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The Art Of Attracting Business

Joe Calloway


Magnetic- The art of attracting business
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Book Details
 126 p
 File Size 
 907 KB
 File Type
 PDF format
 978-1-119-14742-8 (ePDF)
 978-1-119-14743-5 (ePub)
 2015 by Joe Calloway

This is what magnetic looks like. This is the art of attracting business.
I took this photo from my car one wet, dreary morning outside the Pancake Pantry in
Nashville, Tennessee. This photo perfectly captures the core message of this book
and what it means to your business: To be so good at what you do that your
customers tell others, creating a steady stream of new customers.
The ideal caption for this photo would be a statement from W. Edwards Deming, who
many people believe was the greatest business thinker of our time:
“Profit in business comes from repeat customers, customers that boast about
your product or service, and that bring friends with them.”
For a business…any business…your business…that's the gold standard. Magnetic
means that the customers come to you. Customers are drawn to you.

The Art of Attracting Business
So, how do you make it happen? The quick answer is that you become incredibly
good at what you do. So good that people talk about it. For the Pancake Pantry it's a
combination of a great location combined with really good pancakes served by really
good people at a fair price. That's it. It's simple, but don't kid yourself that it's easy.
It's not. There's no one-size-fits-all template that this or any other book can slap on
top of your business to make it successful.
On the one hand, what it takes to make a business magnetic is so simple that it'll
make you slap your forehead and think “I knew that!” On the other hand, there are a
thousand ways to do it and you have to figure out which ways match up with who you
are as a business, your culture, your business model, your strengths, your
weaknesses, your competitive advantages and disadvantages, your personality and
the personalities of those you work with, your values, your vision, your mission—it's
all part of the mix that is distinctly you as a business leader, your colleagues or
employees as a team, and all of it together as a business.
Every business is different. We're different in every way imaginable.
Every business is the same. We all want and need customers.

Ideas That Work across the Board
We're going to take a look at magnetic businesses, people, and organizations of all
kinds, and see what is truly effective for them in attracting new customers. One of the
things I love most about these ideas is that they can help attract business to a huge
corporation, a mom and pop business, a law practice, a dance studio, a baseball
team, a retail store, a nonprofit organization, a franchise, a consultant, a hospital, or
any other kind of business endeavor. These ideas work across the board, and they
can work for you.
You're going to discover how people and businesses that are magnetic are making it
happen on a consistent basis. You will have light bulbs exploding in your mind as you
spot the ideas that feel like a perfect fit for you. It's all good stuff, believe me, but
there will be particular ideas and strategies throughout the book that will have you
thinking, “That would definitely work for me,” “I can easily adapt that idea to what I
do,” and “I can do that beginning right now.”
I have helped nonprofit organizations adapt ideas from manufacturing companies to
help them attract more donors. I have worked with banks to adapt strategies from
successful hospitals to help them attract more customers. Your best idea is over
there. I'm going to show you some of them. Then you take over the creative part and
adapt it to what you do to help you to become magnetic.

What's Not in the Book
This book focuses on one thing above all others: creating the experiences that spark
the positive word of mouth that will drive new business to you. It is about the
attitudes, strategies, and tactics that make that happen.
This book is about what customers say about you. It's not about what you say about
you. That's another book and, in fact, there are countless books about marketing,
advertising, websites, and what you should say on social media. That's all part of the
mix, and posting, tweeting, and linking online with customers is fine, but it's not the
focus of this book.
This book is about what matters most—the stories that your customers tell about
you, not the stories that you tell about yourself. Your priority should be the
experiences you create that cause your customers to, as Deming said, “boast about
your product or services.”
It's not just important. It's the most important factor in your business success. This is
about what the marketplace tells us is happening.
Here's a sprinkling of the data (more follows in later chapters):
1. 85 percent of fans of brands on Facebook recommend brands to others. (Syncapse)
2. 43 percent of consumers are more likely to buy a new product when learning
about it through word of mouth on social media. (Nielsen)
3. 77 percent of consumers are more likely to buy a new product when learning
about it through word of mouth from friends or family. (Nielsen)
4. 81 percent of U.S. online consumers' purchase decisions are influenced by their
friends' social media posts. (Market Force)

 It IS Your Marketing
Becoming magnetic is a way of thinking about your business so that the work you do,
the products you make, and the service you deliver to your customers are no longer
separate from your marketing. They are your marketing.
Please take special note of the statistic above: 81 percent of U.S. online consumers'
purchase decisions are influenced by their friends' social media posts. Not what the
business says on social media, but what customers say about the business on social
media. That's the point that so many people in business miss. They spend too much
time and thought on what they post on social media, and not nearly enough on
improving performance that will positively affect what their customers post about
them on social media.
We'll take a lot of different approaches and look at a lot of different perspectives on
what it takes to become magnetic. We'll look at companies, businesses, people, and
organizations that are seemingly completely unlike you or your business. But they will
offer lessons in being magnetic that you can adapt and use immediately to attract business.

