Art, Music & Stories From My World
The hot flush of envy when another artist gets the thing you wanted is not a character flaw — it is a receipt. Here is how I started reading mine without spiraling into bitterness.
I taught a six-week beginner music class to adults who had never clapped on beat. They did not know my songs, my process, or my assumptions. That was the point — and it sent me back to my own work with a sharper ear.
So what do you do? A practical, only-slightly-panicked guide to talking about your creative work at a party without reciting your resume, shrinking into vague modesty, or accidentally offering free consulting to a stranger holding a seltzer.
There's a quiet tax that gets charged to the most dependable artists in any creative circle — and nobody sends you a bill. If you're always the first call, the steady hand, the one who shows up, you might be paying for everyone else's growth with your own.
Most of the rules keeping your work off the internet aren't coming from the outside world — they're coming from you. Here's how to spot the imaginary gatekeepers you've built, and what to actually do about them.
The project I made with zero audience in mind, no brief, no commission, and no one waiting for it turned out to be the thing that brought the most unexpected attention. Here's what I learned about what happens when you create without a reason — and why I think more of us should try it.
Feedback is supposed to make your work better — and the right feedback absolutely does. But not all of it is right, and most artists never build a real system for figuring out which critiques to take seriously and which to set aside. Here's the framework I use to sort signal from noise without dismissing people I care about.
The romanticized version of the artist's life skips over about 60% of what actually happens. The emails, the spreadsheets, the follow-ups, the pitches that go nowhere — this is the work that makes the real work possible. And the sooner you start treating it that way, the better your creative practice gets.
Collaboration is supposed to make your work better — and sometimes it does. But after years of saying yes to every creative partnership, I had to ask myself a hard question: whose voice was I actually making work in? This is what I figured out about staying recognizably yourself while still being genuinely open to other people.
A perfectly curated portfolio can tell people what you've accomplished. But a portfolio that shows the restarts, the abandoned projects, and the things that didn't work? That one tells them who you actually are. Here's why I stopped trying to present a finished version of myself.
The gap between projects is where most artists lose their audience — not because people stopped caring, but because silence reads as disappearance. Here's a practical approach to keeping your community warm, engaged, and genuinely invested during the in-between times.
Ending a creative collaboration doesn't always look like a fight. Sometimes it looks like two people who genuinely love each other slowly realizing they're no longer making each other's best work. Here's how I learned to tell the difference — and what I did about it.
Self-criticism is one of the most important skills a creative person can develop — and one of the most misunderstood. There's a huge difference between genuine discernment and the inner voice that just tears everything down. Here's how to tell them apart and train the one that actually helps.
Saying yes to collaborations feels generous, even smart. But there's a running tab nobody warns you about — and at some point, the bill comes due. Here's what I've learned about the hidden cost of always being available for someone else's creative vision.
Losing your platform feels like a creative death sentence. I know because it happened to me. But somewhere in the wreckage of vanishing numbers and radio silence, I found the version of my work I'd been too afraid to make when people were actually watching.
Your streaming dashboard is always open in a tab somewhere, isn't it? Mine used to be too. But somewhere between refreshing Spotify for Artists at midnight and wondering why a song I loved had half the plays of one I almost didn't release, I started asking a different question: what are these numbers actually telling me — and what are they hiding?
Making something with a close friend sounds like the dream — shared vision, built-in trust, endless inside jokes in the group chat. But I've learned the hard way that creative partnerships with people you love can quietly dismantle the very thing that made them feel safe in the first place. Here's what nobody tells you before you say yes.
There's a version of audience-awareness that makes your work sharper and more connected. And then there's the version that turns you into a people-pleaser who's slowly making art by committee. Learning to tell the difference — and having the nerve to act on it — might be the most important creative skill nobody talks about enough.
Every artist has something about themselves they've been quietly editing out — the obsession that feels too niche, the aesthetic that feels too odd, the reference pool that nobody else seems to share. This is your guide to stopping that edit. Because the thing you've been filing away might be the most interesting thing about your work.
Pricing creative work is one of those conversations that makes most artists want to change the subject — and I was no different. For years I undercharged, over-delivered, and told myself it was about passion, not money. This is the story of how I finally stopped doing that, and what I actually do now when someone asks what my work costs.