Do the Work! Overcome Resistance and Get Out of Your Own Way
"There is an enemy. There is an intelligent, active, malign force working against us. Step one is to recognize this. This recognition alone is enormously powerful. It saved my life, and it will save yours." --Steven Pressfield
Could you be getting in your way of producing great work? Have you started a project but never finished? Would you like to do work that matters, but don't know where to start?
The answer is Do the Work, a manifesto by bestselling author Steven Pressfield, that will show you that it's not about better ideas, it's about actually doing the work.
Do the Work is a weapon against Resistance--a tool that will help you take action and successfully ship projects out the door. Picking up where The War of Art and Turning Pro left off, Do the Work takes the reader from the start to the finish of any long-form project--novel, screenplay, album, software piece, you name it. Do the Work identifies the predictable Resistance Points along the way and walks you through each of them.
No, you are not crazy. No, you are not alone. No, you are not the first person to "hit the wall" in Act Two. Do the Work charts the territory. It's the stage-by-stage road map for taking your project from Page One to THE END.
Business & EconomicsLeadershipPsychologyCreative AbilitySelf-HelpCreativity
RELEASED2011
PUBLISHERDo You Zoom Incorporated
LENGTH98
LANGUAGEEN
I was born in Port of Spain, Trinidad, in 1943 to a Navy father and mother. I graduated from Duke University in 1965. In January of 1966, when I was on the bus leaving Parris Island as a freshly-minted Marine, I looked back and thought there was at least one good thing about this departure. "No matter what happens to me for the rest of my life, no one can ever send me back to this freakin' place again." Forty years later, to my surprise and gratification, I am far more closely bound to the young men of the Marine Corps and to all other dirt-eating, ground-pounding outfits than I could ever have imagined. GATES OF FIRE is one reason. Dog-eared paperbacks of this tale of the ancient Spartans have circulated throughout platoons of U.S. troops in Iraq and Afghanistan since the first days of the invasions. E-mails come in by hundreds. GATES OF FIRE is on the Commandant of the Marine Corps' Reading list. It is taught at West Point and Annapolis and at the Marine Corps Basic School at Quantico. TIDES OF WAR is on the curriculum of the Naval War College. From 2nd Battalion/6th Marines, which calls itself "the Spartans," to ODA 316 of the Special Forces, whose forearms are tattooed with the lambda of Lakedaemon, today's young warriors find a bond to their ancient precursors in the historical narratives of these novels. My struggles to earn a living as a writer (it took seventeen years to get the first paycheck) are detailed in my 2002 book, THE WAR OF ART. I have worked as an advertising copywriter, schoolteacher, tractor-trailer driver, bartender, oilfield roustabout and attendant in a mental hospital. I have picked fruit in Washington state and written screenplays in Tinseltown. With the publication of THE LEGEND OF BAGGER VANCE in 1995, I became a writer of books once and for all. My writing philosophy is, not surprisingly, a kind of warrior code — internal rather than external — in which the enemy is identified as those forms of self-sabotage that I have labeled "Resistance" with a capital R (in THE WAR OF ART) and the technique for combatting these foes can be described as "turning pro." I believe in previous lives. I believe in the Muse. I believe that books and music exist before they are written and that they are propelled into material being by their own imperative to be born, via the offices of those willing servants of discipline, imagination and inspiration, whom we call artists. My conception of the artist's role is a combination of reverence for the unknowable nature of "where it all comes from" and a no-nonsense, blue-collar demystification of the process by which this mystery is approached. In other words, a paradox. There's a recurring character in my books named Telamon, a mercenary of ancient days. Telamon doesn't say much. He rarely gets hurt or wounded. And he never seems to age. His view of the profession of arms is a lot like my conception of art and the artist: "It is one thing to study war, and another to live the warrior's life."
Do the Work! Overcome Resistance and Get Out of Your Own Way
"There is an enemy. There is an intelligent, active, malign force working against us. Step one is to recognize this. This recognition alone is enormously powerful. It saved my life, and it will save yours." --Steven Pressfield
Could you be getting in your way of producing great work? Have you started a project but never finished? Would you like to do work that matters, but don't know where to start?
The answer is Do the Work, a manifesto by bestselling author Steven Pressfield, that will show you that it's not about better ideas, it's about actually doing the work.
Do the Work is a weapon against Resistance--a tool that will help you take action and successfully ship projects out the door. Picking up where The War of Art and Turning Pro left off, Do the Work takes the reader from the start to the finish of any long-form project--novel, screenplay, album, software piece, you name it. Do the Work identifies the predictable Resistance Points along the way and walks you through each of them.
No, you are not crazy. No, you are not alone. No, you are not the first person to "hit the wall" in Act Two. Do the Work charts the territory. It's the stage-by-stage road map for taking your project from Page One to THE END.
Business & EconomicsLeadershipPsychologyCreative AbilitySelf-HelpCreativityMotivational & InspirationalPersonal Growth
RELEASED2011
PUBLISHERDo You Zoom Incorporated
LENGTH98
LANGUAGEEN
I was born in Port of Spain, Trinidad, in 1943 to a Navy father and mother. I graduated from Duke University in 1965. In January of 1966, when I was on the bus leaving Parris Island as a freshly-minted Marine, I looked back and thought there was at least one good thing about this departure. "No matter what happens to me for the rest of my life, no one can ever send me back to this freakin' place again." Forty years later, to my surprise and gratification, I am far more closely bound to the young men of the Marine Corps and to all other dirt-eating, ground-pounding outfits than I could ever have imagined. GATES OF FIRE is one reason. Dog-eared paperbacks of this tale of the ancient Spartans have circulated throughout platoons of U.S. troops in Iraq and Afghanistan since the first days of the invasions. E-mails come in by hundreds. GATES OF FIRE is on the Commandant of the Marine Corps' Reading list. It is taught at West Point and Annapolis and at the Marine Corps Basic School at Quantico. TIDES OF WAR is on the curriculum of the Naval War College. From 2nd Battalion/6th Marines, which calls itself "the Spartans," to ODA 316 of the Special Forces, whose forearms are tattooed with the lambda of Lakedaemon, today's young warriors find a bond to their ancient precursors in the historical narratives of these novels. My struggles to earn a living as a writer (it took seventeen years to get the first paycheck) are detailed in my 2002 book, THE WAR OF ART. I have worked as an advertising copywriter, schoolteacher, tractor-trailer driver, bartender, oilfield roustabout and attendant in a mental hospital. I have picked fruit in Washington state and written screenplays in Tinseltown. With the publication of THE LEGEND OF BAGGER VANCE in 1995, I became a writer of books once and for all. My writing philosophy is, not surprisingly, a kind of warrior code — internal rather than external — in which the enemy is identified as those forms of self-sabotage that I have labeled "Resistance" with a capital R (in THE WAR OF ART) and the technique for combatting these foes can be described as "turning pro." I believe in previous lives. I believe in the Muse. I believe that books and music exist before they are written and that they are propelled into material being by their own imperative to be born, via the offices of those willing servants of discipline, imagination and inspiration, whom we call artists. My conception of the artist's role is a combination of reverence for the unknowable nature of "where it all comes from" and a no-nonsense, blue-collar demystification of the process by which this mystery is approached. In other words, a paradox. There's a recurring character in my books named Telamon, a mercenary of ancient days. Telamon doesn't say much. He rarely gets hurt or wounded. And he never seems to age. His view of the profession of arms is a lot like my conception of art and the artist: "It is one thing to study war, and another to live the warrior's life."