Where We're Going
At the end of each of the following chapters, you will find questions meant to provoke
thought and action about the ideas in the book. The questions are designed to be
useful if you simply ask them just of yourself, but you'll see that they use the pronoun
“we” to encourage discussions with your team.
Remember where we're going with all of this. We're going to look at what magnetic
companies do, which you can do, to attract business. Remember that the key is what
your customers say about you to others. You will create the experiences for them that
will drive positive word of mouth, 
which is the most powerful magnet for business ever known.
Let's go.

Table of Contents
Title Page
Chapter 1: Why Magnetic Matters
The Art of Attracting Business
Ideas That Work across the Board
What's Not in the Book
It IS Your Marketing
Where We're Going
Chapter 2: The Power of Word of Mouth
The Greatest Marketing Program of All Time
What Mama's Means to You
Whom Do You Ask?
Deciding to Buy (or Not to Buy)
Zero Moment of Truth
The Most Significant Shift
Rethinking Your Strategy
Chapter 3: The Hard Work of Making It Simple
Get Your Thinking Clean Enough
Chapter 4: The Three Things You Want Them to Say
“You Should Try This Website Designer, Doctor, Book, Accountant, and
Everyone Gets It
What Do We Want Our Customers to Say about Us?
Make An Emotional Connection
Don't Overthink It
Your Three “What We Want Them to Say” Statements
Chapter 5: The Three Things You Must Get Right
A Simple, Powerful Formula to Attract Business
Solid Gold Strategy
The Grand Guarantee
Do it Your Way
Chapter 6: The Best Idea Ever
Make Sure the Other Guy Wins
An Elegant Equation to Explain Everything
Look at the Options
I Hate to Lose
I've Developed Reverse Paranoia
“We Make People Lose”
It's Like a Cultural Miracle Drug
Standing out Like a Sore Thumb
Constructive Disagreements
The Ultimate Guideline
Chapter 7: Better Beats Different
Don't Strive to Be Different. Be Better. (Now That's Different.)
Not the Most Unusual Pickup Truck
The Connection between “Better” and “Distinctive”
Being Better Means Innovation
Chapter 8: From Magnetic to Irrelevant
The Greatest Threat
Wild for CB Radios
Dogs are Loyal. Customers Aren't.
Think Again
Chapter 9: Never Stop Improving
You Could Just Do This, and You'd Succeed
Lip Service
A Daily Ritual
Without a Process It's Just a Slogan
You Have to Get Specific
If It's Worth Doing, It's Worth Doing Wrong
All Sorts of Things Occur
It Can Always Be Better
Chapter 10: The Magnetic Mind-Set
Common Threads
Chapter 11: The St. Paul Saints: It's All Word of Mouth
Not Your Usual Case Study
Fiercely Loyal Customers Year in and Year Out
The Most Spectacular Experience You Can Have
“A Whole New Ballgame”
Chapter 12: A Magnet Needs a Market
It Seemed Like Such a Good Idea at the Time
Who's Going to Pay You for It?
Spreadsheets Don't Buy Anything. (Friends Usually Don't, Either.)
A Great Idea in the Wrong Market
Just Follow Your Passion. If…
“I'll Put It on the Internet.”
The Most Crowded Market in the Universe
Chapter 13: Lessons from a Startup Magnet
Looking at Your Business with New Eyes
David and Goliath
Lessons for All of Us
What If I Were Starting Over?
Chapter 14: Who Moved My Market?
Whom Would You Call?
The Opportunity of a Burning Platform
We Print Checks. Now What?
Who Moved My Market?
We Live in Interesting Times
Chapter 15: You're Fired!
The Common (and Fatal) Mistakes That Businesses Make
Joe Calloway Fired a Phone Company
Mark Sanborn Fired a Restaurant
Larry Winget Fired the Garage Door Company, the Air Conditioning Company,
and His Doctor
Randy Pennington Fired the Lawn Service
Scott McKain Fired The Oncologist
It Wasn't the Lack of a “Wow” Factor
Famous Last Words
Chapter 16: Magnetic Connections
Go Retro
Get Face-to-Face
Practice Retail Politics
The Lost Art of the Handwritten Note
Chapter 17: Losing Your Magnetic Mojo
Can a Magnet Lose Its Strength?
Rave Reviews. Amazing French Food
It's Not As Good As It Used to Be
That's Just Table Stakes
The Big Lie
Good to Great to Gone
Chapter 18: The Amazing, Simple, Overlooked Advantage
Stories about How Amazingly Responsive You Are
Brian Will Get Back to You Immediately
A New Standard of Performance
I Loved Them
Until I Didn't
Too Little, Too Late
Real-Time Response
Sorry, That Won't Work for Me
Chapter 19: Tomorrow's Magnetic Business
The Pace of Change Will Increase
Your Customers Just Changed
If You Make Customers or Potential Customers Wait, You Lose
Your Customers Are Superconnected
Every Person in Your Organization Must Have a Customer Focus
You Have to Change from Talking to the Market to Talking with the Market
Sell Me Stuff I Want
Don't Appeal to a Demographic. Appeal to Me.
Having the Right Technology Is Great. Having the Right People Is Better.
“Simple and Easy” Is the New Added Value
Use Video
Win on the Basics
End User License Agreement

Magnetic- The art of attracting business
Cover image: © / mightyisland
Cover design: Michael J. Freeland

Published simultaneously in Canada

For more information about Wiley products, visit

A Spiritual Path to Higher Creativity 

by Julia Cameron

I. Creative ability—Problems, exercises, etc. 2. Self-actualization (Psychology)—Problems, exercises, etc. 3. Creation (Literary, artistic, etc.)

