. For me, the process is the whole life. The process is almost everything except the finished thing. A writer's life is 24/7. My friends who have real jobs really are like, “What do you do all day?” And I'm like, “Well, what do you mean?” They're like, “Well, I see you out on your bike ride.” I'm like, “Yes, when you see me out on a bike ride, I'm thinking through something half the time.” If I'm watching TV, I'm thinking, “Hey, would this be good in the newsletter?” I'm never off. My whole life—everything is copy, as Nora Ephron said. That's part of the job. It's very hard to turn off. So I see the whole life as process, and the question becomes, what little bits and pieces of that life and that process can you share with people while you're making the things that you hope to sell them later? Right now, I'm in a cycle where I'm selling this book, but all these people have showed up because I've shared my process every week for the past seven years since I put out a book. Jo: It's funny you say that. I was at the dentist yesterday, and— My dentist literally asked me, “So where do you get all your ideas?” This is a common question for all of us, right? And it just becomes so hard to explain that to people who don't walk around in the world just constantly getting ideas. Austin: I can't believe I'm going to tell this story. I was getting my vasectomy after my second kid, and I was talking to this doctor just before the operation. He said, “So what do you do for a living?” I said, “I'm a writer.” He said, “Oh, that must be cool. You get to use your brain.” And I said, “That's everything that you want your doctor to say.” I was going to say, “Please use your brain,” before he's about to cut into you. He said, “Oh, no, no. What I mean is, I know what I'm going to do every day for the next 10 years.” He knew exactly what his day was going to look like. He said, “You have to use your brain. You've got to figure out new stuff.” I was like, “Oh, that's really interesting.” That's the trade-off, right? He's got the job security. He knows what he's going to do. Every writer has a moment where they have to talk to a normal person about what you do. Jo: I was going to say, I'm married to one. Austin: Now, my wife, on the other hand, grew up the daughter of a writer, so she knows exactly what it's like. Nothing ever phases her. She's totally used to it. She's used to me staring off into space, completely checking out of a conversation. She's used to me using lines on her that I'm going to put in a piece later. She's used to the whole rigmarole. It's very handy. I've been very lucky in that sense. Jo: Coming back to the book, you talk about your use of bibliomancy for inspiration. Since we're talking about that, tell us about it. I think all the book people listening will be happy. Austin: I'm a person who still keeps a dictionary nearby—a paper dictionary. I keep a big old American Heritage. It's just a big, thick book. When I really don't have any ideas, I will turn at random to the dictionary, close my eyes, stick my finger down the page, open my eyes, and just see what I come up with. Sometimes just that act will give me an idea. I also do that with books. I'll go around the studio, pick up a book, flip to a random page, and just see what it says there, or read an old piece of marginalia that I've left in a book. I believe deeply in the power of bibliomancy, and I think it's a case for paper books. I'm one of those people that still really believes in reference books. I've started collecting more and more of them. I have an old, big dictionary that's always open on my desk, and I look up words. I learned from John McPhee, the writer, that you should look up words that you think you know. That was the first time I'd ever heard anyone say that. So I look up words that I think I know. Instead of reaching for a thesaurus when I need a different word, I actually just look up the definition of the word that I already have. That's another McPhee tip. The other thing that happened that I thought was really interesting is, I got a Roget's for the first time—a thesaurus. I don't think most people know what an actual thesaurus is. Most people think of a thesaurus as a synonym finder, and that's not actually what a thesaurus is at all. A thesaurus is more like an encyclopaedia, weirdly. You look up things based on big concepts, and then it gives you a bunch of words to look up later. It's a very strange thing. It's not what most people think it is. I have a couple of editions of Roget's in here. I like the really old Roget's from the 1900s because they actually have opposing ideas facing each other on the page. Do you have an old-school Roget's? Have you ever looked through one? Jo: I don't have one now, but I certainly grew up with them. I was literally just thinking, I wonder if there are ones for Americans and ones for British people, because so often we say different things and mean different things. I always hear Americans say, “Oh, that's a doozy,” or something, and it means the complete opposite thing here. Austin: Like if you say “fanny pack” over there. That means something very different than it means here, right? Chips or fries, that kind of stuff. So I wonder if there are different ones for different cultural references. Jo: I don't know. Austin: As people, with ChatGPT and all these LLMs and stuff, people are like, “Why would you ever pick up a paper reference book?” And I'm like, “I actually like the friction.” I like having to move in space and go over to my dictionary. I like flipping the pages. I like having to scan a page for the word I'm looking for, because— This marvellous thing happens when you're looking for the word, where you bump into all these other words. If you're a word nerd, you get to start thinking about the root of the word—oh, why is this word next to this word? Well, it's because they share the same root. Then you're going down all these fun rabbit holes. The thing that I'm trying to do as a writer and a creative person is, I'm trying to get to the thing that I didn't know I was looking for. The thing that people misunderstand about AI, I think personally, is that it's a great tool if you know what you're looking for. If you're like, “Find me this thing. I want exactly this. I want to see a picture of a dog wearing a king's costume,” or some crap like that, then it can spit that picture out for you. Or, “I want to know what happened on this day,” and whatever. It can do that. But that's not actually what I'm doing most of the time when I'm writing or making something. I start with an idea, but what really happens—the magic of writing and the magic of making stuff in general—is when you discover something that you didn't even know you were headed for. That's the real magic for me. Sometimes I have an idea and I want to articulate it for people, but more often than not, there's something that bothers me or something that I want to talk about, and I sit down and write, and I figure out what it is that I actually have to say and what I actually think. Every writer really knows this, and that's why the dictionary, stuff like that, those are ways of training you to get in that discovery mode. “Well, let me—oh, I bumped into this. I went looking for this one thing and then I ran into this other thing.” That's why I love the library. I don't know what system you use over there, but you look for one book in the Dewey Decimal System over here, and then, okay, here's all these other weird books next to it. Then you end up with three other books other than the one that you were looking for. That's the magic. To me, that's the magic of creative work, discovering what you didn't know you were looking for. That was particularly important for me when I was writing this book because we discovered that my wife has a condition called aphantasia. It's very rare in the population, about 2 to 3% of people. There's probably some people listening to this right now who are like, “What is this? Tell me.” Jo: Aphantasia actually more common in the creative industries. Austin: Yes. What it is, is that you don't see—when I say close your eyes and picture an apple, you don't actually see the apple in your head. You can think about an apple and the qualities of an apple, but you don't actually see it. Some people, and it's a matter of degree—some people like me, I can close my eyes, I can tell you what the apple looks like, I can tell you what colour it is, I can tell you where the shading is. Someone like my wife doesn't see the apple. She can tell you what an apple is. It's really interesting because she has a degree in architecture, which is known as a very visual field. But the thing you discover about aphantasia is, it doesn't keep people from becoming artists. In fact, it's the opposite. Someone like Ed Catmull, who co-founded Pixar, writes about it in his book, and so many of the great animators at Pixar are actually aphantasics. The reason is that they learned that they had to draw in order to see things. When you don't have a picture in your head of what you want something to look like, things appear in the drawing, and you find things that you couldn't even picture. A lot of writers actually are aphantasics. John Green discovered recently that he has aphantasia. It turns out that it's a superpower for writers, because if you don't have a picture in your head, then you don't have to translate that picture into words. A lot of writers talk about thinking in radio, like they have a constant narrator. My wife—she's probably going to kill me for talking about her this much—when she describes it to me, she's like, “Oh, it's like a radio in my head. I'm constantly hearing a voice, and it's a narrator.” I was like, “Holy shit, that would be really helpful to me.” I don't have anything like that in my head. I read Mrs Dalloway for the first time, and I gave it to her and I said, “You've got to read this book. I think this must be what it's like in your head.” And she said, “Oh my God, it is.” Part of the thing that I took away from that experience—this is a long-winded way of getting here—is that I take a lot of inspiration from people with this condition. Most of the people I know in the arts or the creative fields, they set out with this grand vision, and then they start working on the thing and it's nothing like what they had in their head, and they get really depressed: “This isn't what I had in mind.” Whereas if you set out without a picture in your head, and you just start manipulating things and you see what appears, that's more of the comic mode I was talking about earlier. What would happen if we just sat down with our materials and we started playing and we saw what appeared on the page? What if we started typing and saw what appeared, and then we played with that? That's the kind of joy. That's more like how kids operate. Kids are better at that. They're better at reacting to what's actually in front of them, instead of having these grandiose visions about what they're trying to achieve. Jo: Just coming back on the longevity of a creative career. Your books are very distinctive. You have a very distinctive visual style, your handwriting and the way the books are done. I wondered if another part of the ennui, perhaps, or the draining of the later career is that we get trapped into doing something that feels like it looks the same. Or we have a voice, and we're happy in that voice, but sometimes we want to do something completely different. For authors, we have different names. I write under two different names, and that helps. But equally— How do you define author voice, and do you ever feel like doing something completely different to your normal style? Austin: Style, in a lot of ways, is self-plagiarism. Style is the repeated things that we notice in people's work. Hitchcock talked about this in films. Wes Anderson is someone like that—Wes Anderson has a style. I'm sure that he gets really sick of it too sometimes, but you also can't help it in some ways. I thought a lot about this because people worry about style so much. A lot of the time, what we call style is what Adrian Tomine one time said: “Style is just the distance between what's in my head and what comes out of my hand.” I really like that definition. With this book, I was trying to think, “Okay, if I do another book in this series, how can I push things a little bit?” And then I was reading this article about Taco Bell. You guys have Taco Bell over there, don't you? Do you have Taco Bell? Jo: No. Austin: So Taco Bell, for people who don't know, is this American Mexican chain, and they have tacos and burritos and stuff like that. They're well known for making these really insane… it's so American, this company. They make a taco with a Doritos as a shell. Doritos are crisps, I guess. Jo: Yes, we have Doritos. Austin: Okay. I spent time in England, I just don't remember if I ate Doritos when I was in England. Anyway, I was reading this article about Taco Bell. It was really funny. They have an innovation kitchen at Taco Bell, and they have a rule about new products. The rule is called the distinctiveness rule, and the rule is: you can change the flavour or you can change the taste, or you can change the form, but you can't change both at the same time. I got really obsessed with this concept because I thought, “Well, this could be kind of interesting.” If you're someone who's had success and you're known for something, this presents an interesting thing. You could do a complete break and do something completely new, or you could try the distinctiveness rule. Okay, well, what if I play with this idea of taste versus form? What if I change the taste and keep the form? So the idea for Don't Call It Art was, what if I do another one of these books, but the taste is more like if my kids made it? It had the texture of kids' art, it had lots of scribbles in it, it was loose and messy. That was kind of the idea. The actual book ended up being more like the other books. It ended up looking like an Austin Kleon book, because I just can't help that. The thing you said about having multiple names that you write under, that's kind of what I do with the newsletter. I think of the newsletter as very different from the books. The newsletter is this twice-weekly thing where I can be a little bit more of myself. In the books, I'm this very helpful, happy version of myself. It's me, but it's me on my best day. I'm really helpful and interesting for you. The newsletter is still a highlight reel in a sense, but it's a little bit more of my weird everything-I'm-into. It's more of the unclipped version of me. The newsletter becomes a place where I can do a lot of the weird stuff that's much different from the books. I have these little projects going all the time. Sometimes I'll make a bunch of prints and put them online. Sometimes I'll make a bunch of zines on a topic I haven't covered in the book. Sometimes I'll do a mixtape. As someone who's interested in a lot of different forms and genres and just different modes of output, having something like a newsletter has been really creatively fruitful for me. It's kept me from getting too bottomed out with the books because the books do a certain thing for the reader, and as much as I'd love to do a book that was radically different, I also think I've been given a real gift with the form of my books, in that I kind of own the way that they feel and look. There aren't a lot of books that look like those books and feel like those books, and so I like playing with that form. It would be hard to get rid of it now. The pseudonym for me is kind of like the newsletter in a sense. The newsletter is a little bit more of where I get to be wild and wacky. Then the books are a little bit more of a chiselled thing. Jo: The books are perfect examples of the form, as you say, but it's interesting about the newsletter. You mentioned at the beginning that we can be drained by the admin around the work. For many people listening, a newsletter becomes admin. So how does the newsletter fit into your business? The books are traditionally published, they're very professional. How do you have your independent side, and how does all of that work together in your business? Austin: Thank you for asking that question. I run the whole show at the newsletter. The newsletter is just me, and then my wife edits it, and no one else is involved. I don't have an assistant. I don't have a team. It is just me, and that's why I love it. I control everything. I pick who gets in there. I pick everything. I love that. I grew up watching David Letterman over here, and Letterman had a nightly show, and I always thought that was killer. I thought, “Man, what a fun job. You have a show every night where you have a new guest, and you have all these wacky things going on.” It was like a variety show. I always thought that would be really fun, so the newsletter is my version of that. I started the newsletter in 2013, and it was just a Friday newsletter. It quickly became a list of 10 things I thought were worth sharing. I had a friend, Hugh MacLeod, who was like, “Hey, I have a newsletter. It's bigger than any conference you've ever gone to.” He was talking about South by Southwest here in Austin. He's like, “I have a newsletter now, and it's bigger than South by Southwest.” Jo: Oh, I remember him. Austin: He would say, “Every time I have a new print, I put it out, and there's a button, and then they buy it.” He was like, “You've got to get it. This newsletter thing is killer.” This was in 2011 or something. Jo: Yes, I still have his books. Blogging in Your Underwear or something. Austin: Totally. So Hugh's a whole different story, but I was just like, “Oh, I should really get a newsletter.” Letterman always had a top 10 list on his show. I just always thought a 10 list was really fun. And of course the books are lists of 10 too. So it just worked to have a weekly list of 10. It felt good, and it felt like an infinitely repeatable format. What I'm looking for as a creative person is an infinitely repeatable format that can go on and on and on and be new every time. So the list of 10 is something that people know the form of. It goes back to the Taco Bell thing. They know the form, but they're not sure what's going to go inside. They know it's going to be a burrito, but they don't know what's going to be in the burrito, and that's the exciting part. The newsletter, business-wise, was always a marketing cost for about the first eight years of its existence. I paid MailChimp to send it out. Then in about 2021, when I hadn't done a book for a while, my agent said, “You know, you should really think about doing a paid tier of your newsletter.” And this is to his credit, because he doesn't make anything off the newsletter. He said, “There's this thing called Substack now that makes that really easy.” So we moved to Substack in 2021 in October, and I started doing a Tuesday edition of the newsletter that was just for paid people. That grew enough that it's gone from a marketing cost to something that's almost—it's not quite as much as I make on my books, but it's close. And to be candid, my books sell pretty well. So suddenly the newsletter has become this really healthy income stream. The newsletter to me is actually the day job now. The newsletter is what really keeps the lights on. It's also the perfect mix. It's the day job, it's the thing that keeps income coming in on a regular basis, but it's also the thing I like to do the most. I'm not like a traditional writer who likes to just get lost in their book and take years and years and go away. I'm someone who loves to be doing a lot of different things. The newsletter is a perfect format for me. I'm talking myself into not quitting, actually. It's funny. It's gone from this thing that was a marketing cost to now it's a significant part of our income. That journey—such a bad word, journey—that trip has been very interesting. It's been really cool. But I'm also just lucky. I've been really lucky, and I think part of my thing is, I'm always just trying not to squander my luck. Jo: Well, the book is fantastic, and I know people are going to love it. And the newsletter, of course. So tell us— Where can people find you and your books and newsletter online? Austin: The easiest thing to do is to just go to AustinKleon.com, and that has links to everything—the books, the newsletter. I do actually keep an old-school blog still. I'm one of the few people that still maintains their blog and keeps it up to date. I'm hedging my bets because I think in the end everything will come back to a self-hosted website. I think in the end everyone's going to just go back to their little websites, or at least I hope so. Jo: Well, that was great, Austin. Thanks so much. Austin: Oh, thank you. The post Don't Call It Art: Rediscovering Creative Joy With Austin Kleon first appeared on The Creative Penn.

