®Full Book PDF (The Listening Path: The Creative Art of Attention (A 6-Week Artist’s Way Program)) || Julia Cameron || January 12, 2021 [pdf books free]
Product details
Publisher : St. Martin’s Essentials (January 12, 2021)
Language: : English
Paperback : 208 pages
ISBN-10 : 1250768586
ISBN-13 : 978–1250768582
Item Weight : 15.5 ounces
Dimensions : 6.99 x 0.47 x 10.1 inches
A 6-week Artist’s Way Program from legendary author Julia Cameron
“Cameron’s fans will love this”―Publishers Weekly
The newest book from beloved author Julia Cameron, The Listening Path is a transformational journey to deeper, more profound listening and creativity. Over six weeks, readers will be given the tools to become better listeners―to their environment, the people around them, and themselves. The reward for learning to truly listen is immense. As we learn to listen, our attention is heightened and we gain healing, insight, clarity. But above all, listening creates connections and ignites a creativity that will resonate through every aspect of our lives.
Julia Cameron is the author of the explosively successful book The Artist’s Way, which has transformed the creative lives of millions of readers since it was first published. Incorporating tools from The Artist’s Way, The Listening Path offers a new method of creative and personal transformation.
Each week, readers will be challenged to expand their ability to listen in a new way, beginning by listening to their environment and culminating in learning to listen to silence. These weekly practices open up a new world of connection and fulfillment. In a culture of bustle and constant sound, The Listening Path is a deeply necessary reminder of the power of truly hearing.
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As a young writer, my naiveté about the publishing process nearly led me to financial ruin. Here’s how to avoid my mistakes.
The first thing I tell debut authors is this: Assume nothing.
If just one person had sat me down when I signed my first book contract and explained how publishing works, how nothing is guaranteed, and how it often feels like playing Russian Roulette with words, I would have made much sounder financial and creative decisions. I would have set a foundation for a healthy life as an artist, laying the groundwork to thrive in uncertainty, to avoid desperation, panic, and bad decisions that would affect me for years to come.
How would my life be different if a fellow writer or someone in the industry had told me that the money I’d be receiving for my advances was absolutely no indication of what I could make on future book deals? What pain could I have avoided if they had advised me not to spend that money as though there would be more where that came from? I suspect I may have avoided a near nervous breakdown and not come so perilously close to financial ruin and creative burnout. But no one came forward.
Let me back up. One of the most respected publishing houses in the world gave me $100,000 to write two books, one of which was already finished, and I was feeling… well, fancy.
As a kid who’d once stood in lne with her mother to get food stamps, I could not believe the figures in my bank account.
Now, I want to acknowledge the inherent privilege that I hold as a white, educated, middle-class American. The problems I write about here are “struggles” many people would love to have. They are good problems. Lucky, even. Growing up with a lack of financial literacy didn’t mean there weren’t opportunities for me out there because of my positioning in the world. I had a leg up, even when it felt like I was in the trenches. Access equals privilege, and I understand that. I try hard to acknowledge my privilege and not be part of the problem, but didn’t do so explicitly in the original version of this article. Revising is my favorite part of the writing process, and clearly a big part of my personal life. In fact I wish I could go back and revise the past six years.
I did play it smart, though: I didn’t quit my day job, and wrote a larger-than-usual check to my student loan company when the advance came through. I didn’t know if this was a onetime thing or not.
Each new book is like a weekend in Vegas: Maybe I’ll get lucky, maybe I won’t.
But when I sold a trilogy to another publisher the following year for over $250,000 dollars (even now I cannot believe I wrote that sentence and, furthermore, that it’s true), I really thought I had made it — forever, not just for a moment. Not for this one book deal. Forever. Otherwise, I reasoned, they would never have paid me such enormous sums. These publishers must be investing in me for the long run. I was one of their own.
It had happened twice in a row, these six-figures: Surely I had somehow become one of the chosen few. After years of research and struggle to break out in such a ferociously competitive industry, I’d somehow come out ahead.