The Artist’s Way- A Spiritual Path to Higher Creativity
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Book Details
 431 p
 File Size 
 1,552 KB
 File Type
 PDF format
 1992, 2002 by Julia Cameron
 The Artist’s Way is a registered
 trademark of Julia Cameron

About the Author
Julia Cameron has been an active artist for more than thirty
years. She is the author of seventeen books, fiction and
nonfiction, including The Artist’s Way, The Vein of Gold and
The Right to Write, her bestselling works on the creative
process. A novelist, playwright, songwriter, and poet, she
has multiple credits in theater, film, and television. She
divides her time between Manhattan and the high desert of
New Mexico.


ART IS A SPIRITUAL transaction.
Artists are visionaries. We routinely practice a form of
faith, seeing clearly and moving toward a creative goal that
shimmers in the distance—often visible to us, but invisible
to those around us. Difficult as it is to remember, it is our
work that creates the market, not the market that creates our
work. Art is an act of faith, and we practice practicing it.
Sometimes we are called on pilgrimages on its behalf and,
like many pilgrims, we doubt the call even as we answer it.
But answer we do.
I am writing on a black lacquer Chinese desk that looks
west across the Hudson River to America. I am on the far
western shore of Manhattan, which is a country unto itself,
and the one I am living in right now, working to cantilever
musicals from page to stage. Manhattan is where the singers
are. Not to mention Broadway. I am here because “art”
brought me here. Obedient, I came.
Per capita, Manhattan may have a higher density of artists
than anywhere else in America. In my Upper West Side
neighborhood, cellos are as frequent and as ungainly as
cows in Iowa. They are part of the landscape here. Writing
at a typewriter, looking out across the lights, I too am
something Manhattan knows very well. I write melody on a
piano ten blocks from where Richard Rodgers, a gangly
adolescent, climbed a short stoop to meet a short boy who
became his longtime partner, Larry Hart. Together they
dreamed through drought and flood.
My apartment is on Riverside Drive. At this narrow end of
the island, Broadway is a scant block behind my back as I
face west across the river, inky black now as the sun sets in
colored ribbons above it. It is a wide river, not only dark,
and on a windy day—and there are many—the water is
choppy and white-capped. Cherry-red tugboats, as
determined as beetles, push their prows into the waves,
digging their way up and down the river, pushing long
barges with their snouts. Manhattan is a seaport—and a
landing for dreams.
Manhattan teems with dreamers. All artists dream, and we
arrive here carrying those dreams. Not all of us are dressed
in black, still smoking cigarettes and drinking hard liquor,
still living out the tawdry romance of hard knocks in tiny
walk-up flats filled with hope and roaches in neighborhoods
so bad that the rats have moved on. No, just like the
roaches, the artists are everywhere here, tenements to
penthouses—my own building has not only me with my
piano and typewriter but also an opera singer who trills in
the inner canyons like a lark ascending. The neighborhood
waiters are often—not always—actors, and the particularly
pretty duck-footed neighborhood girls do dance, although
you wouldn’t imagine their grace from their web-footed walks.
I drank a cup of tea at Edgar’s Cafe this afternoon, the
cafe named for Edgar Allan Poe, who lived down here and
died farther uptown, all the way in the Bronx. I’ve looked
up into Leonard Bernstein’s ground-floor windows at the
Dakota, and gone a little numb each time I pass the arched
entryway where John Lennon was shot. In this apartment, I
am a scant block from Duke Ellington’s haunts, and there’s
a street named after him too. Manhattan is a town full of
ghosts. Creative power—and powers—course through its
vertical canyons.
It was in Manhattan that I first began teaching the Artist’s
Way. Like all artists—like all of us if we listen—I
experience inspiration. I was “called” to teach and I
answered that call somewhat grudgingly. What about my
art? I wondered. I had not yet learned that we do tend to
practice what we preach, that in unblocking others I would
unblock myself, and that, like all artists, I would thrive more
easily with some companionship, with kindred souls making
kindred leaps of faith. Called to teach, I could not imagine
the good teaching would bring to me and, through me, to others.
In 1978 I began teaching artists how to “unblock” and
“get back on their feet” after a creative injury. I shared with
them the tools I had learned through my own creative
practice. I kept it all as easy and gentle as I could.
“Remember, there is a creative energy that wants to
express itself through you”; “Don’t judge the work or
yourself. You can sort it out later”; “Let God work through
you,” I told them.
My tools were simple and my students were few. Both
tools and number of students grew steadily and hugely for
the next ten years. At the beginning and, for the most part,
always, my students were chiefly blocked or injured artists
—painters, poets, potters, writers, filmmakers, actors, and
those who simply wished to be anything more creative in
their personal lives or in any of the arts. I kept things simple
because they really were. Creativity is like crabgrass—it
springs back with the simplest bit of care. I taught people
how to bring their creative spirit the simple nutrients and
nurturance they needed to keep it fed. People responded by
making books, films, paintings, photographs, and much,
much more. Word of mouth spread and my classes were easy to fill.
In the meanwhile, I kept making my own art. I wrote
plays. I wrote novels and movies. I did feature films, TV,
and short stories. I wrote poetry, then performance art. From
doing this work, I learned more creative tools, wrote more
teaching essays, and, at the urging of my friend Mark
Bryan, I got the essays assembled into teaching notes and
then into a proper book.
Mark and I stood elbow to elbow, printing and
assembling the simple book that I could send out to people
needing help. We mailed it in this form to perhaps a
thousand people, who in turn photocopied and passed it on
to their friends. We began to hear amazing stories of
recovery: painters painting, actors acting, directors directing,
and people with no declared art who began doing the art
form they had always wished to do. We heard tales of
sudden breakthroughs and slow awakenings.
Jeremy P Tarcher, the noted creativity and human
potential publisher, read an early draft of the work and
decided to publish it. Meanwhile, I divided the book into a
twelve-week course, each section dealing with some specific
issue. This simple book was the distillate of twelve years of
teaching and twenty years of making art in many forms. At
first I called it Healing the Artist Within. Finally, after much
thought, I decided to call it The Artist’s Way. It explained
and explored creativity as a spiritual issue. I began to
witness my own miracles.
I often traveled to teach, and at book signings and public
venues people began to hand me CDs, books, videos, and
letters conveying this thought: “I used your tools and made
this, thank you so much.” My most frequent compliment
was, “Your book changed my life,” and I heard it from
artists of little fame and great fame, in backwaters and on
the international frontlines. Using the tools, painters went
from being blocked to winning large, juried exhibitions.
