Creative rhythms: binge writing vs daily routines

How do you stay audacious in a world that's noisier and more saturated than ever? How might the idea of creative rhythm change the way you write? Lara Bianca Pilcher gives her tips from a multi-passionate creative career.

In the intro, becoming a better writer by being a better reader [The Indy Author];
How indie authors can market literary fiction [Self-Publishing with ALLi];
Viktor Wynd’s Museum of Curiosities; Seneca’s On the Shortness of Life; All Men are Mortal – Simone de Beauvoir; Surface Detail — Iain M. Banks; Bones of the Deep – J.F. Penn.

This episode is sponsored by Publisher Rocket, which will help you get your book in front of more Amazon readers so you can spend less time marketing and more time writing. I use Publisher Rocket for researching book titles, categories, and keywords — for new books and for updating my backlist. Check it out at www.PublisherRocket.com

This show is also supported by my Patrons. Join my Community at Patreon.com/thecreativepenn 

Lara Bianca Pilcher is the author of Audacious Artistry: Reclaim Your Creative Identity and Thrive in a Saturated World. She's also a performing artist and actor, life and creativity coach, and the host of the Healthy Wealthy Wise Artist podcast.

You can listen above or on your favorite podcast app or read the notes and links below. Here are the highlights and the full transcript is below. 

Show Notes

• Why self-doubt is a normal biological response — and how audacity means showing up anyway
• The difference between creative rhythm and rigid discipline, and why it matters for writers
• How to navigate a saturated world with intentional presence on social media
• Practical strategies for building a platform as a nonfiction author, including batch content creation
• The concept of a “parallel career” and why designing your life around your art beats waiting for a big break
• Getting your creative rhythm back after crisis or burnout through small, gentle steps

You can find Lara at LaraBiancaPilcher.com.

Transcript of the interview with Lara Bianca Pilcher

Lara Bianca Pilcher is the author of Audacious Artistry: Reclaim Your Creative Identity and Thrive in a Saturated World. She's also a performing artist and actor, life and creativity coach, and the host of the Healthy Wealthy Wise Artist podcast. Welcome, Lara.

Lara: Thank you for having me, Jo.

Jo: It's exciting to talk to you today. First up—

Tell us a bit more about you and how you got into writing.

Lara: I'm going to call myself a greedy creative, because I started as a dancer, singer, and actress in musical theatre, which ultimately led me to London, the West End, and I was pursuing that in highly competitive performance circles. A lot of my future works come from that kind of place.

But when I moved to America—which I did after my season in London and a little stint back in Australia, then to Atlanta, Georgia—I had a visa problem where I couldn't work legally, and it went on for about six months.

Because I feel this urge to create, as so many of your listeners probably relate to, I was not okay with that. So that's actually where I started writing, in the quietness, with the limits and the restrictions. I've got two children and a husband, and they would go off to school and work and I'd be home thinking, ha.

In that quietness, I just began to write. I love thinking of creativity as a mansion with many rooms, and you get to pick your rooms. I decided, okay, well the dance, acting, singing door is shut right now—I'm going to go into the writing room. So I did.

Jo: I have had a few physical creatives on the show. Obviously one of your big rooms in your mansion is a physical room where you are actually performing and moving your body. I feel like this is something that those of us whose biggest area of creativity is writing really struggle with—the physical side.

How do you think that physical practice of creativity has helped you in writing, which can be quite constrictive in that way?

Lara: It's so good that you asked this because I feel what it trained me to do is ignore noise and show up. I don't like the word discipline—most of us get a bit uncomfortable with it, it's not a nice word.

What being a dancer did was teach me the practice of what I like to call a rhythm, a creative rhythm, rather than a discipline, because rhythm ebbs and flows and works more with who we are as creatives, with the way creativity works in our body.

That taught me: go to the barre over and over again—at the ballet barre, I'm talking about, not the pub. Go there over and over again. Warm up, do the work, show up when you don't feel like it. thaT naturally pivoted over to writing, so they're incredibly linked in the way that creativity works in our body.