Nell'episodio di oggi riprendiamo “Ruba come un artista” di Austin Kleon, ed. Vallardi, che ci da qualche consiglio su come partire con un progetto, da dove iniziare?Facciamoci questo regalo: eliminiamo un po' di dubbi e realizziamo, creiamo quello che ci piace di più.Se ti piace questo podcast, condividilo e parlane con qualcuno a cui possa interessare. Ti auguro una buona giornata e una buona settimana.A presto!Alessandro#ilmondoinvisibilepodcast #respiropodcast #arte #creatività #ispirazione #podcastitaliani #respiro

We are in desperate need of good, courageous people. Can you fill that need?

"I always think, 'Jesus, this person could be reading War and Peace, and they picked up this dopey little book.' You know what I mean? So the best thing I could do is be interesting or helpful. I can't be boring, and I've got to try to be helpful," says Austin Kleon, author of Don't Call It Art: 10 Ways to Create Like a Kid Again.What a pleasure to welcome back Austin Kleon to the show to chat up his new book, his first in seven years, Don't Call It Art: 10 Ways to Create Like a Kid Again. It's published by Tarcher. Like Austin's previous books in Steal Like an Artist, Show Your Work, and Keep Going, this pink wonder is the size of those old double-album CD cases you'd get in the 90s and it's packed with insights and inspiration Austin learned from his two young boys about being an artist and how to be a creative person in times where creativity is needed more than ever. Fun stuff.So Austin is a funny, irreverent, sometimes cranky, but almost always inspiring based on his posture in the creative world. The stuff he curates and his generosity in sharing it is a big reason his Substack audience is 309,000 people strong and as of this taping, #5 in art & illustration on the stack. You can also learn more about him at austinkleon.com where he frequently blogs, though he's turned the dial down on that a bit in favor of the paid audience of his Tuesday newsletters. I've been plugged into the Kleon-verse since about 2014 right when Show Your Work came out and he made appearances on Creative Live with Chase Jarvis, so it's been cool to see the arc of his career to date.In this episode, we talk about: Place and his Ohio roots The farmer approach The idea of uncertainty Knowing less Getting back to that thing The most punk thing Metallica did What if Austin is the apprentice now? A revelation from Fiona Apple How his paid newsletter audience helped cook the book Researching in the open Knowing what weight class he's in Being interesting and helpful Going full-on Beast Mode The coveting of creative people How jealousy shows what's broken in you And how his kids brought punk back into his lifeIf you're going to pair this episode with anything, check out: Episode 146: Austin Kleon Episodes 169 and 433 with Chase Jarvis Episode 266 with Kristen Radtke Episode 369 with Akeem S. Roberts Episode 480 with Dana Jeri Maier Episode 486 with Roz Chast