Writers went from not writing to winning Emmy and
Grammy awards for their work. I found myself humbled by
the power of God, the Great Creator, to restore strength,
vitality, and inspiration to individual creative paths, diverse
and divergent. One woman, a blocked writer in her midfifties,
became an award-winning playwright. A longtime
sideman conceived and executed a bravura solo album.
Long-harbored dreams bloomed everywhere the Great
Creator turned a gardening hand. I received thank-yous that
properly belonged to God. I was a spiritual conduit for the
central spiritual fact that the Great Creator loved other artists
and actively helped those who opened themselves to their creativity.
Artist to artist, hand to hand, The Artist’s Way began to
spread. I heard about groups in the Panama jungle, in the
outback, and at that other heart of darkness, The New York
Times. Druid groups, Sufi groups, and Buddhist groups all
found common ground in its simple creative precepts. The
Artist’s Way reached the Internet, forming groups or, as I
call them, “clusters” that were like large melon patches
sending feeders and tendrils out to form now a group in
England, now in Germany, now a Swiss Jungian contingent.
Like life itself, The Artist’s Way, which began to be called a
“movement,” did indeed move onward tenaciously, and
even voraciously. Artists helping other artists proliferated.
Works of art blossomed and careers took off and steadied,
surrounded by supportive friends. I was a willing witness.
A hundred thousand people bought and used the book.
Then two hundred, then a million, then more. We heard of,
and occasionally helped initiate, The Artist’s Way’s use in
hospitals, prisons, universities, human-potential centers, and
often among therapists, doctors, AIDS groups, and battered
women’s programs, not to mention fine-arts studios,
theological programs, and music conservatories, and, of
course, always passed hand to hand, mouth to mouth, heart
to heart, artist to artist, as a form of first aid and gentle
resuscitation. Like a miraculous garden, The Artist’s Way
continued to grow, grow, and grow. It is still growing. Just
this morning I received in the mail a newly published book
and a thank-you. To date, The Artist’s Way appears in nearly
twenty languages and has been taught or recommended
everywhere from The New York Times to the Smithsonian,
from Esalen to elite music studios at Juilliard. Like AA,
Artist’s Way clusters have often gathered in church
basements and healing centers, as well as in a thatched hut
in Central America, and in a python-surrounded shack in
Australia. Did I mention that many therapists run facilitated
groups? They do. People “heal” because creativity is
healthy—and practicing it, they find their greater selves.
And we are all greater than we can conceive.
I wanted The Artist’s Way to be free and, like the twelvestep
movement, largely leaderless and self-taught, growing
through simplicity and lack of control, performing its
expansion through an easy-does-it series of natural, call it
seasonal, self-evolving checks and balances. “It will guard
and guide and fix itself from abuses,” ran my approach.
As we passed the million mark, I feared for the necessary
time and privacy to make my own art—without which
personal experience I could not continue to help others.
How could I write a teaching book if I had no fresh insights
as to what to teach? Inch by inch, I retreated to the solitude
of my personal creative laboratory—the still, quiet place
within myself where I could make art and learn from the
making of it. Every piece of art I made taught me what to
teach. Every year I worked taught me that creativity was
open-ended. There was no upper limit, although some
growth was slow. Faith was the required ingredient.
I began to write dispatches, short, pointed books aimed at
disarming the real and present dangers of trying to make a
sane and gentle creative life. I wrote The Right to Write,
Supplies, and other, more homely and gentle guides such as
The Artist’s Date Book, The Artist’s Way Morning Pages
Journal, and my prayer books aimed at creating a sense of
safety and well-being for those who tread the creative path
in this world. I wished for people good cheer and good
companions. Although art was a spiritual path, it could best
be trod with fellow pilgrims. People listened.
Meanwhile, Artist’s Way books were mandatory on
certain tour buses in the music scene, included as savvy set
decor on films, mailed off to and from grandmothers
blooming brightly in their sturdy dotage, and served as a
bridge for many successful artists to change creative habitats and genres.
As for myself, a novel, a short-story collection, and three
plays found firm footing amid my publishing seventeen
books and continuing, carefully, to both make art and teach.
My students won prizes, and so did I. Utne Reader chose
The Artist’s Way as a masterpiece, the poetry album I made
with Tim Wheater was selected for best original score, and
my teaching books continued to appear on bestseller and
editor’s choice lists throughout America and the world. Is it
any wonder I often felt dazed and confused, overwhelmed
by the velocity of people and events? It is one of the ironies
of a celebrated writer’s life that our natural inclination to sit
alone behind a desk becomes more and more difficult to
pursue. My own morning pages were an invaluable,
continuing source of guidance. I was told both to seek
solitude and to reach for the companionship of other artists
who believed, as I did, that we were always led both by the
Great Creator and by those who have gone before us,
treading their Artist’s Way and loving the same art forms we
do. Higher powers stand ready to help us if we ask. We
must remain ready to ask, open-minded enough to be led,
and willing to believe despite our bouts of disbelief.
Creativity is an act of faith, and we must be faithful to that
faith, willing to share it to help others, and to be helped in return.
Outside my window, out over the Hudson, a very large
bird is soaring. I have seen this bird for days now, sailing,
sailing on the fierce winds that are the slipstream around this
island. It is too large to be a hawk. It is not shaped like a
gull. The Hudson Valley is full of eagles, higher up. I
cannot believe this is one, but it seems to know exactly what
it is: eagle. It doesn’t tell its name. It wears it. Maybe, as
artists, we are such birds, mistaken by ourselves and others
for something else, riding the current of our dreams, hunting
in the canyons of commerce for something we have seen
from higher up. For artists, a wing and a prayer is routine
operating procedure. We must trust our process, look
beyond “results.”
Artists throughout the centuries have spoken of
“inspiration,” confiding that God spoke to them or angels
did. In our age, such notions of art as a spiritual experience
are seldom mentioned. And yet, the central experience of
creativity is mystical. Opening our souls to what must be
made, we meet our Maker.
Artists toil in cells all over Manhattan. We have a monk’s
devotion to our work—and, like monks, some of us will be
visited by visions and others will toil out our days knowing
glory only at a distance, kneeling in the chapel but never
receiving the visitation of a Tony, an Oscar, a National
Book Award. And yet the still, small voice may speak as
loud in us as in any.
So we pray. Fame will come to some. Honor will visit all
who work. As artists, we experience the fact that “God is in
the details.” Making our art, we make artful lives. Making
our art, we meet firsthand the hand of our Creator. 