Jo: Do you find that you need to do physical practice still in order to get your creativity moving? I'm not a dancer. I do like to shake it around a bit, I guess. But I mainly walk. If I need to get my creativity going, I will walk.

If people are stuck, do you think doing something physical is a good idea?

Lara: It is, because the way that our body and our nervous system works—without going into too much boring science, although some people probably find it fascinating—is that when we shake off that lethargic feeling and we get blood flowing in our body, we naturally feel more awake.

Often when you're walking or you're doing something like dance, your brain is not thinking about all of the big problems.

You might be listening to music, taking in inspiration, taking in sunshine, taking in nature, getting those endorphins going, and that naturally leads to the brain being able to psychologically show up more as a creative.

However, there are days, if I'm honest, where I wake up and the last thing I want to do is move. I want to be in a little blanket in the corner of the room with a hot cocoa or a coffee and just keep to myself. Those aren't always the most creative days, but sometimes I need that in my creative rhythm, and that's okay too.

Jo: I agree. I don't like the word discipline, but as a dancer you certainly would've had to do that. I can't imagine how competitive it must be. I guess this is another thing about a career in dance or the physical arts.

Does it age out? Is it really an ageist industry?

Whereas I feel like with writing, it isn't so much about what your body can do anymore.

Lara: That is true. There is a very real marketplace, a very real industry, and I'm careful because there's two sides to this coin. There is the fact that as we get older, our body has trouble keeping up at that level. There's more injuries, that sort of thing.

There are some fit women performing in their sixties and seventies on Broadway that have been doing it for years, and they are fine. They'll probably say it's harder for some of them.

Also, absolutely, I think there does feel in the professional sense like there can be a cap. A lot of casting in acting and in that world feels like there's fewer and fewer roles, particularly for women as we get older, but people are in that space all the time.

There's a Broadway dancer I know who is 57, who's still trying to make it on Broadway and really open about that, and I think that's beautiful. So I'm careful with putting limits, because I think there are always outliers that step outside and go, “Hey, I'm not listening to that.”

I think there's an audience for every age if you want there to be and you make the effort. But at the same time, yes, there is a reality in the industry. Totally.

Jo: Obviously this show is not for dancers. I think it was more framing it as we are lucky in the writing industry, especially in the independent author community, because you can be any age. You can be writing on your deathbed. Most people don't have a clue what authors look like.

Lara: I love that, actually. It's probably one of the reasons I maybe subconsciously went into writing, because I'm like, I want to still create and I'm getting older. It's fun.

Jo: That's freeing.

Lara: So freeing. It's a wonderful room in the mansion to stay in until the day I die, if I must put it that way.

Jo: I also loved you mentioning that Broadway dancer. A lot of listeners write fiction—I write fiction as well as nonfiction—and it immediately makes me want to write her story. The story of a 57-year-old still trying to make it on Broadway.

There's just so much in that story, and I feel like that's the other thing we can do: writing about the communities we come from, especially at different ages.

Let's get into your book, Audacious Artistry. I want to start on this word audacity. You say audacity is the courage to take bold, intentional risks, even in the face of uncertainty. I read it and I was like, I love the sentiment, but I also know most authors are just full of self-doubt.

Bold and audacious. These are difficult words. So what can you say to authors around those big words?

Lara: Well, first of all, that self-doubt—a lot of us don't even know what it is in our body. We just feel it and go, ugh, and we read it as a lack of confidence. It's not that. It's actually natural. We all get it. What it is, is our body's natural ability to perceive threat and keep us safe.

So we're like, oh, I don't know the outcome. Oh, I don't know if I'm going to get signed. Oh, I don't know if my work's going to matter. And we read that as self-doubt—”I don't have what it takes” and those sorts of things.

That's where I say no. The reframe, as a coach, I would say, is that it's normal. Self-doubt is normal. Everyone has it. But audacity is saying, I have it, but I'm going to show up in the world anyway. There is this thing of believing, even in the doubt, that I have something to say.