Hey friends, Chase here Austin Kleon is back on the show, and this conversation is exactly the kind of reminder every creative person needs. You probably know Austin from Steal Like an Artist, Show Your Work!, and Keep Going, the books that have helped millions of people rethink creativity, sharing, influence, originality, and what it actually means to make things in public. But Austin's new book, Don't Call It Art: 10 Ways to Create Like a Kid Again, goes somewhere even more fundamental. It asks a question that feels especially urgent for creators, entrepreneurs, artists, writers, photographers, parents, and anyone trying to make meaningful work in a world that wants to turn everything into content: What if the way back to your best creative work is not becoming more serious, but becoming more playful? That question matters because most of us have made creativity too heavy. We have wrapped it in identity, pressure, productivity, platforms, metrics, perfectionism, and the fear of being judged. We get stuck asking whether we are real artists, serious writers, successful creators, or legitimate professionals. We worry about the noun before we do the verb. Austin's message is simpler, deeper, and more freeing: "Don't call it art. Don't worry about being an artist. Forget the nouns. Do the verbs. Just make stuff." That idea is the center of this episode. We talk about what kids can teach us about creativity, why play is not frivolous, how to build the conditions for your best work, why attention is your most valuable resource, and why some of the most important ideas in your life might come from goofing off. This conversation is about loosening the grip. It is about getting back to the part of you that makes before it judges, explores before it explains, and follows the energy before it knows exactly where the work is going. Why This Conversation Matters Right Now We are living in a strange moment for creative people. On one hand, there has never been more opportunity. An individual with a laptop, a camera, a newsletter, a sketchbook, a phone, a point of view, or a weird little idea can reach people directly. That is extraordinary. But it also comes with a cost. The pressure to turn every interest into a brand, every hobby into content, every project into a product, and every creative impulse into a strategy has never been stronger. We are constantly being asked to define ourselves: What do you do? What is your niche? What is your platform? What are you building? How are you monetizing it? What is the plan? Those questions can be useful at the right time. But when they show up too early, they can suffocate the very thing they are trying to organize. Austin's work reminds us that creativity begins before identity. Before "artist." Before "writer." Before "photographer." Before "entrepreneur." Before "content creator." Before the nouns, there are verbs. Drawing. Writing. Walking. Noticing. Building. Playing. Collecting. Tinkering. Making. Sharing. Kids understand this instinctively. They do not sit down and ask whether what they are making fits the market. They do not wonder whether they are allowed to call themselves artists. They do not freeze because the thing in front of them might not be good enough. They simply begin. And in that beginning, there is a kind of wisdom most adults have forgotten. What We Explore in This Episode Why kids can be some of the best creativity teachers because they make before they judge, label, or perform. How to reconnect with the feeling you wanted as a kid, not necessarily the exact childhood you had. Why play is not the opposite of serious work, but a form of creative research and development. How to create the conditions for creativity through time, space, materials, and permission. Why tools should feel more like toys if you want to stay curious and experimental. How phones fracture attention and why protecting the edges of your day can change the texture of your life. Why hobbies matter and how bikes, music, golf, drawing, and other forms of play can return us to ourselves. Why "don't call it art" can be liberating for anyone who feels trapped by labels or legitimacy. How to use jealousy, disgust, and frustration as creative information instead of letting them turn into bitterness. Why people pay attention when someone truly believes in what they are doing. The Core Idea: Forget the Nouns. Do the Verbs. The fastest way to get unstuck is often to stop asking what you are and start paying attention to what you do. That sounds simple, but it is one of the biggest traps in creative work. We get obsessed with identity. Am I an artist? Am I a real writer? Am I a serious photographer? Am I a professional? Am I successful enough to call myself this thing? Am I allowed? That kind of thinking can freeze you before you even start. Kids do not have that problem. They are not trying to become "artists." They are drawing. They are building. They are making noise. They are inventing stories. They are throwing materials around and seeing what happens. Austin's point is not that craft does not matter. It is not that ambition does not matter. It is not that we should abandon discipline. It is that the living center of creativity is action. The verb comes first. Make the thing. Move the pencil. Open the notebook. Pick up the guitar. Ride the bike. Take the walk. Make the zine. Shoot the photo. Write the sentence. Start the weird little project that begins with, "Wouldn't it be funny if…" That is where the energy is. Play Is Creative R&D One of the big tensions in this conversation is the voice many of us carry around that says play is not practical. That voice says: You have responsibilities. You need to make money. You need to be serious. You need to have a plan. You need to stop messing around. Austin's response is that play is not the opposite of serious work. Play is often what makes serious work possible. He talks about play as research and development. Any healthy company needs R&D. It needs space to explore, test, wander, fail, and discover things that cannot be found through pure efficiency. The same is true for a creative life. A lot of us start in explore mode. We are curious. We are trying things. We are learning. We are following our taste. We are discovering our voice. Then, if something works, we shift into exploit mode. We repeat the thing. We build a career around it. We systematize it. We professionalize it. We optimize it. That can be useful. But if you stay there forever, you eventually run out of juice. You need space to explore again. That is what play gives you. It returns you to the part of the process where you are not just producing, but discovering. And in creative work, discovery is everything. Create the Conditions, Then Get Out of the Way One of my favorite parts of this conversation is Austin's simple equation: Play = time + space + materials. That may sound almost too simple, but it is profound. When I look back at the most creative seasons of my life, the pattern is obvious. I had uninterrupted time. I had a place to go. I had the right materials around me. I had enough structure to begin and enough freedom to be surprised. That is what we often give kids when we want them to create. We give them a table, some paper, some markers, a chunk of time, and permission to make a mess. Then we grow up and deny ourselves the same basic conditions. We say we are blocked, stuck, confused, or uninspired, but often we have not created an environment where anything could actually emerge. No time. No space. No materials. No quiet. No room to tinker. The lesson is not complicated, but it is easy to forget: Set the conditions. Allow the work to happen. Get out of the way. That is not laziness. That is not indulgence. That is how the good stuff gets a chance to show up. The Best Ideas Often Come From Goofing Off I have said this before, and I mean it: so many of the best ideas in my life have come from goofing off. Not from trying to optimize. Not from grinding. Not from forcing. Not from staring at a blank screen and demanding genius. They came when I was tinkering. Playing. Walking. Talking with friends. Making something that had no obvious point. Trying something because it felt fun, strange, or impossible to explain. Austin and I talk about this because it is one of the hardest things for ambitious people to accept. We want the path to be linear. We want effort to equal outcome. We want the best ideas to come from the most serious hours. But creativity often does not work that way. The mind needs room. The body needs movement. The soul needs a little nonsense. Goofing off is not always avoidance. Sometimes it is how the deeper intelligence gets a chance to speak. Tools Should Be Toys Austin says something in this episode that every creator should sit with: Tools should be toys. That does not mean your tools are unimportant. It means the best tools invite you into a state of play. They make you want to touch them, try them, misuse them, combine them, push them, and see what happens. A sketchbook can be a toy. A camera can be a toy. A guitar pedal can be a toy. A bicycle can be a toy. A cheap notebook, a box of crayons, a microphone, a drum machine, a kitchen table, a phone in airplane mode, a pile of index cards — all of it can become part of the creative playground. The danger is when tools become only professional instruments. When every object in your creative life carries the pressure of output, performance, monetization, or proof, it becomes harder to begin. A toy invites curiosity. And curiosity is one of the most reliable doors back into making. Attention Is the Beginning of Everything Another major theme in this episode is attention. Austin shares a simple practice: start and end the day without your phone. Not as a moral performance. Not as some extreme digital detox. Just as a way to protect the edges of the day from people and companies that do not care about you, but desperately want your attention. That hit me hard. Because attention is not just another resource. In many ways, it is the resource. What you give your attention to shapes your thoughts, your desires, your mood, your relationships, your sense of possibility, and your work. If the first thing you do every morning is hand your mind to the internet, you are letting someone else set the tone for your day. Austin's practice is simple. Coffee. Breakfast. Journal. Kids. Life. Then the phone. At night, the phone charges in the kitchen. Small boundary. Huge impact. Creativity requires attention. And attention has to be protected. Return to Who You Were Before All This There is a beautiful thread in this conversation about returning to the things that made you feel alive before life got complicated. For Austin, that includes riding a bike and playing in a band. For me, golf has become one of those things. Not because it is productive in the traditional sense, but because it gets me outside, off my phone, walking with friends, and fully present for hours. That matters. A lot of people feel lost because they are trying to think their way back into aliveness. But sometimes the way back is physical. Pick up the instrument. Ride the bike. Throw the baseball. Walk the dog. Draw badly. Make noise. Get outside. Do the thing you used to love before you thought it had to mean something. Austin brings up the question: Who were you before all this? Before the career. Before the metrics. Before the audience. Before the obligations. Before the identity got heavy. There may be clues there. Not because you need to go backward, but because some part of you may have been waiting to be invited forward again. Don't Call It Art The title of Austin's book is not a dismissal of art. It is a liberation from the weight we put on the word. For a lot of people, "art" has become intimidating. Sacred. Serious. Something that belongs to museums, geniuses, experts, critics, galleries, and people who have permission. But making is older and deeper than all of that. Kids understand this. They do not call it art. They just do things. And when we stop obsessing over whether something is art, we create more room to actually make. We get less precious. Less frozen. Less performative. Less worried about the label and more connected to the act. That is the invitation: Don't call it art. Don't worry about being an artist. Forget the nouns. Do the verbs. Just make stuff. It sounds almost too simple. That is why it works. Use What Bothers You Austin also offers a surprising creative tactic: pay attention to what you hate. Not publicly. Not performatively. Not as a way to become bitter or cynical. But privately, as information. Disgust can point toward values. Frustration can reveal desire. Jealousy can show you something you want. The things that bother you can become clues, if you are willing to ask what the opposite would look like. Instead of turning your irritation into a rant, turn it into a project. What would you rather see in the world? What is the opposite of the thing you cannot stand? What would it look like to make that? That shift is powerful because it transforms complaint into creation. It turns "I hate this" into "What if we made something different?" People Pay Attention to Belief Near the end of the conversation, Austin shares a line from Kim Gordon that I love: "People will pay to watch other people believe in themselves." That is true in art. It is true in music. It is true in entrepreneurship. It is true in leadership. It is true in life. We are drawn to people who are alive in what they are doing. Not perfect. Not polished beyond recognition. Not optimized into sameness. Alive. When someone believes in what they are making, that belief travels. This does not mean you will always feel confident. It does not mean you will never doubt yourself. It does not mean every idea will work. It means you keep returning to the work. You keep paying attention to what matters to you. You keep making the thing only you can make in the way only you can make it. That is where the signal comes from. About Austin Kleon Austin Kleon is the New York Times bestselling author of a series of illustrated books about creativity in the digital age: Steal Like An Artist, Show Your Work!, Keep Going, and Don't Call It Art. He is also the author of Newspaper Blackout, a collection of poems made by redacting the newspaper with a permanent marker. His books have sold over two million copies and have been translated into more than 30 languages. Austin's work has been featured on NPR's Morning Edition, PBS Newshour, The New York Times, and The Wall Street Journal. New York Magazine called his work "brilliant," The Atlantic called him "positively one of the most interesting people on the Internet," and The New Yorker said his poems "resurrect the newspaper when everybody else is declaring it dead." He has spoken for organizations including Pixar, Google, Netflix, SXSW, TEDx, Dropbox, Adobe, and The Economist. In previous lives, he worked as a librarian, a web designer, and an advertising copywriter. He lives in Austin, Texas, with his wife and sons. Follow Austin Kleon Website Don't Call It Art Newsletter Instagram X YouTube Timecodes 04:24 – Austin returns to the show and talks about the new book 06:17 – How Austin's kids became his best creativity teachers 07:04 – What it means to take care of a creative person 10:43 – The childhood question that reveals what makes time disappear 18:34 – Why play is creative research and development 21:43 – Finding what you were not looking for 23:06 – How a fixed vision can blind you to what is actually in front of you 28:13 – Chase reflects on creating the right conditions for creative work 31:37 – Austin's equation: play equals time plus space plus materials 32:48 – Why tools should feel more like toys 35:25 – Reconnecting with the activities that made you feel alive as a kid 38:53 – Who were you before all this? 43:08 – Protecting attention from companies that want to take it 44:17 – Starting and ending the day without your phone 47:08 – Why friendship, hobbies, and shared activities matter 57:17 – Where the title Don't Call It Art came from 58:32 – Forget the nouns, do the verbs, just make stuff 01:00:01 – Why "wouldn't it be funny if…" is a clue worth following 01:03:15 – Finding your creative family tree 01:06:36 – How to use frustration and disgust as creative information 01:08:31 – Why people pay attention when you believe in what you are doing 01:09:44 – Austin's newsletter, book tour, and where to find his work Questions to Ask Yourself If you want to turn this episode into action, take a few minutes with these questions: What did I do as a kid that made hours pass like minutes? Where am I making creativity heavier than it needs to be? What noun am I clinging to that might be keeping me from doing the verb? What conditions do I need in order to make more freely? Do I have time, space, and materials available on a regular basis? What tool in my life could become more like a toy? Where is my attention being stolen before I have a chance to choose? What hobby, activity, or form of play would help me return to myself? What bothers me enough that it might contain a creative clue? What would I make this week if I stopped worrying whether it counted as art? A Simple Practice for Making Like a Kid Again Here's something practical you can do this week. Set aside one uninterrupted hour. No phone. No audience. No outcome. No need to make something good. Choose a space. Put a few materials in front of you. Paper and markers. A camera. A guitar. A notebook. Clay. Index cards. A laptop with the internet off. Whatever feels inviting. Then begin with this prompt: Wouldn't it be funny if… Follow whatever comes next. Do not evaluate it too early. Do not ask what it is for. Do not decide whether it is art. Do not turn it into a brand, a strategy, or a pitch deck. Just make stuff. Then notice how you feel. Notice what surprised you. Notice whether something small wants to keep going. That is enough. Final Thought The longer I do this work, the more I believe that creativity is not something we need to earn. It is something we need to return to. It was there before the labels. Before the pressure. Before the metrics. Before the platforms. Before the fear of being judged. Before we learned to ask whether we were allowed. Austin's invitation in this conversation is simple, generous, and quietly radical: Stop making creativity so precious that you cannot touch it. Give yourself time. Give yourself space. Give yourself materials. Protect your attention. Find your friends. Pick up the toy. Follow the weird little idea. Let yourself begin before you know what it means. Until next time: forget the nouns, do the verbs, and just make stuff.

We are drowning in advice and somehow more unsure of ourselves than ever. Austin Kleon returns to The 1000 Hours Outside Podcast to talk about creativity, childhood, boredom, trust, and why the people who build meaningful lives often stop looking for instructions and start paying attention to what fascinates them. Drawing from his new book Don't Call It Art, Austin shares how his children taught him more about curiosity, imagination, and meaningful work than any creative writing class ever could. Ginny and Austin talk about John Holt, unschooling, screen culture, creative courage, and the surprising freedom that comes when you stop trying to control the future and start paying attention to what is right in front of you. This episode is a refreshing reminder that a fulfilling life is rarely built by following someone else's map. It grows from curiosity, wonder, and the willingness to see where the next step leads. Get your copy of Don't Call it Art here ! Learn more about your ad choices. Visit megaphone.fm/adchoices

Today I am joined by best selling author Austin Kleon, the author of Steal like an Artist, Show Your Work, Keep Going, and his newest book, Don't Call It Art.This conversation feels timely because I've been hearing from so many people lately who are just feeling creatively exhausted. They've built businesses around something that they once loved making, but somewhere along the way the creativity started to be replaced by running the business.Those production schedules, the marketing plans, inventory, emails. All the things, right? Austin and I talk about that tension that a lot of people feel in this episode. How easy it is to lose the playfulness and the curiosity that got us into business in the first place.We talk about the pressure to always be professional, the fear of looking stupid or not knowing everything, and why staying curious actually matters so much as we grow our businesses and ourselves as creative leaders.We also talk about creating like children do. Experimenting, playing, making bad art on purpose, working with your hands, getting outside, taking walks, journaling.There's a really interesting conversation here about how creativity doesn't always come from sitting and thinking harder.Sometimes it comes from movement, from changing your environment, from using your hands or stepping away long enough for your brain to reconnect the dots in the background.Today's episode is brought to you by our Proof to Product resource library. It's where you can get your hands on our free resources to help you start, streamline and scale your business in your own way and at your own pace.GET FREE ACCESSYou can view full show notes and more at http://prooftoproduct.com/444Quick Links:Free Wholesale Audio SeriesFree Resources LibraryFree Email Marketing for Product MakersPTP LABSPaper Camp

On this episode: Lucy Lopez, Elizabeth Newcamp, and Zak Rosen are joined by Austin Kleon. He's the author of books like Steal Like an Artist and Show Your Work! Kleon has a new book out in June called Don't Call It Art: 10 Ways to Create Like a Kid Again. He joins the ‘Rents to talk about rediscovering your wildness, how screens can actually help kids create, and how to cultivate a creative space for yourself and your littles. This week on the Plus Playground: A boy mom quandary. Podcast production by Cheyna Roth and Rosemary Belson.Follow us on YouTube! Join us on Facebook and email us at careandfeedingpod@slate.com to ask us new questions, tell us what you thought of today's show, and give us ideas about what we should talk about in future episodes. You can also call our phone line: (646) 357-9318.If you enjoy this show, please consider signing up for Slate Plus. Slate Plus members get to hang out with us on the Plus Playground every week for a whole additional grab-bag of content — and you'll get an ad-free experience across the network. And you'll also be supporting the work we do here on Care and Feeding. Sign up now at slate.com/careplus – or try it out on Apple Podcasts.Need to set up your Slate Plus feed? If you subscribed through Slate.com, check out our FAQ at slate.com/podcastfaqs for easy instructions. Members subscribed via Apple Podcasts get automatic access—no setup required. Hosted on Acast. See acast.com/privacy for more information.