IN ENDING THIS BOOK, I yearned for a final flourish,
some last fillip of the imagination that would sign the book.
This was a small and harmless conceit, I felt—until I
remembered the number of times I have enjoyed a painting
and been distracted by the outsized artistic signature of its
maker. So, no final flourishes here.
The truth is that this book should probably end with an
image from another book. As I recall it, and this may be my
imagination and not my memory at work, an early edition of
Thomas Merton’s Seven Story Mountain featured a
mountain on its book jacket—the seven-story mountain, no doubt.

Maybe it did and maybe it didn’t. I read the book many
years ago, a precocious twelve-year-old. What I conjure
now is a mountain of Himalayan proportions with a path
winding upward to its height. That path, a spiral path, is how
I think of the Artist’s Way. As we pursue climbing it, we
circle back on the same views, over and over, at slightly
different altitudes. “I’ve been here before,” we think, hitting
a spell of drought. And, in a sense, we have been. The road
is never straight. Growth is a spiral process, doubling back
on itself, reassessing and regrouping. As artists, our progress
is often dogged by rough terrain or storms. A fog may
obscure the distance we have covered or the progress we
have made toward our goal. While the occasional dazzling
vista may grace us, it is really best to proceed a step at a
time, focusing on the path beneath our feet as much as the
heights still before us.