But in that process, I’d somehow missed several critical aspects of the business, and that was on me (to some extent). Surely there were writers who had gotten the memo about how advances worked, and the ins and outs of publishing. But so much of an aspiring writer’s life — and so many of the resources available to them — is focused on getting that first book deal. What came after was beside the point.
It would also be fair to say that the same energy and drive that had landed me a book deal in the first place guided much of my decision-making process in ways that weren’t always helpful. I reasoned that if I’d achieved the impossible once, why not again? Someone has to be on the bestseller list, win the National Book Award, have the big movie deal.
Did anyone working with me — agency, publishing team — tell me that a sumptuous advance was not something I should depend on or get used to? Or that, in fact, it’s extraordinarily common in the publishing industry for untested debut writers to be paid large sums that they may never see again? No. Did anyone in the publishing house take me under their wing and explain to me how the company made decisions about future book deals? No. Did the publisher tap a more seasoned author on their list to mentor me, as many major corporations encourage within their companies? No. Did the MFA in writing program that I was part of, in any way, arm me with the knowledge to protect and advocate for myself in the publishing world? No.
After that second advance came through, I stepped into my dream life: I quit my day job to write full-time, moved to New York City, bought $15 cocktails, and learned (with astonishing speed) not to worry about prices when ordering at a restaurant. I said yes to travel (often book research I wasn’t reimbursed for), concert tickets, new shoes, and finally being able to buy people the kind of presents I felt they deserved. I donated large sums of money to organizations I cared about, and delighted in the feeling that I was making a real difference.
Did I pay off my student loans? No, though I made a few large payments. Did I set money aside for retirement? No. My reasoning was that after the next book I sold, I’d take care of all that. Right now, I had to suck the marrow out of life — and invest heavily in trying to build my author brand. To that end: an expensive website no one told me I didn’t need, and swag to give out at events that didn’t make a difference at all for my social media presence or book sales.
As it turned out, it wasn’t really my dream life: When I wasn’t writing like mad to meet deadlines, come up with new books to sell, and stay relevant in the industry, I was hustling like nobody’s business, trying to build my brand in hopes of getting on that coveted list. Forever.
My publisher didn’t tell me I had to get that website. And no one said I should be buying fancy cocktails. That was all my choice, a combination of an almost manic pursuit of joie de vivre ( Fitzgerald would understand! ) and an attempt to keep up with successful authors who seemed to know what they were doing. I figured they had cracked the code — swag, website — and I just needed to follow suit.
Despite making some poor choices, I did try very hard to do right by this unexpected reversal of fortunes. The school where my husband taught had a financial planner that offered services to teachers, so we met with him and his partner, but it was obvious they only wanted to sell us life insurance. Our tax guy told us what to write off, but we had no idea what we were doing. No writer I knew had someone they trusted for financial advice, and our unconventional earnings made getting clear advice very difficult.
The sum of $375,000 (the combined total of my two big advances), less my agent’s commission of 15% and taxes, is about what a teacher in the New York City public school system makes over the course of, say, four years. I lived in Brooklyn, a borough of one of the most expensive cities in the world. While I was buoyed by the very small, very occasional foreign book deal, this was it until there were more books in the pipeline.
Let’s take a pause. What could I have done differently?I could have opted to move to a city that was less expensive, certainly. (But I’m an artist, so throw me a bone! I’d wanted to live in New York City my whole life, so that was always the plan, even before I got my book deal.)
I could have chosen not to quit my day job, but it would have been tough. I had five books under contract at once, plus the enormous task of building and maintaining an author brand. I began a two-year MFA program two weeks after I got my first book deal — a program I entered in the hopes of ensuring I’d always have work as a professor, even if book deals were low, or slow in coming. I had no idea (and was not told upon entering the program) how nearly impossible it is to find work as faculty in any college or university, regardless of how qualified you are.