Over on AmEx OPEN Forum, author Bruna Martinuzzi gives us five examples of how to use brain research from the past decade to train ourselves for success. She writes:
Use visualization to learn a new skill
When we repeat a skill that we are trying to master, we strengthen the neural networks that represent that action. The same happens physically in the brain whether we perform the action, or simply visualize it. In a Harvard University study, two groups of volunteers were presented with a piece of unfamiliar piano music. One group received the music and a keyboard, and was told to practice. The other group was instructed to just read the music and imagine playing it. When their brain activity was examined, both groups showed expansion in their motor cortex, even though the second group had never touched a keyboard.
Smile to improve your mood
The Facial Feedback Hypothesis indicates that facial expressions representative of an emotion trigger changes in your body that are similar to those that happen when you experience the actual emotion. For example, your brain cannot tell the difference between a posed smile or a genuine smile. A posed smile will elicit, physiologically, the same pleasure or happiness response as a genuine smile.
Note that these aren’t simply hand-me-down, “feel good” tidbits of advice for your day. These are now scientifically-backed, actionable tips you can use to improve your odds of success in your work and regular life (and, of course, feel good along the way).
Get more examples on how you can start training yourself to be more effective using the power of your mind by reading the full article here.
Over on It’s Nice That, Liv Siddall sat down with famed designer Shaz Madani to gather her insights on what every young designer should know about building a quality portfolio. One notable takeaway from Madani? Knowing what to hide:
It’s so important to be selective and have the ability to edit your portfolio. Often seeing one bad project can outdo all the good work.
It’s tempting to put in everything you’ve ever done, especially as a young graduate, when you just want to show as much experience as possible. But it’s not about quantity. If there is something you are not proud of, don’t put it in.
As creative workers, we tend to believe that the more work we show in our resume or portfolio, the more we demonstrate our broad capabilities. Unfortunately this isn’t always the case. As Madani explains, all it takes is one bad apple to ruin the whole bundle.
Madani goes on to share additional insights from her years of experience as a designer, including the importance of exploring your possibilities before settling on a job or role.
Previously: 6 Steps To Creating A Knockout Online Portfolio
Approaching any big project can be a daunting and complex experience. Over on her blog, author Elizabeth Spann Craig gives us nine quick tips for tackling big projects, ensuring that we finish what we set out to do.
Show up. Religiously. It’s the only way to get through a project.
Avoid perfectionism….First drafts aren’t perfect either. But aren’t they better than the blank page?
Craig highlights the importance of finishing what you set-out to do before looking for ways to improve or change the concept. She calls this avoiding tangents:
Avoid going off on tangents….Wait until the project itself is done. For me, it works best for writing, too–I don’t edit/fix stuff until the first draft is completely done.
In her list, Craig also mentions the value of remembering the small victories as you go, emphasizing how motivating it can be to reflect on even the smallest of steps. She writes:
Fight the overwhelm….Remember how far we’ve come since the start of our project. If this is a home improvement or organizing project, it helps to take a picture of the “before,” just to remind us. If its writing–remember that blank page the first words we once wrote down.
It’s easy to get overwhelmed with big projects, no matter what type they are. To cope, consider reading Craig’s brief advice and remember to set goals, work with a timer, avoid perfectionism, skip tangents (for now), and more.
Read all of the advice right here.
The first day back from vacation is the hardest: switching from beaches and cocktail umbrellas to an office chair and emails can be a jarring experience, especially if one of your first priorities is to get the inbox from 600 to 0.
Fortunately, Levo League offers a better way to deal with emails post-vacation: read them backwards.
Start from the most recent to the oldest so that you don’t waste your time (and annoy the people who took your load while you were out) by answering old emails that were already addressed and completed. The last thing you want is to spend time spinning your wheels only to realize that the question/issue you were working on solving for an hour and a half was already handled by the time you get to email 1,000.
Joshua Wolf Shenk, author of Powers of Two, speaks about the advantages of competitive collaboration in an article for The Atlantic. His famous example is that of The Beatles’ Paul McCartney and John Lennon who would regularly “answer” each others’ songs in friendly competition. When John wrote “Strawberry Fields,” Paul came back with “Penny Lane.” Paul notes that the competition made them “better and better all the time,” and created a creative tension.
Despite the tension—because of the tension—the work was magnificent. Though the White Album recording sessions were often tense and unpleasant (Emerick disliked them so much that he flat-out quit), they yielded an album that is among the best in music history.
The Beatles’ producer George Martin described the relationship as “two people pulling on a rope, smiling at each other and pulling all the time with all their might.” Not only did their competition create tension, but their contrasting personalities added to it as well. Paul was meticulous, diplomatic, and polite, while John could be chaotic, impatient, and rebellious. Although completely different, they complemented each other perfectly. As John’s first wife Cynthia Lennon observed:
John needed Paul’s attention to detail and persistence. Paul needed John’s anarchic, lateral thinking.
Although tension can foster creative productivity, remember to surround it with sufficient support and shared passions.
Creatives are subject to high levels of rejection. Even though companies seek out innovative individuals, they seldom listen to their new ideas due to the risk involved. Fortunately, research suggests that rejection may actually help – not hinder – the creative process. Rejection hurts, but if there is no pain, then there is no gain. In an article for Slate, illustrator Jessica Olien explains:
Perhaps for some people, the pain of rejection is like the pain of training for a marathon – training the mind for endurance. Research shows you’ll need it. Truly creative ideas take a very long time to be accepted. The better the idea, the longer it might take. Even the work of Nobel Prize winners was commonly rejected by their peers for an extended period of time.
Social rejection can be liberating. Once you know you don’t fit in, you can concentrate your energy on your creative projects as oppose to stressing about what others think. Barry Staw, a researcher at the University of California, Berkeley, says a successful creative person is someone “who can survive conformity pressures and be impervious to social pressure.” Just be sure you know when to push through and when you should call it quits.
Now in its 40th anniversary, the roleplaying game Dungeons & Dragons has emerged as an initial force behind many creatives’ success. As a piece in the New York Times explains:
Though Mr. Díaz never became a fantasy writer, he attributes his literary success, in part, to his “early years profoundly embedded and invested in fantastic narratives.” From D&D, he said, he “learned a lot of important essentials about storytelling, about giving the reader enough room to play. . .
“For nerds like us, D&D hit like an extra horizon,” he added. The game functioned as “a sort of storytelling apprenticeship.”
But the skills learned through play go deeper than narrative writing:
What makes a D&D story different from novels and other narratives is its improvisational and responsive nature. Plotlines are decided as a group. As a D&D player, “you have to convince other players that your version of the story is interesting and valid,” said Jennifer Grouling, an assistant professor of English at Ball State University who studied D&D players for her book, “The Creation of Narrative in Tabletop Role-Playing Games.”
If a Dungeon Master creates “a boring world with an uninteresting plot,” she said, players can go in a completely different direction; likewise, the referee can veto the action of player. “I think D&D can help build the skills to work collaboratively and to write collaboratively,” she added. (Mr. Díaz called this the “social collaborative component” of D&D.)