I like to think of it as a metaphor of a massive feasting table at Christmas, and there's heaps of different dishes. We get to bring a dish to the table rather than think we're going to bring the whole table. The audacity to say, “Hey, I have something to say and I'm going to put my dish on the table.”

Jo: I feel like the “I have something to say” can also be really difficult for people, because, for example, you mentioned you have kids. Many people are like, I want to share this thing that happened to me with my kids, or a secret I learned, or a tip I think will help people. But there's so many people who've already done that before.

When we feel like we have something to say but other people have said it before, how do you address that?

Lara: I think everything I say, someone has already said, and I'm okay with that. But they haven't said it like me. They haven't said it in my exact way. They haven't written the sentence exactly the way—that's probably too narrow a point of view in terms of the sentence—maybe the story or the chapter.

They haven't written it exactly like me, with my perspective, my point of view, my life experience, my lived experience. It matters.

People have very short memories. You think of the last thing you watched on Netflix and most of us can't remember what happened. We'll watch the season again.

So I think it's okay to be saying the same things as others, but recognise that the way you say it, your point of view, your stories, your metaphors, your incredible way of putting a sentence togethes, it still matters in that noise.

Jo: I think you also talk in the book about rediscovering the joy of creation, as in you are doing it for you. One of the themes that I emphasise is the transformation that happens within you when you write a book. Forget all the people who might read it or not read it.

Even just what transforms in you when you write is important enough to make it worthwhile.

Lara: It really, really is. For me, talking about rediscovering the joy of creation is important because I've lost it at times in my career, both as a performing artist and as an author, in a different kind of way.

When we get so caught up in the industry and the noise and the trends, it's easy to just feel overwhelmed. Overwhelm is made up of a lot of emotions like fear and sadness and grief and all sorts of things. A lot of us don't realise that that's what overwhelm is.

When we start to go, “Hey, I'm losing my voice in all this noise because comparison is taking over and I'm feeling all that self-doubt,” it can feel just crazy. So for me, rediscovering the joy of creation is vital to survival as an author, as an artist.

A classic example, if you don't mind me sharing my author story really quickly, is that when I first wrote the first version of my book, I was writing very much for me, not realising it. This is hindsight. My first version was a little more self-indulgent. I like to think of it like an arrowhead. I was trying to say too much.

The concept was good enough that I got picked up by a literary agent and worked with an editor through that for an entire year. At the end of that time, they dropped me. I felt like, through that time, I learned a lot. It was wonderful.

Their reason for dropping me was saying, “I don't think we have enough of a unique point of view to really sell this.” That was hard. I lay on my bed, stared at the ceiling, felt grief. The reality is it's so competitive. What happened for me in that year is that I was trying to please.

If you're a new author, this is really important. You are so desperately trying to please the editor, trying to do all the right things, that you can easily lose your joy and your unique point of view because you are trying to show up for what you think they all need and want.

What cut through the noise for me is I got off that bed after my three hours of grief—it was probably longer, to be fair—but I booked myself a writing coach. I went back to the drawing board.

I threw a lot of the book away. I took some good concepts out that I already knew were good from the editor, then I rewrote the entire thing. It's completely different to the first version.

That's the book that got a traditional publishing deal. That book was my unique point of view. That book was my belief, from that grief, that I still have something to say. Instead of trusting what the literary agent and the editor were giving me in those red marks all over that first version, I was like, this is what I want to say.

That became the arrowhead that's cut into the industry, rather than the semi-trailer truck that I was trying to bulldoze in with no clear point of view. So rediscovering the joy of creation is very much about coming back to you. Why do I write? What do I want to say?

That unique point of view will cut through the noise a lot of the time. I don't want to speak in absolutes, but a lot of the time it will cut through the noise better than you trying to please the industry.

Jo: I can't remember who said it, but somebody talked about how you've got your stone, and your stone is rough and it has random colours and all this. Then you start polishing the stone, which you have to do to a point. But if you keep polishing the stone, it looks like every other stone. What's the point?

