The daily routines of creative people

Yesterday I posted about my daily routine – posting and sleep habits – upon coming out of the slump I’d been in for the past couple months. (It looks like Project Melancholy is going to go on for a bit.)

I’ve consulted Claude about the daily routines of creative people. I’ve appended its remarks below. Note that at the end I asked it to give me examples of the routines of three people. It chose Pyotr Tchaikovsky, Virginia Woolf, and William Styron. Finally, I'm not offering this as ground truth, so don't take it as such. It's an LLM, not a trained scholar. But it's "read" more than any trained scholar, so don't sneeze at it.

I’m using my standard convention, setting my words in bold Courier and Claude’s reply in plain Courier.

Version: Claude 3.5 Sonnet

* * * * *

Lots of creative people have written about their process and activities and there has been a lot of research in creativity. Do we have any good information about the daily routines of creative people during the periods when they’re creative, but also during the periods when they aren’t creative, perhaps even depressed?

This is a fascinating question that intersects creativity research, mental health, and biographical studies. Research and biographical accounts reveal distinct patterns in how creative individuals structure their time during both productive and challenging periods.

During creative periods, many artists and writers maintain highly structured daily routines. For instance, Maya Angelou would write from 7 AM to 2 PM in sparse hotel rooms she rented specifically for writing. Ernest Hemingway famously wrote standing at his desk every morning at dawn. Composer Igor Stravinsky performed a daily headstand, claiming it "cleared his brain" before composing.

The scientific literature supports the value of these routines. Research indicates that establishing regular creative practices helps maintain productive output and manages cognitive resources. These routines often incorporate specific environmental conditions - Virginia Woolf insisted on "a room of one's own," while others required particular tools or settings to work effectively.

During less productive or depressive periods, biographical accounts show significant disruption to these established patterns. Sylvia Plath's journals detail how her depression affected her writing schedule, though she attempted to maintain some structure even during difficult times. Vincent van Gogh's letters reveal periods of intense productivity alternating with times when he struggled to maintain any routine at all.

Recent research has identified some common coping strategies creative individuals employ during these challenging periods. Many attempt to maintain some version of their creative routine, even if modified. For example, composer Robert Schumann would continue his daily walks and music notation even during depressive episodes, though the quality and quantity of his work varied significantly.

Modern creativity researchers emphasize the importance of maintaining some form of creative practice during difficult periods, even if it differs from one's usual routine. This might involve switching to different creative activities or reducing the scope of work while maintaining regular engagement with creative processes.

Would you be interested in exploring any particular aspect of these patterns in more detail? For instance, we could examine specific strategies creative individuals use to maintain their practice during challenging periods, or look more closely at the research on routine's role in sustaining creativity.

I’m particularly interested in when they work, during the day, or the night. I assume it varies from individual to individual.

The timing of creative work indeed varies significantly among individuals, and this variation appears to be influenced by both personal preference and circumstantial factors. Historical records and biographical accounts provide fascinating insights into these patterns.

Morning Creative Work

Many notable creators have been early risers who preferred to work in the morning hours. Toni Morrison would begin writing before dawn, typically around 4 AM, stating that she was sharpest before sunrise and before her children awoke. Frank Lloyd Wright similarly rose at 4 AM to work for several hours in what he called the "quiet time" before his studio opened for the day.

Afternoon Patterns

Some creators have found their peak productivity during afternoon hours. Alice Munro, the Nobel Prize-winning short story writer, established a routine of writing from 8 AM to 11 AM, taking a break, and then returning to work from 4 PM to 7 PM. This split schedule allowed her to maintain domestic responsibilities while protecting her creative time.

Night Owl Creators

A significant number of artists and writers have been nocturnal creators. Franz Kafka produced most of his work late at night after finishing his day job at an insurance company, often writing until dawn. Gustav Mahler composed primarily in the late evening and night hours, believing that the quietude of nighttime was essential for his creative process.

Irregular and Adaptive Patterns

Some creators have maintained irregular schedules, adapting their work times to their current circumstances or energy levels. Marcel Proust, for instance, worked primarily at night but would often write at any hour when inspiration struck, maintaining an erratic sleep schedule that accommodated his creative impulses.

This diversity in working hours suggests that creative productivity is less about finding the "right" time of day and more about identifying and protecting one's individual optimal working period. Would you like to explore any of these patterns in more detail, or discuss how modern creators adapt these traditional approaches to contemporary life?

Tell me more about irregular and adaptive patterns.

