say sensing (details) and intuiting (big-picture). By forcing my-
self out of the groove, to another instrument, I got fresh and
energetic sounds. Stretching that example even further, sometimes
I would start with percussion and write a melody to sing along
with a groove that I had created on a drum machine. The point
is that I had to manipulate my own patterns or I’d end up
with variations on the same old theme, rather than fresh, new
songs.
In investing, I used similar tricks. For starters, I changed indus-
tries frequently. I went from publishing to retail to insurance and
banking to forest products and so on. Each time it was a pain to
start all over, because I had learned so much about the preceding
industry. I knew the basic facts about the companies, had met their
officers, had drawn up spreadsheets, and had written reports. It
was easy to sit back and be the expert. Problem was, I always got
stale. I couldn’t avoid falling into the same patterns, so I had to
move on to territory where nothing was familiar and therefore
nothing was habitual. Some people may be very creative with the
same industry over time. I wasn’t. And this is part of my point:
Each of our styles is different. You have to be introspective enough
to examine what works and what is simply the result of being lazy
or afraid.
Here is another tip on enhancing personal creativity. Develop
an openness to a power greater than yourself that can provide help.
This is what Lee Hill, president of Lee Hill ad agency, tells his
employees when their idea wells run dry: “When you want a great
idea, pray.”
The idea that all creativity ultimately comes from a “Creator”
is what I turn to in the last part of this book. Much of what I’ve
written so far is solid, standard stuff that you’d read in any book
on creativity. These last chapters strive to take a leap and explore
some new territory, an equal partnership between the left and right
brain, between logic and intuition.Getting Personal 22114-25 ware 221 1/19/01, 1:17 PM