That fits with what you were saying about trying to please everyone, you end up pleasing no one. I also think the reality of what you just said about the book is a lot of people's experience with writing in general.

Certainly for me, I don't write in order. I chuck out a lot. I'm a discovery writer. People think you sit down and start A and finish Z, and that's it.

It's kind of messy, isn't it? Was that the same in your physical creative life?

Lara: Yes. Everything's a mess. In the book I actually talk about learning to embrace the cringe, because we all want to show up perfect. Just as you shared, we think, because we read perfect and look at perfect or near-perfect work—that's debatable all the time—we want to arrive there, and I guess that's natural.

But what we don't often see on social media or other places is the mess. I love the behind the scenes of films. I want to see the messy creative process.

The reality is we have to learn to embrace the messy cringe because that's completely normal. My first version was so messy, and it's about being able to refine it and recognise that that is normal. So yes, embrace it. That's my quote for the day. Embrace the cringe, show up messy. It's all right.

Jo: You mentioned the social media, and the subtitle of the book mentions a “saturated world.” The other problem is there are millions of books out there now. AI is generating more content than humans do, and it is extremely hard to break through.

How are we to deal with this saturated world? When do we join in and when do we step away?

Lara: I think it's really important not to have black and white thinking about it, because trust me, every day I meet an artist that will say, “I hate that I have to show up online.” To be honest with you, there's a big part of me that does also.

But the saturation of the world is something that I recognise, and for me, it's like I'm in the world but not of it. That saturation can cause so much overwhelm and nervous system threat and comparison.

What I've personally decided to do is have intentional showing up. That looks like checking in intentionally with a design, not a randomness, and then checking out.

When push comes to shove, at the end of the day, I really believe that what sells books is people's trust in us as a person.

They might go through an airport and not know us at all and pick up the book because it's a bestseller and they just trust the reputation, but so much of what I'm finding as an artist is that personal relationship, that personal trust.

Whether that's through people knowing you via your podcast or people meeting you in a room. Especially in nonfiction, I think that's really big.

Intentional presence from a place where we've regulated ourselves, being aware that it's saturated, but my job's not to be focused on the saturation. My job is to find my unique voice and say I have something to bring.

Be intentional with that. Shoot your arrow, and then step out of the noise, because it's just overwhelming if you choose to live there and scroll without any intentionality at all.

Jo: So how do people do that intentionality in a practical way around, first of all, choosing a platform, and then secondly, how they create content and share content and engage?

What are some actual practical tips for intentionality?

Lara: I can only speak from my experience, but I'm going to be honest, every single application I sent asked for my platform stats. Every single one.

Platform stats as in how many followers, how many people listening to your podcast, how many people are reading your blog. That came up in every single literary agent application.

So I would be a fool today to say you've got to ignore that, because that's just the brass tacks, unless you're already like a famous footballer or something. Raising and building a platform of my own audience has been a part of why I was able to get a publishing deal.

In doing that, I've learned a lot of hard lessons. Embrace the cringe with marketing and social media as well, because it's its own beast.

Algorithms are not what I worry about. They're not going to do the creativity for you. What social media's great at is saying, “Hey, I'm here”—it's awareness. It's not where I sell stuff. It's where I say, I'm here, this is what I'm doing, and people become aware of me and I can build that relationship.

People do sell through social media, but it's more about awareness statistically. I am on a lot of platforms, but not all of them work for every author or every style of book.

I've done a lot of training. I've really had to upskill in this space and get good at it. I've put myself through courses because I feel like, yes, we can ignore it if we want to, but for me it's an intentional opting in because the data shows that it's been a big part of being able to get published.

That's overwhelming to hear for some people. They don't want to hear that. But that's kind of the world that we are in, isn't it?

Jo: I think the main point is that you can't do everything and you shouldn't even try to do everything. The best thing to do is pick a couple of things, or pick one thing, and focus on that.