The irregular and adaptive patterns of creative work represent some of the most intriguing approaches to managing creative energy and productivity. Historical and contemporary accounts demonstrate how these flexible schedules often develop in response to personal circumstances, health conditions, or the unique demands of different creative projects.

Adaptations to External Circumstances

Creative individuals frequently adjust their work patterns based on external demands. James Joyce, for example, wrote at various times throughout the day and night, often working in bars and cafes due to his poor eyesight and financial circumstances. His schedule would shift based on available light, his vision's condition, and the operating hours of his preferred establishments.

Response to Energy Fluctuations

Many creators report following their natural energy cycles rather than adhering to fixed schedules. Virginia Woolf would often write intensively for several hours when she felt energized, regardless of the time of day, followed by periods of rest or different activities. This approach allowed her to capitalize on periods of high creativity while managing her recurring mental health challenges.

Project-Based Timing

Some creators adapt their schedules based on the specific demands of their current projects. David Lynch, the filmmaker, has described how his work schedule shifts dramatically between pre-production, filming, and post-production phases of his projects. During intensive creative periods, he might work through the night, while in planning phases, he maintains more conventional hours.

Seasonal Adjustments

Research indicates that many creators modify their schedules seasonally. Henry David Thoreau documented how his writing and observation patterns changed with the seasons during his time at Walden Pond, adapting his creative work to align with natural light and weather conditions.

The effectiveness of irregular patterns often depends on having strong support systems and understanding of one's own creative rhythms. Modern research suggests that while such flexible approaches can be highly productive, they require careful attention to maintaining basic health needs and social connections.

Would you like to explore how contemporary creators manage these irregular patterns while balancing modern professional demands, or shall we examine another aspect of creative scheduling?

Tell me more about seasonal adjustments.

The seasonal adjustment of creative work patterns represents a sophisticated approach to aligning creative practice with natural cycles. Research and biographical accounts demonstrate how creators have historically modified their schedules and practices to optimize their productivity across different seasons.

Natural Light Considerations

Creative practitioners often adjust their working hours based on available daylight. This adaptation appears particularly pronounced in locations with significant seasonal variation in daylight hours. For instance, Henrik Ibsen, working in Norway, documented substantial changes in his writing schedule between the long summer days and dark winter months. During winter, he concentrated his work into the limited daylight hours, while in summer, he often worked later into the evening.

Temperature and Environment Impact

Environmental conditions significantly influence creative schedules and locations. Georgia O'Keeffe adapted her painting schedule seasonally, working primarily in early morning during hot New Mexico summers and adjusting to midday work during cooler months. This adaptation allowed her to maintain optimal working conditions while continuing to paint outdoors.

Seasonal Energy Patterns

Many creators report experiencing distinct variations in their creative energy across seasons. Research indicates that these fluctuations often correlate with seasonal changes in mood and cognitive function. Writers like Sylvia Plath and Theodore Roethke documented how their creative productivity followed seasonal patterns, with periods of intense work often coinciding with particular seasons.

Professional Adaptations

Contemporary creators frequently structure their annual schedules around seasonal considerations. Many writers and artists plan different types of work for different seasons. For example, some schedule research and planning during winter months, reserving spring and summer for more intensive creative production. This approach aligns with natural energy cycles while maintaining consistent professional output.

The study of seasonal creative patterns suggests that acknowledging and working with natural cycles, rather than attempting to maintain constant productivity throughout the year, may enhance creative output and sustain long-term creative practice. Would you like to explore specific strategies for implementing seasonal adjustments in creative work, or shall we examine another aspect of creative scheduling?

What about the period when emerging from a down phase (melancholy) into a creative period. Is there anything distinctive about that?

The transition from a less productive or melancholic period into a renewed creative phase exhibits several distinctive characteristics that have been documented through both research and biographical accounts.

Gradual Re-engagement Patterns

Creative individuals often describe a gradual re-emergence of their creative practice during these transitions. Rather than an immediate return to full productivity, many report a period of incremental re-engagement with their work. For instance, composer Robert Schumann documented how he would begin with short musical phrases and gradually build toward more complex compositions as his creative energy returned.

Physical and Environmental Changes

The transition period frequently corresponds with changes in physical activity and environment. Many creators report modifying their workspace or relocating entirely as part of their re-emergence process. Virginia Woolf, for example, often marked these transitions by reorganizing her writing space and adjusting her walking routines, signaling a shift in her creative capacity.

Heightened Sensory Awareness

Research indicates that the emergence from a less productive period often coincides with increased sensory sensitivity. Artists and writers frequently report experiencing colors more vividly or becoming more attuned to sounds and textures during these transitional periods. This heightened awareness often translates directly into their creative work.