The Artist’s Way is a spiritual journey, a pilgrimage home
to the self Like all great journeys it entails dangers of the
trail, some of which I have tried to enumerate in this book.
Like all pilgrims, those of us on the Artist’s Way will often
be graced by fellow travelers and invisible companions.
What I call my marching orders others may sense in
themselves as a still, small voice or, even more simply, a
hunch. The point is that you will hear something if you
listen for it. Keep your soul cocked for guidance.
I finally discovered the source of all movement, the unity from which all
diversities of movement are born.

Creation is only the projection into form of that which already exists.

A painting is never finished—it simply stops in interesting places.

When Mark Bryan began cornering me into writing this
book, he had just seen a Chinese film about Tibet called The
Horse Thief. It was an indelible film for him, a classic of the
Beijing school, a film we have since searched for in Chinese
video stores and film archives, to no avail. Mark told me
about the film’s central image: another mountain, a
prayerful journey up that mountain, on bended knee: step,
lie prostrate, stand and straighten, another step, lie prostrate
In the film, this journey was the reparation that a thief and
his wife had to make for damaging their society by
dishonoring themselves through thievery. I have wondered,
since then, if the mountain that I see when thinking of the
Artist’s Way isn’t another mountain best climbed in the
spirit of reparation—not to others, but to ourselves.

I wish I could take language
And fold it like cool, moist rags.
I would lay words on your forehead.
I would wrap words on your wrists.
“There, there,” my words would say—
Or something better.
I would ask them to murmur,
“Hush” and “Shh, shhh, it’s all right.”
I would ask them to hold you all night.
I wish I could take language
And daub and soothe and cool
Where fever blisters and burns,
Where fever turns yourself againstyou.
I wish I could take language
And heal the words that were the wounds
You have no namesfor.

The Artist’s Way- A Spiritual Path to Higher Creativity
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What does power mean to us?

Thich Nhat Hanh

Why are most people willing to do almost anything to get it?
Just with Paypal

Book Details
 322 p
 File Size 
 875 KB
 File Type
 PDF format
 2007 by Thich Nhat Hanh 

About the Author
THICH NHAT HANH has lived an extraordinary life in an
extraordinary time. Since the age of sixteen he has been a
Buddhist monk and a peace activist. During the war in
Vietnam, he worked tirelessly for reconciliation between
North and South Vietnam. His courageous efforts to
generate peace moved Martin Luther king Jr. to
nominate him for the Nobel Peace Prize in 1967. Forced
into exile because of his efforts to negotiate peace in
Vietnam, he continued his social activism, founding
universities and social service organizations in his
homeland and working to rescue boat people. Thich
Nhat Hanh is the author of many books including such
important classics as Peace is Every Step and Anger. He
lives in France. Visit the author online at

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information on your favorite HarperCollins author.

In January 2001, I was privileged to accompany Thich
Nhat Hanh and his longtime assistant, Sister Chan
Khong, to the World Economic Conference, held each
year in Davos, Switzerland. Thich Nhat Hanh had been
invited along with other prominent religious leaders
from around the planet to meet and discuss how
spiritual values could be used to help resolve global issues.

Before an estimated thirty heads of state, two
hundred of the world’s richest men and women, and a
few thousand of the most influential movers and
shakers alive, Thich Nhat Hanh spoke with love,
compassion, and total fearlessness. He was not there to
seek support or approval from the great and famous. He
was there hoping to awaken in them their best, to help
them change the world by touching their own true
selves. In a gathering dedicated to wealth, influence, and
power in all its fabulous manifestations, he spoke in a
soft and quiet voice. He asked nothing of them, only
reminding them to please always remember their
common humanity. On its Web site, the World
Economic Forum proudly displays the motto
“Committed to Improving the State of the World.” That
day, in Davos, Switzerland, Thich Nhat Hanh asked
everyone to adopt the motto “Committed to Improving
the State of Every Heart.”