For example, I barely ever do video, so I definitely don't do TikTok. I don't do any kind of video stuff. But I have this podcast. Audio is my happy place, and as you said, long-form audio builds trust. That is one way you can sell, but it's also very slow—very, very slow to build an audio platform.

Then I guess my main social media would be Instagram, but I don't engage a lot there.

So do you have one or two main things that you do, and any thoughts on using those for book marketing?

Lara: I do a lot of cross-posting. I am on Instagram and I do a lot of creation there, and I'm super intentional about this. I actually do 30 days at a time, and then it's like my intentional opt-in.

I'll create over about two days, edit and plan. It's really, really planned—shoot everything, edit everything, put it all together, and then upload everything. That will be 30 days' worth.

Then I back myself right out of there, because I don't want to stay in that space. I want to be in the creative space, but I do put those two days a month aside to do that on Instagram.

Then I tweak things for YouTube and what works on LinkedIn, which is completely different to Instagram. As I'm designing my content, I have in mind that this one will go over here and this one can go on here, because different platforms push different things.

I am on Threads, but Threads is not statistically where you sell books, it's just awareness. Pinterest I don't think has been very good for my type of work, to be honest. For others it might. It's a search engine, it's where people go to get a recipe.

I don't necessarily feel like that's the best place, this is just my point of view. For someone else it might be brilliant if you're doing a cookbook or something like that.

I am on a lot of platforms. My podcast, however, I feel is where I'm having the most success, and also my blog. Those things as a writer are very fulfilling. I've pushed growing a platform really hard, and I am on probably almost every platform except for TikTok, but I'm very intentional with each one.

Jo: I guess the other thing is the business model. The fiction business model is very, very different to nonfiction. You've got a book, but your higher-cost and higher-value offerings are things that a certain number of people come through to you and pay you more money than the price of a book.

Could talk about how the book leads into different parts of your business?

Because some people are like, “Am I going to make a living wage from book sales of a nonfiction book?” And usually people have multiple streams of income.

Lara: I think it's smart to have multiple streams of income. A lot of people, as you would know, would say that a book is a funnel. For those who haven't heard of it, a way that people come into your bigger offerings. They don't have to be, but very much I do see it that way.

It's also credibility. When you have a published book, there's a sense of credibility.

I do have other things. I have courses, I have coaching, I have a lot of things that I call my parallel career that chug alongside my artist work and actually help stabilise that freelance income. Having a book is brilliant for that. I think it's a wonderful way to get out there in the world.

No matter what's happening in all the online stuff, when you're on an aeroplane, so often someone still wants to read a book. When you're on the beach, they don't want to be there with a laptop. If you're on the sand, you want to be reading a beautiful paper book. The smell of it, the visceral experience of it.

Books aren't going anywhere, to me. I still feel like there are always going to be people that want to pick it up and dig in and learn so much of your entire life experience quickly.

Jo: We all love books here.

I think it's important, as you do talk about career design and you mentioned there the parallel career—I get a lot of questions from people. They may just be writing their first book and they want to get to the point of making money so they could leave their day job or whatever. But it takes time, doesn't it?

So how can we be more strategic about this sort of career design?

Lara: For me, this has been a big one because lived experience here is that I know artists in many different areas, whether they're Broadway performers or music artists. Some of them are on almost everything I watch on TV. I'm like, oh, they're that guy again. I know that actor is on almost everything.

I'll apply this over to writers. The reality is that these high-end performers that I see all the time showing up, even on Broadway in lead roles, all have another thing that they do, because they can still have, even at the highest level, six months between a contract.

Applying that over to writing is the same thing, in that books and the money from them will ebb and flow. What so often artists are taught—and authors fit into this—is that we ultimately want art to make us money.

So often that becomes “may my art rescue me from this horrible life that I'm living,” and we don't design the life around the art. We hope, hope, hope that our art will provide.

I think it's a beautiful hope and a valid one. Some people do get that. I'm all for hoping our art will be our main source of income. But the reality is for the majority of people, they have something else.