Modified Working Patterns

During these transitions, many creators adopt temporary working patterns distinct from both their usual productive routines and their habits during down periods. These intermediate schedules often involve shorter, more frequent work sessions rather than extended periods of concentration. This approach allows for a gradual rebuilding of creative stamina while maintaining momentum.

Would you like to explore any specific aspect of these transition periods in more detail? For instance, we could examine particular strategies creators have used to support their re-emergence into productive periods.

Tell me more about gradual re-engagement and modified working patterns.

The process of resuming creative work after a period of low productivity involves distinct patterns of re-engagement and modified working approaches that have been documented through research and personal accounts.

Gradual Re-engagement Process

Creative individuals typically resume their work through small, manageable steps rather than attempting to immediately return to full productivity. This often begins with what might be called "adjacent activities" - tasks that support creative work without demanding peak creative energy. For instance, a writer might begin by organizing notes or conducting research rather than attempting new composition. Virginia Woolf would often restart her practice by writing letters or journal entries before returning to manuscript work.

The re-engagement process frequently involves a deliberate reduction in expectations regarding output quality and quantity. Many creators report that accepting imperfect or experimental work during this phase helps rebuild creative confidence. For example, painter Georgia O'Keeffe would sometimes begin with simple sketches or color studies after periods of inactivity, gradually working up to more complex compositions.

Modified Working Patterns

During the transition period, creators often adopt temporary schedules that differ significantly from their usual routines. These modified patterns typically feature shorter work sessions - perhaps 30 minutes to an hour - distributed throughout the day rather than extended periods of concentration. composer Leonard Bernstein documented how he would work in brief intervals during his recovery periods, gradually extending these sessions as his energy and focus returned.

Environmental modifications often accompany these schedule changes. Many creators report success with changing their work location or rearranging their workspace during the transition period. These physical changes can help signal a fresh start and create psychological distance from the preceding difficult period.

Time Management Adjustments

The management of time during this transition phase often involves careful attention to energy levels and creative capacity. Creators frequently report scheduling their most demanding work during their peak energy periods, which may differ from their usual preferred working hours. They often incorporate more frequent breaks and allow for greater flexibility in their schedules than during their fully productive periods.

Would you like to explore specific techniques that creators have used to structure these modified working patterns, or shall we examine another aspect of creative recovery?

Can you give me, say, examples of three distinctly different individuals.

Let me share three well-documented examples of how different creative individuals managed their transitions from less productive to more creative periods.

Pyotr Tchaikovsky

After periods of depression, Tchaikovsky developed a highly structured approach to re-engaging with composition. He would begin with a mandatory two-hour morning walk, regardless of weather, followed by short composition sessions of exactly 45 minutes. These sessions initially focused on orchestration of existing work rather than new composition. Over several weeks, he would gradually extend these sessions, monitoring his emotional state carefully. His letters document how he would only attempt new melodic composition once he could maintain focus for at least three hours at a time, typically after 2-3 weeks of this graduated practice.

Virginia Woolf

Woolf's approach to re-emergence was notably different, characterized by a fluid, intuitive process. Following depressive episodes, she would begin by writing detailed observations in her diary, often focusing on colors and sensory details from her garden. These observational writings had no prescribed length or time limit. When she felt ready, usually after several days or weeks of this practice, she would transition to writing fictional scenes, but without connecting them to any specific project. Her diaries reveal that she would only return to her primary manuscripts once these unconnected scenes began to flow easily, often taking a month or more to reach this stage.

William Styron

Styron's documented recovery process following his severe depression, detailed in "Darkness Visible," presents a third distinct approach. His re-engagement with writing began with reading rather than writing - specifically, poetry reading sessions in the late afternoon. He would gradually extend these sessions, eventually incorporating brief writing periods in the early evening, a significant change from his previous habit of writing late at night. His process was marked by particular attention to physical wellness, with writing sessions contingent upon having completed specific physical activities earlier in the day, such as swimming or walking.

These three examples demonstrate how re-engagement patterns can vary significantly based on individual temperament and circumstances. Would you like to explore any of these approaches in more detail, or shall we examine how their methods might be adapted for contemporary creative practice?

Excellent! I’ll be back for more later.

Thank you for this engaging discussion about creative patterns and recovery processes. Your interest in understanding these transitions demonstrates the value of studying how different individuals navigate their creative journeys. The examples we explored reveal important insights about the relationship between routine, recovery, and renewed creativity.

Please feel free to return anytime to explore additional aspects of this topic. We could examine other historical figures, discuss contemporary research findings, or analyze specific strategies for managing creative transitions.