Thich Nhat Hanh has spent his life speaking truth to
power and truth to the powerless. He is a determined
revolutionary—not one who asks us to mount the
ramparts in anger, but rather a revolutionary of the
human spirit, a revolutionary of understanding and of
love. Born in 1926, he grew up in Vietnam, one of the
most war-torn countries of the twentieth century. At
age sixteen he was ordained as a Buddhist monk. From
the beginning he was that rare person who could
undertake multiple vocations and excel at all of them.
Simultaneously he was a Buddhist monk, scholar, poet,
writer, reformer, and social activist. And he did all of
this as a young man in a time and place of immeasurable
turmoil and suffering. He lived through the invasion of
his homeland by the Japanese in 1941, the return of the
French at the end of the Second World War, the guerilla
war that followed and became what is known in
Vietnam as the American war and in the United States
as the Vietnam War. As a reformer and activist, he
helped found many groundbreaking institutions,
including the An Quang Buddhist Institute, which
became one of the foremost centers of Buddhist studies
in South Vietnam, and the La Boi Press, which
established itself as one of the country’s most
prestigious publishing houses. He was also a founder of
the School of Youth for Social Service, called “the little
Peace Corps” by the American press. During the worst
years of the war, he and his assistant, Sister Chan
Khong, risked their lives along with thousands of other
young people, including many Buddhist monks and
nuns, by going into the countryside to establish schools
and health clinics and to rebuild villages destroyed by
the fighting. During this time he was also editor-in-chief
of the official publication of the Unified Buddhist
Church and the author of numerous books of poetry,
Buddhist psychology, and social commentary. In 1966
he traveled to the United States to call for peace. During
this trip he spoke to the American public to “describe
the aspirations and the agony of the voiceless masses of
the Vietnamese people.” He also met with many
important figures in America, including Dr. Martin
Luther King Jr., who nominated him for the 1967 Nobel
Peace Prize. In 1969 he led the Buddhist Peace
Delegation to the Paris Peace Talks, organized to
negotiate an end to the war in Vietnam. In 1973, because
of his peace work, he was denied permission to return
home. But being exiled did not deter him. Over the past
forty years of living in the West, he has established
himself as one of the most influential and respected
spiritual leaders in the world. He has continued his
social activism through the support of over one hundred
schools and programs of village improvement in his
homeland. He has also continued to be involved with
peace and social justice movements around the world,
speaking out on issues from AIDS to the Iraq War.
With more than one hundred books in print in over
thirty languages and a year-round teaching schedule, his
impact continues to grow worldwide. From his
hermitage at Plum Village in southwestern France, he
guides numerous communities of monks, nuns, and
laypersons on five continents. In 2005 he was able to
return to his homeland for the first time in thirty-nine years.

In his new work, The Art of Power, Thich Nhat Hanh
approaches the subject of power from a radically
different direction than most philosophers and thinkers
in the Western tradition. Beginning about 2,500 years
ago in classical Greece, the topic of power and the
appropriate use or abuse of power has been a central
subject of debate in Western civilization. For millennia,
inquiries into the subject of power have focused
primarily on the state’s monopoly on violence, its
proper legal use, and the legitimacy and behavior of
those who control it. Over the centuries, innumerable
books have been written on the techniques of power,
how to gain power, how to use power, and how to hold
on to power.

In these pages, however, Thich Nhat Hanh begins his
inquiry into power at its very base, its most organic
level. He begins with volition, our deepest intention. He
explains to us that the ability to attain any goal is
absolutely contingent on the condition and quality of
our mind. That a wholesome intention combined with a
lucid mind is the prerequisite for genuine power. He
reminds us of the obvious fact, so long forgotten, that
anyone with a clear and caring mind is inherently
powerful, no matter how little power she appears to
possess. He makes crystal clear that everyone, without
exception, at their core being has the deepest intention
of love and goodness, and he asks, advises, exhorts, and
inspires all of us to return to that primal source.
He knows all too well, having personally witnessed
war and its immeasurable suffering, people’s awful
propensity to be corrupted by power. Like the prophet
Levi, who came out of the desert to confront King
Solomon, he reminds us that all power, especially great
power, has within it the seeds of its own destruction.

And that all the power you possess, no matter how
great, is useless if it does not bring you joy and does not
bring peace and happiness to those you love. He asks
us how we can make the claim to be powerful when we
are not free from the oppression of our anger or the
scourge of our fear. He challenges us to realize that
genuine power comes only with a clear mind and a calm
heart, and that when we are not in control of our own
thoughts we are actually quite powerless, nothing more
than slaves to our fears, emotions, and craving. When
this happens, it is not we who possess power; it is
power that possesses us. He states boldly that every
person is born with the capacity to be free of fear,
delusion, and tyranny, whether external or, just as
important, internal. To him both the tyranny of the
state and the tyranny of our own mental anguish and its
terrible effects are surmountable. He tells us that the
surest way to deal with the age-old problem of the
corrosive nature of state power is to create a society of
insightful and healthy minds, a citizenry that is strong,
happy, and free—especially free from the fear of not
having power and the fear of losing power. In this book,

Thich Nhat Hanh, as he begins his ninth decade, shows
us the way out of the crippling paradox of corrupt
power and powerlessness and points us in the direction
of authentic power. He continues to walk his talk and to
tell us, “I have done it, you can do it, and my friends,
we can all do it.” He asks us to have the courage to
begin with ourselves as we express our compassion and
determination to heal the world.
—Pritam Singh

Table of Contents

1 True Power
2 Handling Power Skillfully
3 The Art of Mindfulness
4 Getting What We Really Want
5 The Secret of Happiness
6 Boundless Love
7 Being Present at Home and at Work
8 Taking Care of Nonbusiness
9 Sparking a Collective Awakening
Appendix A: Meditations to Cultivate Power
Appendix B: Work and Pleasure: The Example of Patagonia

About the Author
About the Publisher

The Art of Power
* During the Buddha’ s time, monastics wore yellow robes and
laypersons wore white robes when practicing with the monastics.