What I see over and over again is these audacious dreams, which are wonderful, and everything pointing towards them in terms of work. But then I'll see the actor in Hollywood that has a café job and I'm like, how long are you going to just work at that café job?

They're like, “Well, I'm goint to get a big break and then everything's going to change.” I think we can think the same way. My big break will come, I'll get the publishing deal, and then everything will change.

The reframe in our thinking is: what if we looked at this differently? Instead of side hustle, fallback career, instead of “my day job,” we say parallel career. How do I design a life that supports my art? And if I get to live off my art, wonderful.

For me, that's looked like teaching and directing musical theatre. It's looked like being able to coach other artists. It's looked like writing and being able to pivot my creativity in the seasons where I've needed to.

All of that is still creativity and energising, and all of it feeds the great big passion I have to show up in the world as an artist. None of it is actually pulling me away or draining me. I mean, you have bad days, of course, but it's not draining my art.

When we are in this way of thinking—one day, one day, one day—we are not designing intentionally.

What does it look like to maybe upskill and train in something that would be more energising for my parallel career that will chug alongside us as an artist? We all hope our art can totally 100% provide for us, which is the dream and a wonderful dream, and one that I still have.

Jo: It's hard, isn't it? Because I also think that, personally, I need a lot of input in order to create. I call myself more of a binge writer. I just finished the edits on my next novel and I worked really hard on that.

Now I won't be writing fiction for, I don't know, maybe six months or something, because now I need to input for the next one.

I have friends who will write 10,000 words a day because they don't need that. They have something internal, or they're just writing a different kind of book that doesn't need that.

Your book is a result of years of experience, and you can't write another book like that every year. You just can't, because you don't have enough new stuff to put in a book like that every single year.

I feel like that's the other thing.

People don't anticipate the input time and the time it takes for the ideas to come together. It is not just the production of the book.

Lara: That's completely true. It goes back to this metaphor that creativity in the body is not a machine, it's a rhythm. I like to say rhythm over consistency, which allows us to say, “Hey, I'm going to be all in.”

I was all in on writing. I went into a vortex for days on end, weeks on end, months and probably years on end. But even within that, there were ebbs and flows of input versus “I can't go near it today.”

Recognising that that's actually normal is fine. There are those people that are outliers, and they will be out of that box. A lot of people will push that as the only way. “I am going to write every morning at 10am regardless.” That can work for some people, and that's wonderful.

For those of us who don't like that—and I'm one of those people, that's not me as an artist—I accept the rhythm of creativity and that sometimes I need to do something completely different to feed my soul.

I'm a big believer that a lot of creative block is because we need an adventure. We need to go out and see some art. To do good art, you've got to see good art, read good art, get outside, do something else for the input so that we have the inspiration to get out of the block.

I know a screenwriter who was writing a really hard scene of a daughter's death—her mum's death. It's not easy to just write that in your living room when you've never gone through it.

So she took herself out—I mean, it sounds morbid, but as a writer you'll understand the visceral nature of this—and sat at somebody's tombstone that day and just let that inform her mind and her heart.

She was able to write a really powerful scene because she got out of the house and allowed herself to do something different.

All that to say that creativity, the natural process, is an in-and-out thing. It ebbs and flows as a rhythm. People are different, and that's fine. But it is a rhythm in the way it works scientifically in the body.

Jo: On graveyards—we love graveyards around here.

Lara: I was like, sorry everyone, this isn't very nice.

Jo: Oh, no. People are well used to it on this show.

Let's come back to rhythm. When you are in a good rhythm, or when your body's warmed up and you are in the flow and everything's great, that feels good. But what if some people listening have found their rhythm is broken in some way, or it's come to a stop?

That can be a real problem, getting moving again if you stop for too long.

What are some ways we can get that rhythm back into something that feels right again?

Lara: First of all, for people going through that, it's because our body actually will prioritise survival when we're going through crisis or too much stress. Creativity in the brain will go, well, that's not in that survival nature.

