In today’s New York Times, author Stephen King challenges a common belief:
The more one writes, the less remarkable one’s work is apt to be.
He agrees that there are a few super-prolific writers who aren’t great writers; mystery novelist John Creasey, who’s written 564 novels under 21 different pseudonyms; and Barbara Cartland, with over 700 novels.
But King argues that these are exceptions: the general pattern is that, the more you write, the better a writer you are. Examples include Joyce Carol Oates (over 60 novels) and Agatha Christie (91 novels) and Isaac Asimov (more than 500 books).
King himself has published almost 60 novels. So maybe we should be suspicious of his argument?
The New York Times calls Stephen King’s article an “Opinion” but his claim is scientifically proven, according to the latest creativity research. Researchers like Professor Dean Keith Simonton have studied huge databases of creators, looking at both their creative quality and also their productivity. No matter how you judge creativity, the most creative writers are also the most prolific.
Not only that: if you examine a random one-year period, higher productivity in that year is typically correlated with the likelihood that you’ll do your greatest work in that same year.
The same pattern holds in every creative field, whether music, science, dance, inventions, patents. More productivity is correlated with bigger impact and greater likelihood of generating a major, influential single work.*
This is surprising to most of us. We think that you’ll generate your magnum opus only after years of intense focus. You work on one masterpiece, ignoring all distractions–including those other second-rate book ideas. Why wouldn’t a writer just pick the one awesome idea, and focus all energies on that?
Because that’s not the way creativity works. Creativity doesn’t come from one brilliant idea, emerging one morning after a strange dream. The belief in the big flash of insight is largely a myth. Creative products emerge, over time, from hard work. During the hard work, lots of small, tiny ideas come every day. They get woven into the unfolding work–and this takes skill, experience, and focus.
Another reason creativity doesn’t come from an all-consuming focus on one project: It’s because creators themselves don’t know, ahead of time, which ideas will pan out. Often, an idea that they love turns out to be a dead end. If you can’t know ahead of time which idea will change the world, then you could waste years going down the wrong path.
The take-home message: Work on lots of projects, in parallel. Don’t ever be convinced that a particular idea is the one that will make you famous. And if you’re not generating a lot of work, you’re not as creative as you could be.
*I review this research in my book Explaining Creativity: The Science of Innovation (second edition) Oxford University Press.