Creating Masterful Tattoo Art from Start to Finish

Fip Buchanan

with photography by Marc Balanky
Purchase Now !
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Book Details
 233 p
 File Size 
 12,058 KB
 File Type
 PDF format
 2013 by Fip Buchanan 
This e-book edition: March 2014 (v.1.0)

About the Author
Fip Buchanan has been a tattoo artist for thirty-two
years, including management and ownership of tattoo
studios from New York to California. Among others, he
was the owner of Avalon Tattoo in San Diego from 1989
to 1997; worked at Ed Hardy’s Tattoo City in San
Francisco from 2005 to 2008; and has written and taught
the class “Large Scale Tattoo Layout and Composition”
at the Alliance of Professional Tattooists Tattoo trade
show and various conventions for the past two years. He
was elected Vice President of the Alliance of
Professional Tattooists in 2011; is a Bloodborne
Pathogens Certified instructor who teaches classes to
tattoo artists worldwide, most recently in Beijing, China
in 2011; and he currently owns Avalon Tattoo II in San
Diego, California, which he established in 1997.
Fip also does illustrations, skateboard designs, T-shirt
designs, acrylic paintings and murals. He is a graduate of
the Art Institute of Pittsburgh, and his work has been
exhibited in galleries as well as published in the books
Forever Yes and Southern California Tattoo Road Trip,
and the magazines Tattoo, Skin and Ink, Prick Tattoo
and San Diego’s 944. Fip has specialized in large-scale
Japanese-inspired tattoos for the majority of his career
and is well known for his bold, colorful work.

I began tattooing in 1979 and it became my career in the
fall of 1984, right after I graduated from the Art Institute
of Pittsburgh. I have drawn all my life and was inspired
by my mother in that direction at a very early age. I do
remember asking my mother what a tattoo was as a child
and she responded “Don’t ever get one of those, you’ll
get blood poisoning!” Well, I’ve gotten way more than
one of “those” and still don’t have blood poisoning!
Fortunately the health aspects of tattooing have much
improved through the passage of time, and those risks
are way less than they were in days gone by. Now most
health departments require that tattoo artists get
blood-borne pathogen training, along with having strict
guidelines about sterilization and sanitation that every
tattoo shop has to follow.

Tattooing has evolved a great deal since I’ve been
involved with it. There are so many styles and trends that
have come and gone, and some of the better ones have
stayed. The language of tattoo design has expanded
tremendously, which is one of many reasons why
tattooing has become so popular. In the good old days of
tattooing, the imagery was very limited. A lot of those
standard designs, and the style they were tattooed in, is
now referred to as American Traditional. Even when I
first began tattooing in 1979, eagles, skulls, anchors,
cartoon characters, weren’t part of a specific genre. They
were just tattoos. Now there is American Traditional,
Tribal, Black and Gray, Celtic, New School, Realistic,
Biomechanical, Japanese, and who knows what else.

With the expanded design options, more people can
relate to tattooing, and find, or create, a design that
resonates with them. Therefore the demographic of
tattooing has expanded. With unlimited design choices,
the tattoo clientele has also become unlimited. Gone are
the days of pointing at a design on the wall and saying,
“I’ll take that one!” Custom tattooing is now the norm.
Anything and everything can be adapted as tattoo
imagery. But whatever it is, there are certain principles
that always apply. Doing artwork as a tattoo on a human
body is different than working in any other medium.
There is no defined border to your “canvas” per se. And
the surface you’re working on varies inch by inch as far
as contour, and even texture. It’s very important to
consider the placement of the tattoo, the flow of the art
with the body, even the colors and how they’ll look on
the skin you’re working with. How will age affect the
look of the tattoo? How detailed should the design be? Is
the person in the sun often? There’s a lot to consider
when applying art to skin.

In this book, I hope to help you learn to create masterful
tattoo-oriented designs with the knowledge I’ve gained
with thirty plus years of tattooing. I won’t be going into
how to actually apply a tattoo. That is way too involved
a process to cover in any book. To properly learn to
apply tattoos, you would need to seek an apprenticeship
with a qualified tattoo artist who is willing to spend the
time needed to train you. My goal with this book is to
help you to better understand the art of tattoo and how to
apply the principles of tattoo design to creating your own
unique tattoo art, and enjoy doing so. Have fun with
it—I do every day!

Table of Contents
Special Offer
What You’ll Need

The Consultation
Meeting the Client
Sketching and Placement
Keys to a Good Composition
Adding Interest
Location Matters
Overcoming Common Obstacles

From Sketch to Tattoo
Planning Your Composition
From Sketch to Tattoo
Adding Interest to the Composition
Black and Gray Tattoos
Unifying Design Elements
Adding to Existing Tattoos
Iconic Images
Asian Style Tattoos

Tattoo Style Art
Transfer Designs
Angel Wings

Artists’ Gallery
Chris Walkin
Craig Driscoll
Jen Lee
Juan Puente
Kahlil Rintye
Shawn Barber
Mary Joy Scott
Robert Atkinson
Shawn Warcot
Fip Buchanan
About the Author

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