When we are going through change—like me moving countries—it would disconnect us a lot from not only ourselves and our sense of identity, but creativity ultimately reconnects you back into life.

I feel like to be at our optimum creative self, once we get through the crisis and the stress, is to gently nudge ourselves back in by little micro things. Whether it's “I'm just going to have the rhythm of writing one sentence a day.” As we do that, those little baby steps build momentum and allow us to come back in.

Creativity is a life force. It's not about production, it's actually how we get to any unique contribution we're going to bring to the world. As we start to nudge ourselves back in, there's healing in that and there's joy in that.

Then momentum comes. I know momentum comes from those little steps, rather than the overwhelming “I've got to write a novel this week” mindset. It's not going to happen, most of the time, when we are nudging our way back in. Little baby steps, kindness with ourselves.

Staying connected to yourself through change or through crisis is one of the kindest things we can offer ourselves, and allowing ourselves to come into that rhythm—like that musical song of coming back in with maybe one line of the song instead of the entire masterpiece, which hopefully it will be one day.

Jo: I was also thinking of the dancing world again, and one thing that is very different with writers is that so much of what we do is alone. In a lot of the performance art space, there's a lot more collaboration and groups of people creating things together.

Is that something you've kept hold of, this kind of collaborative energy?

How do you think we can bring that collaborative energy more into writing?

Lara: Writing is very much alone. Obviously some people, depending on the project, will write in groups, but generally speaking, it's alone.

For me, what that looks like is going out. I do this, and I know for some writers this is like, I don't want to go and talk to people. There are a lot of introverts in writing, as you are aware.

I do go to creative mixers. I do get out there. I'm planning right now my book launch with a local bookstore, one in Australia and one here in America.

Those things are scary, but I know that it matters to say I'm not in this alone. I want to bring my friends in. I want to have others part of this journey. I want to say, hey, I did this. And of course, I want to sell books. That's important too.

It's so easy to hide, because it's scary to get out there and be with others. Yet I know that after a creative mixer or a meetup with all different artists, no matter their discipline, I feel very energised by that. Writers will come, dancers will come, filmmakers will come. It's that creative force that really energises my work.

Of course, you can always meet with other writers. There's one person I know that runs this thing where all they do is they all get on Zoom together and they all write. Their audio's off, but they're just writing. It's just the feeling of, we're all writing but we're doing it together.

It's a discipline for them, but because there's a room of creatives all on Zoom, they're like, I'm here, I've showed up, there's others. There's a sense of accountability. I think that's beautiful. I personally don't want to work that way, but some people do, and I think that's gorgeous too.

Jo: Whatever sustains you. I think one of the important things is to realise you are not alone. I get really confused when people say this now.

They're like, “Writing's such a lonely life, how do you manage?” I'm like, it is so not lonely.

Lara: Yes.

Jo: I'm sure you do too. Especially as a podcaster, a lot of people want to have conversations. We are having a conversation today, so that fulfils my conversation quota for the day.

Lara: Exactly. Real human connection. It matters.

Jo: Exactly. So maybe there's a tip for people. I'm an introvert, so this actually does fulfil it. It's still one-on-one, it's still you and me one-on-one, which is good for introverts. But it's going out to a lot more people at some point who will listen in to our conversation.

There are some ways to do this. It's really interesting hearing your thoughts.

Tell people where they can find you and your books and your podcast online.

Lara: The book is called Audacious Artistry: Reclaim Your Creative Identity and Thrive in a Saturated World, and it's everywhere. The easiest thing to do would be to visit my website, LaraBiancaPilcher.com/book, and you'll find all the links there.

My podcast is called Healthy Wealthy Wise Artist, and it's on all the podcast platforms. I do short coaching for artists on a lot of the things we've been talking about today.

Jo: Brilliant. Well, thanks so much for your time, Lara. That was great.

Lara: Thank you.

The post Audacious Artistry: Reclaiming Your Creative Identity And Thriving In A Saturated World With Lara Bianca Pilcher first appeared on The Creative Penn.