On this episode: Lucy Lopez, Elizabeth Newcamp, and Zak Rosen are joined by Austin Kleon. He's the author of books like Steal Like an Artist and Show Your Work! Kleon has a new book out in June called Don't Call It Art: 10 Ways to Create Like a Kid Again. He joins the ‘Rents to talk about rediscovering your wildness, how screens can actually help kids create, and how to cultivate a creative space for yourself and your littles. This week on the Plus Playground: A boy mom quandary. Podcast production by Cheyna Roth and Rosemary Belson.Follow us on YouTube! Join us on Facebook and email us at careandfeedingpod@slate.com to ask us new questions, tell us what you thought of today's show, and give us ideas about what we should talk about in future episodes. You can also call our phone line: (646) 357-9318.If you enjoy this show, please consider signing up for Slate Plus. Slate Plus members get to hang out with us on the Plus Playground every week for a whole additional grab-bag of content — and you'll get an ad-free experience across the network. And you'll also be supporting the work we do here on Care and Feeding. Sign up now at slate.com/careplus – or try it out on Apple Podcasts. Hosted on Acast. See acast.com/privacy for more information.

The Learning Leader Show with Ryan Hawk www.LearningLeader.com New Book -- The Price of Becoming www.LearningLeader.com/Becoming Austin Kleon is the NYT bestselling author of Steal Like an Artist, Show Your Work, and Keep Going. He's a writer who draws, a former librarian, and one of the most original thinkers on creativity working today. His new book is Don't Call It Art: 10 Ways to Create Like a Kid Again. This is brought to you by Insight Global. If you need to hire one person, hire a team of people, or transform your business through Talent or Technical Services, Insight Global's team of 30,000 people around the world has the hustle and grit to deliver. Key Learnings   Stay light. Bill Murray told ballplayers that if you stay light, loose, and relaxed, you can play at the highest level. Same with acting, writing, anything. Austin keeps a photo of Bill in his studio as a reminder. Play is the work. A lot of Austin's best work requires a sense of play. It's hard to tell where one ends and the other begins. Go to the analog desk first. Austin has a digital desk and an analog desk. Nothing electronic is allowed at the analog desk. He starts there with nothing and sees what comes. Most people never give themselves the time, space, and materials to make something of what's swirling inside them.  People want to watch someone who is activated. "People will pay every night to show up and see somebody believe in themselves." (Kim Gordon, Sonic Youth) The market for something to believe in is infinite. (Hugh MacLeod) The world is full of people just doing their thing. They're hungry to see someone on fire for something. The writer's job: take what everyone is thinking and put it into words. "You gave me the words" is the highest compliment a reader can give. Effortless is earned. People say the Friday newsletter looks easy. Austin's reply: Do it every Friday for 13 years, then call me. A place to put things makes you notice more. Thoreau took morning walks knowing he'd write later, so he paid closer attention. Carry a camera, and you start seeing shots everywhere. Live for the living, not for the writing. There's a tension between living your life and documenting it. Don't lose yourself to the feed. Your attention is the most valuable thing you have. Everyone wants to take it. The real challenge of modern life is making sure you're the one who decides where it goes. The best teachers are perpetual students. You realize what you know and don't know only when you try to teach it. Toggle between knowing and not knowing. The moment you think you know what you're doing, the work gets stale. You start running on routine instead of need. To be an amateur is to be a lover. The French root means "lover of." An amateur does it out of love, not material reward. Every great CEO should be put in a room with a four-year-old. They'd both learn something. Kids knock the pompous certainty right out of you. "I don't know. How do you think we should figure it out?" Austin's kids taught him it's less important to know everything than to know how to find out. The leader isn't the one who speaks while everyone listens. The leader listens, asks questions, stays curious, and wonders how everyone is doing. Look for who's having fun, not who's successful. Fun is underrated. Serious people have a serious time. Do it with lightness and it's contagious. "A master in the art of living draws no sharp distinction between his work and his play." (Lawrence Pearsall Jacks) He hardly knows which is which. He simply pursues his vision of excellence through whatever he's doing and leaves others to decide whether he's working or playing. To himself, he always appears to be doing both. Ask "What does the universe want to show me today?" A useful fiction. Tell yourself the world is trying to send you messages and suddenly you see a hundred of them. Have the toy before you know what you'll do with it. Austin buys typewriters, then asks what to make. Get the bicycle first. In six months you'll know what kind you actually want. Steal an idea someone only did once and turn it into a whole thing. Austin saw a single typewriter interview, made it a series, and has done more than 20. Put the human hand in the work. Austin decided 20 years ago to make it obvious a human made his stuff. In the age of AI, it stands out more than ever. People want the imperfection. Writing is thinking. People think you gather your ideas then write them down. The act of writing is the act of figuring out what you actually think. That's the hard part. Differentiate yourself by reading a book outside your field. Swim a little further out than everyone else and you find new water. Focus on what you can control. A writer controls only what's between the covers. Did you do a good job? Were you clear? Were you helpful? The rest isn't up to you. Austin's champagne moment a year from now: his kids flourishing. The older he gets, the less the books mean and the more his family does. Reflection Questions Where is your analog desk? Do you have a space with no screens where you go to make something of what's swirling inside you? Are you activated? When people watch you work, do they see someone on fire for it, or someone just going through the motions? What's one idea from outside your field you could steal this week? Where could you swim a little further out and find new water? More Learning #676: Jesse Cole - Built for the Fans, Obsession & Excellence#687: Jim Collins - What to Make of a Life#241: Austin Kleon - How to Steal Like an Artist   Podcast Chapters   00:00 The Price of Becoming - Pre-Order Now!  01:33 Meet Austin Kleon  02:53 The Bill Murray Photo: Stay Light  05:42 The Analog Desk: Where the Real Work Starts  08:51 People Want to Watch Someone Activated  15:22 Why "It Looks Easy" Is the Whole Point  16:28 The Newsletter as a Forcing Function to Notice  20:46 Who Owns Your Attention?  24:39 How Austin's Kids Became His Teachers  29:06 Why the Best Creators Stay Amateurs  31:33 Curiosity Is the Real Leadership Skill  34:09 What Does the Universe Want to Show Me Today?  35:02 Look for Who's Having Fun, Not Who's Successful  38:30 Do You Love to Write, or Love to Have Written?  41:00 The Typewriter Interviews: Stealing an Idea Done Once  47:18 The Interplay of Analog and Digital  49:02 AI and Why the Human Hand Wins  51:23 The Champagne Question: Family Flourishing  55:47 Walk-Ins Welcome  58:06 EOPC

Per cominciare a mettere in fila i primi passi sulla nostra strada creativa, possiamo darci il permesso di copiare, almeno un po'.Ascoltiamo che ci dice Austin Kleon nel su “Ruba come un artista”, edizioni Vallardi.Se ti piace questo podcast, condividilo e parlane con qualcuno a cui possa interessare.Ti auguro una buona giornata e un buon fine settimana.A presto!Alessandro#ilmondoinvisibilepodcast #respiropodcast #arte #creatività #ispirazione #podcastitaliani #respiro

HT2628 - Photography Is a Graphic Art Are you familiar with that book, Steal Like an Artist by Austin Kleon? If so, you are familiar with the idea of borrowing (a more gentile word than stealing) ideas from other disciplines. For example, postal stamps. For example, Japanese picture books known as e-hon. For example, Audubon bird books, botanical catalogs, wanted posters, old time postcards, bookmarks, Tarot cards, or pub coasters. All of these graphic arts could be merged with photographic images to create artwork that goes beyond camera as recording machine. Show your appreciation for our free weekly Podcast and our free daily Here's a Thought… with a donation Thanks!

Hi there and welcome back to another edition of ScaleUp Radio, the podcast brought to you by Smart90, inspired by the Entrepreneurial ScaleUp System and designed to make navigating our ScaleUp journeys that little bit easier by learning from others' experiences. I'm Kevin Brent and in today's episode I'm joined by Priyanka Rao, founder of MicroInterns. Now if you've ever struggled with hiring or wondered whether CVs really tell the full story anymore, this one's for you. With AI now writing CVs and even running interviews, there's a growing question around trust in the hiring process. Priyanka is tackling that head on by connecting students with startups through short micro-internships, and creating something called a Micro-Skill Passport – a way to actually prove skills, not just claim them. What I really liked in this conversation was her mindset. From hitting a low point with just £5.45 in the bank, to building a platform that's already led to multiple full-time hires, all guided by her SAFE framework – Start, Ask, Fail Fast and Experiment. If you're tired of ending the week busy but no further forward, I run a quarterly planning session called the G90 Summit, a structured half-day where founders and the leadership teams get clear on the three to five things that must happen in the next 90 days, and commit to them. I run them quarterly. Find out more and reserve your place at Smart90.co.uk/summit. Make sure you don't miss any future episodes by subscribing to ScaleUp Radio wherever you like to listen to your podcasts - and why not give us a follow. For now, continue listening for the full discussion with Priyanka.   Scaling up your business isn't easy, and can be a little daunting. Let ScaleUp Radio make it a little easier for you. With guests who have been where you are now, and can offer their thoughts and advice on several aspects of business. ScaleUp Radio is the business podcast you've been waiting for. If you would like to be a guest on ScaleUp Radio, please click here: https://bizsmarts.co.uk/scaleupradio/kevin You can get in touch with Kevin here: kevin@biz-smart.co.uk     Kevin's Book Is Here! Drawing on BizSmart's own research and experiences of working with hundreds of owner-managers, Kevin Brent explores the key reasons why most organisations do not scale and how the challenges change as they reach different milestones on the ScaleUp Journey. He then details a practical step by step guide to successfully navigate between the milestones in the form of ESUS - a proven system for entrepreneurs to scale up. More on the Book HERE - https://www.esusgroup.co.uk/   Priyanka can be found here: https://microinterns.co.uk/ https://www.linkedin.com/in/priyankaraor/   Resources: Steal Like An Artist by Austin Kleon - https://uk.bookshop.org/p/books/steal-like-an-artist-10-things-nobody-told-you-about-being-creative-austin-kleon/566510?ean=9780761169253&next=t Mel Robbins Podcast - https://www.melrobbins.com/podcast/  

Nel grande mare della creatività fingere non è un crimine.Lo ascoltiamo da Austin Kleon, nelle parole del suo libro “Ruba come un artista”, edizioni Vallardi. Se ti piace questo podcast, parlane con qualcuno a cui possa interessare.Ricordati di ascoltare il primo episodio del mio nuovo podcast “SAPORE: arte e creatività in cucina”, e magari fammi sapere che ne pensi. Ti lascio qui il link per ascoltarloSAPORE - PIETRO LEEMANNTi auguro una buona giornata.A presto!Alessandro#ilmondoinvisibilepodcast #respiropodcast #arte #creatività #ispirazione #podcastitaliani #respiro

In this episode, Carl shares a dream that left him with a simple but haunting question: Do you understand the power you're dealing with? Reflecting on themes found across philosophy, literature, and spiritual traditions, he explores the idea that money isn't inherently good or bad—but it is powerful, and often more powerful than we admit. Through insights inspired by voices like Austin Kleon, Carl invites you to consider how money can quietly shift from servant to master, and why awareness—not avoidance—may be the most important first step in building a healthier relationship with it.Want more from Carl? Get the shortest, most impactful weekly email on the web! Sign up for the Weekly Letter from Certified Financial Planner™ and New York Times columnist Carl Richards here: https://behaviorgap.com/ 

Career success isn't always about working the hardest, and Courtney Johnson learned that the hard way. While climbing the corporate ladder, she was told to keep her head down and grind, only to discover that top performers play by a completely different set of rules. Getting laid off forced her to crack the code and write Career Cheat Codes to help others build thriving careers with ease. In this episode, Courtney shares actionable strategies to get noticed, land promotions, negotiate raises, and build a personal brand that creates real opportunities. In this episode, Hala and Courtney will discuss: (00:00) Introduction (02:30) The Expensive Lie About Working Hard (07:33) A Players vs. B Players Mindset (12:49) How Entrepreneurs Can Build Visibility (14:55) How to Impress Your Boss and Clients Fast (23:30) Job Search Strategies That Work in 2026 (30:56) Using Keywords for Resumes and Branding (34:33) Overcoming Imposter Syndrome at Work (36:30) Building a Personal Brand and Monetizing Content (52:26) How to Land Paid Speaking Gigs (54:25) How to Become Visible and Profitable Courtney Johnson is an entrepreneur, author, and personal brand strategist who helps professionals accelerate their career growth through visibility and strategic positioning. Her new book, Career Cheat Codes, reveals the unwritten rules of workplace success and career development. Known for her viral content on LinkedIn and TikTok, she has built a loyal community of professionals and creators who follow her for no-nonsense career and personal branding advice. Sponsored By: Huel - Get over $50 in savings with the Discovery Bundle from Huel. Use my exclusive code YAP15 for 15% off at huel.com/yap15. Indeed - Get a $75 sponsored job credit to boost your job's visibility at Indeed.com/profiting Shopify - Start your $1/month trial at Shopify.com/profiting. Quo - Run your business communications the smart way. Try Quo for free, plus get 20% off your first 6 months when you go to quo.com/profiting Experian - Manage and cancel your unwanted subscriptions and reduce your bills. Get started now with the Experian App and let your Big Financial Friend do the work for you. See experian.com for details. Intuit - Start paying bills the smart way, not the hard way. Learn more at QuickBooks.com/billpay AT&T Business - Power your small business with reliable connectivity from AT&T. Switch today at business.att.com.  Fabric - Protect your family with term life insurance from Fabric by Gerber Life. Apply today in just minutes at meetfabric.com/profiting  ZocDoc - Stop putting off those doctors' appointments. Find and instantly book a doctor you love today at Zocdoc.com/PROFITING  Blinkist - Turn the world's best nonfiction books into quick 15-minute reads or listens. Grab your free trial plus an exclusive 30% discount at blinkist.com/profiting  Resources Mentioned: Courtney's Book, Career Cheat Codes: bit.ly/CJ-CCC  Courtney's Instagram: instagram.com/courtlynnjohnson/  Courtney's TikTok: tiktok.com/@courtney..johnson  Courtney's Website: courtneyjohnsonnews.com  Atomic Habits by James Clear: bit.ly/JC-AH  Show Your Work by Austin Kleon: bit.ly/AK-SYW Active Deals - youngandprofiting.com/deals  Key YAP Links Reviews - ratethispodcast.com/yap YouTube - youtube.com/c/YoungandProfiting Newsletter - youngandprofiting.co/newsletter  LinkedIn - linkedin.com/in/htaha/ Instagram - instagram.com/yapwithhala/ Social + Podcast Services: yapmedia.com Transcripts - youngandprofiting.com/episodes-new  Entrepreneurship, Entrepreneurship Podcast, Business, Business Podcast, Self Improvement, Self-Improvement, Personal Development, Starting a Business, Strategy, Investing, Sales, Selling, Psychology, Productivity, Entrepreneurs, AI, Artificial Intelligence, Technology, Marketing, Negotiation, Money, Finance, Side Hustle, Startup, Mental Health, Career, Leadership, Mindset, Health, Growth Mindset, Hiring, Startup, Business Ideas, Growth Hacks, Money Management, Career Podcast

È importante stare attenti a quello di cui nutriamo la nostra creatività.È il tema del respiro di oggi tratto da “Ruba come un artista” di Austin Kleon, edizioni Vallardi.Se ti piace questo podcast, condividilo e parlane con qualcuno a cui possa interessare.Ti auguro una buona giornata e un buon fine settimana.A presto!Alessandro#ilmondoinvisibilepodcast #respiropodcast #arte #creatività #ispirazione #podcastitaliani #respiro  

Austin Kleon, author of Steal Like an Artist and Keep Going, returns to discuss how creative work emerges from deep dissatisfaction with the world rather than contentment. He explores why the metaphors we use for creativity matter, how quilting offers a better model than vandalism for making art, and why every book requires learning the craft all over again. Hosted on Acast. See acast.com/privacy for more information.

Si crees que para ser creativo tienes que inventar algo desde cero, estás perdiendo el tiempo. Descubre por qué la originalidad es un mito y cómo los más grandes de la historia han construido su éxito "robando" las ideas correctas.

Creare può essere un'attività della massima soddisfazione o della massima frustrazione.Liberiamoci di qualche preconcetto ascoltando un brano tratto da “Ruba come un artista” di Austin Kleon, edizioni Vallardi."RESPIRO" è la rubrica quotidiana del podcast "Il Mondo Invisibile", dedicata ad artisti, creativi e non solo.Se ti piace questo podcast, aiutami a farlo arrivare a chi può trovarlo interessante.Ti auguro una buona giornata.A presto!Alessandro#ilmondoinvisibilepodcast #respiropodcast #arte #creatività #ispirazione #podcastitaliani #respiro   

What should you do when another photographer copies your work? Nothing. In this episode, I break down why the fear of "stolen ideas" is one of the biggest things holding creatives back. After a recent post sparked debate, I dive into the difference between inspiration and theft, what copyright actually protects, and why most photographers are focused on the wrong problem. We're talking about: Why ideas aren't the asset, execution is The truth about "first usage rights" and copyright How a scarcity mindset slows your growth Why competition is actually a good thing And how to position yourself so copycats don't matter Referencing insights from Austin Kleon and Steal Like an Artist, this episode reframes how creatives should think about originality, influence, and building a sustainable career. If you've ever been frustrated by someone "ripping off" your work, this is the perspective shift you need. https://jamespatrick.com/

En este nuevo episodio del club de lectura exploramos “Sigue Avanzando” ("Keep Going”) de Austin Kleon, un libro que ofrece ideas prácticas para mantener la creatividad y la motivación a lo largo del tiempo. A través de reflexiones sencillas y consejos aplicables, Kleon nos recuerda la importancia de construir hábitos, desconectarnos del ruido constante y enfocarnos en el proceso más que en los resultados. ¡A seguir aprendiendo!

Peut-on construire une marque personnelle forte en ne passant qu'une heure par jour sur ses écrans ? Dans un monde qui prône l'omniprésence et la vitesse, Maud fait figure d'exception.J'ai eu le plaisir de recevoir cette figure singulière du personal branding pour comprendre comment elle a transformé ce que beaucoup voient comme des faiblesses — l'introversion et le besoin de temps long — en une signature unique.Ce qui rend l'approche de Maud si percutante, c'est sa capacité à sculpter sa singularité avec patience. Loin des "clashs" et des stratégies agressives, elle a choisi de nourrir la curiosité plutôt que les oppositions, créant sa propre case au lieu d'essayer de rentrer dans celle des autres.Dans cet épisode, nous explorons :- La méthode "Sculpture" : laisser mûrir ses idées (parfois des années) grâce à la tenue de carnets.- L'hygiène numérique radicale : limiter son temps d'écran et être extrêmement exigeant sur sa consommation.- L'anti-clivage : exister sur LinkedIn sans jouer aux "mâles alpha" ni chercher la polémique.- L'éléphant dans la pièce : Le déclic qui l'a poussée à enfin assumer son désir d'écrire des romans.Une conversation qui agit comme une véritable autorisation à ralentir pour mieux créer.Bonne écoute !Timeline00:00:00 - 00:06:40 : L'art de curer son contenu : consommer moins pour créer mieux00:06:40 - 00:10:01 : Construire sa singularité comme une sculpture : la méthode de Maud00:10:01 - 00:16:24 : L'éléphant dans la pièce : quand l'idée d'écrire des romans s'impose00:16:24 - 00:21:18 : De la frustration à la force : transformer l'introversion en avantage concurrentiel00:21:18 - 00:26:17 : Créer sa propre case plutôt que d'entrer dans celle des autres00:26:17 - 00:33:29 : La curiosité plutôt que la colère : une approche pacifique de la différenciation00:33:29 - 00:42:00 : La stratégie des échecs appliquée à l'entrepreneuriat : jouer coup par coup00:42:00 - 00:46:44 : Vision d'avenir : des retraites créativité au lieu d'accueil d'artistes00:46:44 - 00:59:07 : L'écosystème vertueux : choisir son entourage pour nourrir sa vision00:59:07 - 01:04:48 : Sources d'inspiration et cercle des sages : Austin Kleon, Julia Cameron et David FoenkinosHébergé par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

¿Te pasa que llevas mucho tiempo con un proyecto creativo y de repente te bajoneas? ¿Cómo seguir adelante siendo creativo?, en este episodio damos tips y sugerencias de el gran Austin Kleon para poder seguir andando en tu carrera creativa :) Learn more about your ad choices. Visit megaphone.fm/adchoices

In this episode, I'm diving into Keep Going by Austin Kleon, exploring three chapters:Chapter 1: Every day is groundhog day - Embracing the daily practice and routine that keeps creativity aliveChapter 5: The Ordinary + Extra Attention = The Extraordinary: Find magic in mundane, daily life.Chapter 10: Plant your garden - Building something sustainable and nurturing your creative work over timeWhether you're feeling stuck or just need a reminder to keep going, this episode offers practical wisdom for anyone on a creative path.Show Your Work by Austin Kleon: https://www.honeyandhustle.co/i-read-a-chapter-of-show-your-work-by-austin-kleon-for-you/Steal like an artist by Austin Kleon: https://www.honeyandhustle.co/i-read-chapters-of-steal-like-an-artist-by-austin-kleon-for-you/Thanks for listening! Let's keep the convo going: Join the community, Please Hustle Responsibly: https://pleasehustleresponsibly.com/Find all episodes here: https://www.honeyandhustle.coYouTube: https://www.youtube.com/c/AngelaHollowellLinkedIn: https://www.linkedin.com/in/angelahollowell/Twitter: https://twitter.com/honeyandhustleMentioned in this episode:Download the free guide on How to get your first 1,000 subscribers here: https://www.angelahollowell.com/first1000Subscribe to the newsletter today: www.pleasehustleresponsibly.com

In this episode, I dive into Steal Like an Artist by Austin Kleon—a creative manifesto that encourages us to embrace influence, remix ideas, and find our own artistic voice.ChapterSide projects and hobbies are important: They're where experimentation happens and where your best ideas often emerge..Geography is no longer our master: The internet has made it possible to find and connect with your creative tribe, no matter where you are.Creativity is subtraction: Constraints and limitations can actually enhance creativity by forcing you to focus on what matters most.Who Should Read ThisAnyone feeling creatively blocked or unsure where to startArtists, writers, podcasters, and makers of all kindsPeople who want a fresh perspective on creativity and influenceListen to Show Your Work by Austin Kleon: https://www.honeyandhustle.co/i-read-a-chapter-of-show-your-work-by-austin-kleon-for-you/Listen to Hidden Potential by Adam Grant: https://www.honeyandhustle.co/i-read-a-chapter-of-hidden-potential-by-adam-grant-for-you/Thanks for listening! Let's keep the convo going: Join the community, Please Hustle Responsibly: https://pleasehustleresponsibly.com/Find all episodes here: https://www.honeyandhustle.coYouTube: https://www.youtube.com/c/AngelaHollowellLinkedIn: https://www.linkedin.com/in/angelahollowell/Twitter: https://twitter.com/honeyandhustleMentioned in this episode:Download the free guide on How to get your first 1,000 subscribers here: https://www.angelahollowell.com/first1000Subscribe to the newsletter today: www.pleasehustleresponsibly.com

Today, I read a few sections from Sponsor Magnet by Justin Moore. This book covers everything from pitch to publishing, and more.Sections CoveredDon't Outsource the Business StuffEngineering Win-Win-Win SponsorshipsCommon Mistakes and Contract PitfallsWhen to Charge More vs. When to Work for FreeCheck out the previous bookShow Your Work by Austin Kleon: https://www.honeyandhustle.co/i-read-a-chapter-of-show-your-work-by-austin-kleon-for-you/Listen to Justin's episode on Creative Architects by CastosApple: https://podcasts.apple.com/us/podcast/growing-creator-wizard-with-email-marketing-and/id1701855538?i=1000628561406Spotify: https://open.spotify.com/episode/05v9iPPdrwDKKv6zt5QPDF?si=2DmZvno4SlKK0QPKDxO5xAThanks for listening! Let's keep the convo going: Join the community, Please Hustle Responsibly: https://pleasehustleresponsibly.com/Find all episodes here: https://www.honeyandhustle.coYouTube: https://www.youtube.com/c/AngelaHollowellLinkedIn: https://www.linkedin.com/in/angelahollowell/Twitter: https://twitter.com/honeyandhustleMentioned in this episode:Subscribe to the newsletter today: www.pleasehustleresponsibly.comDownload the free guide on How to get your first 1,000 subscribers here: https://www.angelahollowell.com/first1000

In this episode, I dive into Chapter 9 of Show Your Work by Austin Kleon, titled "Sell Out."Key Takeaways from Chapter 9: "Sell Out"Keep your day job: Kleon emphasizes that having a stable income allows you to create freely without the pressure of monetizing everything immediately.Don't be afraid to charge for your work: When you're ready, it's okay to ask for compensation. Your work has value, and selling it doesn't make you a sellout.Stay true to your mission: Selling out only happens when you abandon your principles or compromise your artistic integrity for money. If you're staying authentic, you're not selling out.Find ways to support your craft: Whether through freelancing, crowdfunding, or other creative revenue streams, look for opportunities that align with your values.Be entrepreneurial: Embrace the business side of creativity. Learn about pricing, marketing, and building sustainable income streams around your work.My ThoughtsThis chapter really resonated with me as a creator navigating the balance between sharing freely and building a sustainable business. Kleon's permission to charge for our work while staying authentic is refreshing—it's not about selling out, it's about valuing what we create.What's Next?Tomorrow, I'll be reading a chapter from Sponsor Magnet by Justin Moore. Stay tuned!Thanks for listening! Let's keep the convo going: Join the community, Please Hustle Responsibly: https://pleasehustleresponsibly.com/Find all episodes here: https://www.honeyandhustle.coYouTube: https://www.youtube.com/c/AngelaHollowellLinkedIn: https://www.linkedin.com/in/angelahollowell/Twitter: https://twitter.com/honeyandhustleMentioned in this episode:Get your free lesson from CommunityOS here: https://www.communityos.xyzSubscribe to the newsletter today: www.pleasehustleresponsibly.com

To make good creative work, you'll inevitably do a lot of bad work along the way. So building a thriving creative practice relies on showing up and doing the work consistently, whether you feel inspired or not. And we can get trapped into thinking that if only we had the perfect space, or the best pen, or right notebook, it would all be easier. This is a preview of a premium episode. To listen to the full interview, visit: https://designbetterpodcast.com/p/austin-kleon But our guest today, Austin Kleon, has built a remarkable creative practice around a deceptively simple toolkit: index cards, newspapers, scissors, and glue. He's the bestselling author of Steal Like an Artist, Show Your Work, Keep Going, and Don't Call it Art. What makes Austin's approach so valuable is how he's translated these ideas into a sustainable daily practice that's lasted over a decade. In our conversation, Austin shares why he starts every day writing in his diary before he picks up the phone, how constraints (time, space and materials) actually unlock creativity rather than limiting it, and why the path to doing your best digital work might start with picking up a pen. If you've ever struggled to maintain a creative practice, felt overwhelmed by tools and options, or wondered how to keep going when the work feels hard, this episode is for you. Bio Austin Kleon is the New York Times bestselling author of a trilogy of illustrated books about creativity in the digital age: Steal Like An Artist, Show Your Work!, and Keep Going. He's also the author of Newspaper Blackout, a collection of poems made by redacting the newspaper with a permanent marker. His books have sold over two million copies and have been translated into over 30 languages. He's been featured on NPR's Morning Edition, PBS Newshour, and in The New York Times and The Wall Street Journal. New York Magazine called his work “brilliant,” The Atlantic called him “positively one of the most interesting people on the Internet,” and The New Yorker said his poems “resurrect the newspaper when everybody else is declaring it dead.” He speaks for organizations such as Pixar, Google, Netflix, SXSW, TEDx, Dropbox, Adobe, and The Economist. In previous lives, he worked as a librarian, a web designer, and an advertising copywriter. He lives in Austin, Texas, with his wife and sons. Visit him online at www.austinkleon.com

In this episode, Jen Leban returns to the show to talk with Tim Bogatz about the upcoming Art Ed NOW Conference and what's new inside the Art of Education Community. Together, they share their excitement about creating connections, building meaningful relationships, and giving art teachers space to learn and recharge, all of which will happen this weekend at Art Ed NOW. Jen previews several conference highlights, including the opportunities for connection, conversation, and community-building. They discuss why it's essential for art teachers to take care of themselves, prioritize well-being, and make time for their own creativity. Resources and Links Join the Art of Ed Community Learn more about the Art Ed NOW Conference! Check out Austin Kleon's work before the keynote

Austin Kleon is a writer who draws. He's the bestselling author of Steal Like An Artist and other books - Austin's essay on Meeker's work, The Comedy of Survival. - For an ad-free Weirdly Helpful listening experience become a helpful weirdo @ https://www.patreon.com/weirdlyhelpful Learn more about your ad choices. Visit megaphone.fm/adchoices

Tu historia no necesita ser traumática para diferenciarte.En realidad, la mayoría de referentes que admiras no tienen historias épicas. Tienen historias honestamente contadas, donde identifican el conflicto real y comparten la perspectiva que llegaron.En este episodio vamos a ver exactamente cómo convertir tu narrativa personal en un diferencial de marca. No para hacer terapia pública, sino para posicionarte como referente.Lo que descubrirás en este episodio:✅ Por qué tu historia SÍ tiene valor (aunque creas que no)✅ Los 3 elementos que convierten cualquier historia en diferencial potente✅ La diferencia entre compartir tu historia y usarla estratégicamente✅ Cómo evitar el "story-dumping" que arruina tu posicionamiento✅ El ejercicio práctico para estructurar tu narrativa esta semanaCasos de referentes que probamos:Austin Kleon, David Perell, Marie Forleo, Seth Godin, Anne-Laure Le Cunff, Ryan Holiday. Profesionales que aprendieron que el diferencial no está en quién sufrió más, sino en quién tiene la perspectiva más clara.Tu acción esta semana:Escribe tu historia en tres párrafos: contexto específico, conflicto real, transformación de perspectiva. Lee en voz alta. ¿Pides validación o ofreces perspectiva? Ahí sabrás si lo tienes claro. 

Bienvenidos a FailAgain, una newsletter / podcast sobre crear contenido y estrategia.“Roba como un artista” te dio permiso para copiar. Pero nunca te enseñó cómo hacerlo sin convertirte en un clon barato.Te recomiendo que escuches la versión extendida en formato pódcast de este contenido.Seguro que has leído (o al menos te suena) el libro “Roba como un artista” de Austin Kleon.Es un manifiesto que nos dio permiso a todos los que creamos contenido para inspirarnos en el trabajo de otros. Tranquilo, no pasa nada, puedes copiar. Toda la creatividad es un remix, es imposible ser 100% original.Y con eso nos quitó la culpa. Pudimos respirar aliviados.Pero nos contó solo la mitad de la historia.El libro te dice que robes, pero no te dice cómo hacerlo bien. Al menos no de forma clara.Hoy vamos a hablar de cómo yo veo el hecho de inspirarse en otros creadores. Roba como un artista te da el permiso filosófico. Este contenido te va a dar las herramientas para aplicarlo de forma práctica.Entiende y luego copiaLa diferencia real entre los creadores que están creciendo y los que se estancan no es si copian o no copian.Porque prácticamente todos tenemos referencias y copiamos a lo largo de nuestro día a día como creadores.La diferencia es que unos copian superficialmente y otros hacen ingeniería inversa.Hoy te voy a enseñar un sistema que yo utilizo para analizar creadores que lo hacen bien, que crecen, que sacan contenidos exitosos... y extraer los principios estratégicos que están utilizando para incorporarlos en nuestra forma de crear. Todo ello sin convertirnos en un clon barato.Robar mal vs. robar bienAustin Kleon nos dejó una verdad como un templo: todo creador que admiras ha copiado a alguien antes.En el arte, la música, el cine... Todo evoluciona por imitación + innovación. No hay ideas 100% originales. Podríamos hablar de ejecuciones originales.El problema es que “Roba como un artista” no resuelve esa parte de ejecución original.Copiar mal (modo clon)Esto es lo que hace el 90% de la gente. Réplicas superficiales:* El formato es el mismo* El diseño es prácticamente idéntico* Utilizan casi las mismas palabras¿El resultado? Una versión inferior. Un eco. Un reverb de ese original que siempre va a ir por detrás.Ejemplo: “Voy a hacer vídeos de un minuto y medio con subtítulos amarillos y una lista de tres puntos... porque vi que a otro creador le funciona.”Aquí no hemos entendido nada. Solo estamos copiando un formato. No nos hemos hecho ninguna pregunta.Copiar bien (ingeniería inversa)Copiar bien es entender qué funciona en la estrategia de ese creador, entender por qué funciona para su audiencia, y luego aplicar esos principios con tu voz, tu estilo, tu público, tu forma.Ejemplo del mismo caso: “Ok, ¿por qué está funcionando esto? Ah, porque usa un gancho con un problema en los tres primeros segundos (primer principio). Después da tres pasos accionables (segundo principio: estructura clara). Y utiliza un formato muy visual y rápido que engancha en esta plataforma (tercer principio: adaptación a plataforma).”Ahora entiendo las dinámicas y los porqués. Puedo ver cómo encajarlo dentro de mi temática, mi tono, mi identidad visual.¿Ves la diferencia? Uno copia la pintura. El otro entiende la forma de pintar.Sistema de 4 capas para hacer ingeniería inversaCapa 1: Identificar patrones de contenidoNo vale con ver un vídeo viral. Tienes que hacer trabajo de campo:* Pilla un creador que te sirva como referencia* Revisa sus 10-15 últimas piezas de contenido (o más)* Analiza cuáles han funcionado mejor, cuáles peor, cuál está siendo su evolución¿Qué analizar específicamente?* Estructura: ¿Cómo empiezan? ¿Cómo desarrollan? ¿Cómo cierran?* Formato: ¿Qué tipo de imágenes, iconos, elementos visuales usan?* Tono: ¿Cómo hablan? ¿Qué palabras repiten?* Duración: ¿Cuánto duran sus piezas?* Frecuencia: ¿Cada cuánto publican?Cuando veas que algo se repite en 5-7 de esas 10-15 piezas, ahí tienes un patrón.Capa 2: Extraer el principio estratégicoEsta es la capa más importante. Aquí es donde separamos a los que copian de los que aprenden.No te preguntes “¿qué hace?”Pregúntate “¿por qué lo hace?”Por ejemplo:* Si todos sus vídeos empiezan con una pregunta directa → Principio: Genera curiosidad inmediata* Si sus newsletters siempre tienen ejemplos prácticos → Principio: La gente necesita ver aplicación real, no solo teoría* Si usa imágenes con poco texto → Principio: Facilita el scroll, mantiene atención visualTienes que entender la intención detrás de cada decisión. Eso es lo que puedes trasladar a tu contenido.Capa 3: Pasar por tu filtro personalAhora viene tu parte. Tienes el principio, pero no puedes aplicarlo tal cual.Tienes que preguntarte:* ¿Esto tiene sentido para mi audiencia?* ¿Esto encaja con mi forma de comunicar?* ¿Esto funciona en mi plataforma principal?* ¿Esto va con mi personalidad?Si la respuesta a cualquiera de estas preguntas es “no”, entonces no copies ese principio. Punto.Tu filtro personal incluye:* Tu forma de expresarte (tono, vocabulario, energía)* Tu contexto (tu vida, tus experiencias, tu punto de vista)* Tu audiencia específica (sus problemas, su nivel, su madurez)* Tu identidad visual (colores, tipografías, estilo)Capa 4: Experimentar y medirNo basta con aplicar el principio una vez. Tienes que:* Probar el principio en 3-5 piezas de contenido* Medir si funciona mejor que tu contenido anterior* Ajustar según resultadosMétricas a observar:* Engagement (comentarios, guardados, compartidos…)* Alcance (vistas, impresiones)* Retención (si es vídeo/audio)* Feedback cualitativo (qué dice tu audiencia)Si después de 3-5 intentos no funciona, no significa que el principio sea malo. Significa que no encaja con tu contexto. Y eso está bien.Los 3 errores más comunes al “robar”Error 1: Copiar solo el formatoCopiar el diseño, la duración, el estilo visual... pero sin entender el por qué detrás.Ejemplo real:Ves carruseles de Instagram súper estéticos y piensas “voy a hacer lo mismo”. Pero no te das cuenta de que ese creador habla de un tema con conexión emocional brutal (espiritualidad, identidad) que hace que la gente comparta como loca.Tu tema no tiene esa conexión. El formato estético solo no va a salvarte.Aquí lo analicé en profundidadError 2: Analizar solo los éxitosVes un vídeo que se viralizó y piensas “voy a hacer eso”. Pero no ves que ese creador lleva 3-4-5 años construyendo su autoridad y confianza. Hay un montón de trabajo invisible que hace que su contenido simple funcione.Antes de analizar solo casos de éxito:* Analiza el historial completo del creador* Mira su trayectoria, no solo ese contenido estrella* Entiende por qué ese contenido petó tanto en su contextoError 3: Copiar mecánicamente sin adaptarUsar las mismas palabras, el mismo tono, la misma estructura palabra por palabra.Esto es la orden del día:* Creadores en TikTok que fusilan vídeos frase por frase* Creadores grandes que copian a cuentas pequeñas * Newsletters que son calcos de otras newslettersCuando hay creadores acusados de esto, a mí ya me da muchísimo repelús.Lo que menos vas a querer cuando estás empezando es que se te acuse de copiar. Así que llega a tu propio contenido y adapta lo máximo posible a tu forma de ser, tu forma de crear y tu audiencia.Y no es tan difícil. Simplemente pregúntate:* ¿Cómo haría yo esto?* ¿Cómo lo diría yo?* ¿Cómo lo explicaría a mi audiencia?Con ese filtro, esa pieza ya será diferente.Tu tarea de 30 minutosNo te voy a dar un plan de 30 días. Te voy a dar una tarea de 30 minutos.Esto es lo que quiero que hagas:* Elige un creador que admires (de tu nicho o uno muy cercano). Solo uno.* Revisa sus 5-10 últimas publicaciones. No más.* Encuentra un patrón:* Si son vídeos: ¿Cómo empiezan?* ¿Cuál es la estructura de esos vídeos/newsletters?* ¿Qué formato visual utilizan?* ¿Qué tipo de imágenes, iconos, elementos?* ¿Extensión de los bloques de texto?* Anota el principio que hay detrás de ese patrón:* ¿Por qué está funcionándole?* ¿Por qué está utilizando ese tipo de imágenes/b-roll/estructura?* Piensa una forma en la que podrías aplicar ese principio (no esa cosa exacta) en tu próximo contenido.Importante: No tienes que aplicar lo que le has visto. Tienes que aplicar el principio que hay detrás.Solo tienes que hacer esto. Solo. (Pero es mucho).Es pasar de consumo pasivo a análisis activo con un creador que además te encanta.Este es el primer paso real para dejar de clonar y empezar a crear con inspiración y estrategia.Esta semana en YouTubePDSi te ha gustado este enfoque para analizar creadores, esto es justo lo que vamos a empezar a hacer en Factoría Creativa.Tenemos sesiones previstas de análisis de creadores donde vamos a aplicar este y otros métodos en directo a casos reales. Incluso podríamos analizar tu propio proyecto.Deja de crear a ciegas. Empieza a utilizar sistemas que funcionan.

Brandi sits down with New York–based installation artist Laurie Shapiro, whose vibrant, immersive worlds remind us that creativity is as unique as a fingerprint. Together, they explore the creative process, the idea of “stealing like an artist” (as Austin Kleon says), and why true originality isn't about being first — it's about being authentic.Laurie shares how she builds her layered, colourful environments and how we can all push past creative self-doubt to express what's already inside of us. Brandi ties this conversation back to a powerful message from her book Colour Me Happy:This episode is your reminder that your creativity matters — not because it's perfect, but because it's yours.Your art is already original — no one else has your experiences, your perspective, or your energy. What you make can't help but be uniquely yours.Start before you feel ready. Inspiration doesn't come first — creation does. Each brushstroke, idea, or experiment opens a new door.Dive deeper into this message of creativity and purpose in Brandi's book Colour Me Happy — available now Buy HERE] “The universe made you — you! Out of infinite possibilities. You were meant to be here right now, in the form you are in, for a spectacular reason. Believe that you were made with purpose, because you were. The stars around you are filled with ideas, choices, and opportunities. You are a gift, and the world is on your side.” - Brandi

How do we persevere well? How do we persevere happily? Thankfully, we can look to the Stoics. The Stoics not only wrote about how to persevere, they used Stoicism to persevere in the face of plagues, exiles, imprisonment, and wars. You can read this article here: https://dailystoic.com/perseverance/

Today's wisdom comes from Steal Like an Artist by Austin Kleon.   If you're loving Heroic Wisdom Daily, be sure to subscribe to the emails at heroic.us/wisdom-daily.   And… Imagine unlocking access to the distilled wisdom form 700+ of the greatest books ever written.   That's what Heroic Premium offers: Unlimited access to every Philosopher's Note. Daily inspiration and actionable tools to optimize your energy, work, and love. Personalized coaching features to help you stay consistent and focused   Upgrade to Heroic Premium →   Know someone who'd love this? Share Heroic Wisdom Daily with them, and let's grow together in 2025!   Share Heroic Wisdom Daily →

Join Claire at The Book Corner in our virtual pub, The Coaching Inn for a rich discussion about some books that are reshaping our understanding of diversity, inclusion, and personal growth.    Our guests, Nathan Whitbread and Kelly Drewery, share their experiences and insights from reading  Belonging Without Othering by john a. powell and Stephen Menendian  https://amzn.to/41ZoTBH Me and White Supremacy by Layla Saad https://amzn.to/41mUxZO Blindspot: Hidden Biases of Good People by Mahzarin R. Banaji, Anthony G. Greenwald, et al. https://amzn.to/45ORWsU Show Your Work by Austin Kleon https://amzn.to/4632QeS Rivers of London series by Ben Aaronovitch https://amzn.to/41mUCwA The Life Impossible by Matt Haig https://amzn.to/3Vl8K5M The Storyteller by Jodi Picoult https://amzn.to/45UO6ye Mythos by Stephen Fry https://amzn.to/3JuzKxk The Art of Gathering by Priya Parker https://amzn.to/47MXhDx Extraordinary Popular Delusions and The Madness of Crowds by Charles Mackay https://amzn.to/3JAwsZd   Contact: Contact Nathan and Kelly  through Linked In linkedin.com/in/nathanaelwhitbread and linkedin.com/in/kellydrewery Contact Claire by emailing info@3dcoaching.com  or check out our Substack where you can talk with other listeners. Further Information: Subscribe or follow The Coaching Inn on your podcast platform or our YouTube Channel to hear or see new episodes as they drop. Find out more about 3D Coaching and get new ideas and offers in our weekly email. Keywords: Coaching, Book Club, Podcast, Personal Growth, Diversity, Inclusion, Leadership, Self-awareness, Blindspot, White Supremacy, Gathering, Networking, Professional Development, Reading, Insights, Transformation, Mindset, Learning, Collaboration, Empowerment   We love having a variety of guests join us! Please remember that inviting someone to participate does not mean we necessarily endorse their views or opinions. We believe in open conversation and sharing different perspectives.

¿Por qué robar como un artista también mejora tu comunicación?Para Austin Kleon, autor del libro Steal Like an Artist, esta es la esencia de la creatividad, algo que sin duda también puede transformar la forma en que comunicamos.Para empezar, pensemos en algunos casos reales donde las grandes obras no surgieron de la nada, sino del diálogo con lo que ya existía:El “robo” de Los Beatles y el rock and roll americanoMuchos consideran a The Beatles como la banda más influyente de la historia de la música. Pero ellos mismos admitieron que buena parte de su inspiración vino del rock and roll y el rhythm and blues estadounidense de los años 50. Chuck Berry, Little Richard y Elvis Presley marcaron su sonido inicial. Lo que hicieron los Beatles fue absorber esas influencias, mezclarlas con su propio contexto británico y convertirlas en algo completamente nuevo.El “robo” de Steve Jobs y el diseño de AppleJobs nunca ocultó que buena parte del ADN de Apple provenía de su fascinación por el diseño tipográfico y por el trabajo de empresas como Xerox PARC. Allí vio por primera vez una interfaz gráfica con ventanas y un ratón. Jobs lo tomó, lo reinterpretó y lo llevó al mercado con un estilo elegante y minimalista. El resultado fue el Macintosh, un computador que no solo funcionaba, sino que también era bello de usar.El “robo” de Lin-Manuel Miranda y Hamilton.El exitoso musical Hamilton no se parece a ningún otro de Broadway, pero su innovación no vino de la nada. Miranda tomó la historia de los padres fundadores de Estados Unidos Alexander Hamilton, la cruzó con ritmos de hip hop, R&B y música pop, y la presentó en un formato clásico de teatro musical. El resultado fue un híbrido que revolucionó la escena cultural.Estos ejemplos demuestran algo clave: la creatividad rara vez nace en un vacío. Se construye sobre lo que ya existe, reinterpretado a través de nuestra mirada y experiencia.Robar como un artista en la comunicaciónCuando comunicamos, también estamos “robando como artistas”. No inventamos cada palabra desde cero. Usamos frases que hemos escuchado, estructuras que nos enseñaron en el colegio, ejemplos que alguna vez nos contaron, gestos que hemos visto en otros. Lo importante es cómo logramos tomar todo eso y darle nuestro propio sello.Un líder, por ejemplo, puede inspirarse en discursos históricos para motivar a su equipo, pero adaptándolos al contexto actual y al lenguaje de su organización. Un profesor puede apoyarse en referencias clásicas, pero presentarlas con humor o con ejemplos de la vida diaria. Incluso en un correo electrónico, tomar una estructura que ya funciona y personalizarla con nuestro estilo es una forma de “robar creativamente”.La clave, como dice Kleon, está en seleccionar bien las referencias. Robar de una sola fuente es plagio; hacerlo de muchas, es investigación. Y en la comunicación pasa igual: mientras más amplias y diversas sean nuestras influencias, más original puede ser lo que decimos.En este episodio de Mil Palabras partimos del libro Steal Like an Artist de Austin Kleon para entender cómo estas ideas aplican al mundo de la comunicación. Porque al final, comunicar también es un acto creativo: tomamos lo que otros ya dijeron, lo filtramos con nuestra visión y lo convertimos en un mensaje fresco y propio.Así que la próxima vez que pienses que “todo ya está dicho”, recuerda que lo importante no es inventar desde cero, sino cómo mezclas y presentas lo que recibes. Ahí está tu originalidad, y ahí está tu poder como comunicador.#Comunicación Oral, #Hablar En Público, #Comunicación Efectiva, #Presentaciones, #Podcast De Comunicación, #Podcast, #Podcast Corporativo, #Desarrollo Profesional, #Expresión Verbal, #Técnicas Para Hablar Mejor, #Santiago Ríos, #Robar Como Un Artista, #Steal Like An...

In The 1000 Hours Outside Podcast episode How to Foster Creativity in a World That Wants to Control It, Austin Kleon, author of Steal Like an Artist and Show Your Work, discusses the challenges of nurturing creativity in today's highly structured, outcome-driven world. He highlights how the pressure for perfection and the desire for certainty can stifle innovation, both for adults and children. Kleon shares his belief that the magic of creativity comes from embracing uncertainty, remaining open to failure, and allowing space for experimentation. For parents, particularly, he offers insights on how to support their children's creative growth in a world where schedules, expectations, and “rules” often get in the way. In this inspiring conversation, Kleon discusses the importance of maintaining an “amateur spirit,” even as we grow older and more experienced. He urges listeners to embrace their inner beginner, whether they're parents encouraging their children's creativity or adults rediscovering their own. Creativity thrives when we stop seeking validation and instead focus on doing the work that excites us. Kleon also encourages listeners to sign up for his weekly newsletter, where he continues to share his thoughts on creativity and inspiration. Listen to the full episode now to find out how to embrace uncertainty and foster a creative mindset in both yourself and your family. Sign up for Austin's weekly newsletter here Get your copy of: Newspaper Blackout Steal Like an Artist Show Your Work Keep Going Learn more about your ad choices. Visit megaphone.fm/adchoices

Giuseppe Castellano talks to award-winning cartoonist, author, and comedian, Jason Chatfield, and award-winning illustrator and creator of Ten Minute Artist, Adam Ming, about what they like and don't like about Substack, how it can benefit illustrators creatively and financially; and more.To learn more about Jason and Adam, visit jasonchatfield.com and adamming.com.Artists mentioned in this episode include: Austin Kleon, Wendy MacNaughton, and Asher Perlman If you find value in this podcast, you can support it by subscribing to our best-selling publication, Notes On Illustration, on Substack. Among other benefits, you will gain access to bonus episodes we call “Extra Credit”. | Visit illustrationdept.com for offerings like mentorships and portfolio reviews, testimonials, our alumni showcase, and more. | Music for the podcast was created by Oatmello.

Before taking a pause for the Summer, Carl revisits moments with recent guests Austin Kleon, Debbie Millman, Tom Fishburne, and Gretchen Rubin to pulling together common threads about the hidden stories we tell ourselves about money. Ask yourself the following questions while listening: Where does your money come from and what does it cost you? What stories are you believing about money, and are they even true? The answers to these questions may help you start writing a new story about money.  ### Follow 50 Fires on Instagram: https://www.instagram.com/50firespod/ Please direct business inquires to: blindnilaudio@magnolia.com Cover Art: Josh Passler - TheFinArtist.com Music Credits:  Alexandra Woodward / Rabbit Reggae / courtesy of www.epidemicsound.com Cody Francis / Wherever You're Going / courtesy of www.epidemicsound.com Learn more about your ad choices. Visit megaphone.fm/adchoices

Austin Kleon has built a life around making art—and making choices. In this candid conversation, the bestselling author of Steal Like an Artist opens up about the cost of creativity, the pressure of success, and the freedom that comes from knowing what's enough. From turning down life-changing sums of money to driving an old Honda with pride, Austin reflects on how his values have shaped both his art and his bank account. Austin and Carl explore the emotional and financial tradeoffs of creative work, what it means to stay grounded in a world obsessed with growth, and how money can be both a stabilizer and a source of chaos. Austin also reveals the question he'd ask if money were a person—and why he still wrestles with switching from a mindset of scarcity to one of sufficiency. Follow 50 Fires on Instagram: https://www.instagram.com/50firespod/ Please direct business inquires to: blindnilaudio@magnolia.com Cover Art: Josh Passler - TheFinArtist.com Music Credits:  Alexandra Woodward / Rabbit Reggae / courtesy of www.epidemicsound.com Cody Francis / Wherever You're Going / courtesy of www.epidemicsound.com Learn more about your ad choices. Visit megaphone.fm/adchoices

Austin Kleon thinks stealing inspiration is a good thing — because it requires you to pay attention to the world. Austin is a self-proclaimed “creative kleptomaniac” and the author of five books, including Steal Like An Artist: 10 Things Nobody Told You About Being Creative. In his conversation with Chris, they discuss “scenius,” or the creative genius of a group, how children are invaluable creative teachers, and why he thrives in the tension between discipline and spontaneity.FollowHost: Chris Duffy (Instagram: @chrisiduffy | chrisduffycomedy.com)Guest: Austin Kleon (Instagram: @austinkleon | Website: https://austinkleon.com/) LinksAustin Kleon's SubstackSteal Like an Artist (Book)Subscribe to TED Instagram: @tedYouTube: @TEDTikTok: @tedtoksLinkedIn: @ted-conferencesWebsite: ted.comPodcasts: ted.com/podcastsFor the full text transcript, visit go.ted.com/BHTranscriptsWant to help shape TED's shows going forward? Fill out our survey here!Learn more about TED Next at ted.com/futureyou Hosted on Acast. See acast.com/privacy for more information.

Join hosts Mike and Mark on the Moonshots Podcast as they explore the transformative insights of Austin Kleon's book Keep Going. In this episode, they explore Kleon's wisdom on sustaining creativity through challenges and fostering consistent growth.INTRO Mike and Mark kick off the episode with a discussion on why Austin Kleon wrote "Keep Going," featuring insights from Kleon himself and Debbie Millman. They explore the reality that creativity may not get easier over time but is a continuous journey of learning and adaptation.Clip 1 Guest Kevin Yee breaks down the concept of healthy creative goals versus result-based goals, emphasizing the importance of sustainable creative practices that nurture long-term growth.Clip 2 Kevin Yee shares another critical insight from Kleon's book, focusing on the significance of habits and routines in maintaining creative momentum and staying present in the creative process.OUTRO The episode concludes with Austin Kleon's reflections on the value of boredom in fostering creativity, highlighted in a conversation with Debbie Millman. They discuss how prioritizing reflection can lead to deeper insights and new creative breakthroughs.About "Keep Going" by Austin Kleon, "Keep Going" encourages readers to develop a sustainable creative practice that thrives amidst challenges. Kleon advocates for routines, embracing constraints, seeking inspiration from diverse sources, sharing work openly, staying playful, and persisting through setbacks as essential strategies for continuous creative growth.LinksBuy "Keep Going" on Amazon: LinkBecome a Moonshot Member: Patreon LinkWatch this episode on YouTube: LinkAbout Moonshots Podcast: Moonshots Podcast is your gateway to unlocking your full potential. Hosts Mike and Mark explore the mindset and habits of successful individuals, offering actionable insights that listeners can apply to enhance their personal and professional lives. Join them as they learn out loud and uncover the secrets of success from thought leaders and entrepreneurs worldwide. Thanks to our monthly supporters Emily Rose Banks Malcolm Magee Jason Kumagai Natalie Triman Kaur Ryan N. Marco-Ken Möller Mohammad Lars Bjørge Edward Rehfeldt III 孤鸿 月影 Fabian Jasper Verkaart Andy Pilara ola Austin Hammatt Zachary Phillips Mike Leigh Cooper Gayla Schiff Laura KE Krzysztof Roar Nikolay Ytre-Eide Stef Roger von Holdt Jette Haswell venkata reddy Ingram Casey Ola rahul grover Evert van de Plassche Ravi Govender Craig Lindsay Steve Woollard Lasse Brurok Deborah Spahr Barbara Samoela Jo Hatchard Kalman Cseh Berg De Bleecker Paul Acquaah MrBonjour Sid Liza Goetz Konnor Ah kuoi Marjan Modara Dietmar Baur Bob Nolley ★ Support this podcast on Patreon ★

This is a free preview of a paid episode. To hear more, visit cocomocoe.substack.comIn today's episode, we're breaking down one of the most powerful — and overlooked — strategies in building a lasting career as a creator: the pivot. How do you know when it's time to shift your niche, rebrand your business, or evolve your content? And more importantly, how do you pivot without losing your audience, your momentum, or your brand identity?We'll dive into real-world case studies — from Bretman Rock's shift from beauty influencer to lifestyle icon, to Brittany Broski's move beyond TikTok into podcasting and mainstream media, and how Jackie Aina built a luxury brand beyond YouTube. Plus, we'll explore what astrology and market trends can teach you about timing your pivot for maximum success.Throughout the episode, I also reference major business and creative strategy books like Blue Ocean Strategy by W. Chan Kim and Renée Mauborgne, Show Your Work by Austin Kleon, Big Magic by Elizabeth Gilbert, The Creative Act: A Way of Being by Rick Rubin, and more — sharing how their frameworks can be applied to modern creators and entrepreneurs navigating niche pivots and brand reinvention.If you're a creator, entrepreneur, influencer, or marketer ready to evolve your personal brand, stay ahead of trends, and build a career — not just a moment — this episode is packed with actionable insights.

Bestselling author and artist Austin Kleon joins Ryan to discuss the challenges of raising kids in the digital age of social media and AI. He shares a recent Stoic lesson he taught his child about handling online validation, his strategies for making the most of car rides with his kids, and the key parenting advice he would offer to new parents. 

Austin Kleon joins Ryan to talk about unleashing creative energy, the power of hobbies, and why he believes we've been trained to be machine-like in today's world. Austin talks about the driving force behind ambition, the culture of "cheap talk," and much more.Austin Kleon is a writer, author, artist, speaker, and blogger. He is most known for his five New York Times bestselling books Steal Like An Artist:10 Things Nobody Told You About Being Creative, Show Your Work!, Keep Going, Steal Like An Artist Journal, and Newspaper Blackout. You can follow his work at austinkleon.com, Instagram @austinkleon, and Twitter @austinkleon.