American screenwriter and novelist (1943-)
Steven Pressfield (born September 1943) is an American author of historical fiction and non-fiction, and screenplays.
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"Self-doubt can be an ally. This is because it serves as an indicator of aspiration. It reflects love, love of something we dream of doing, and desire, desire to do it. If you find yourself asking yourself (and your friends), "Am I really a writer? Am I really an artist?" chances are you are. The counterfeit innovator is wildly self-confident. The real one is scared to death."
"Similarly the call to growth can be conceptualized as personal (a daimon or genius, an angel or a muse) or as impersonal, like the tides or the transiting of Venus. Either way works, as long as we're comfortable with it. Or if extra-dimensionality doesn't sit well with you in any form, think of it as "talent," programmed into our genes by evolution. The point, for the thesis I'm seeking to put forward, is that there are forces we can call our allies. As Resistance works to keep us from becoming who we were born to be, equal and opposite powers are counterpoised against it. These are our allies and angels."
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The hero’s journey can take place on a battlefield or in a cubicle. We can live it out amid public clamor or in the soundless vault between our ears. The demons we are dueling are always the same. They are our own fears of becoming who we are. No one who has ever lived — or ever will — has a journey like ours. And yet our journey is universal. It is every woman’s and every man’s.
We fear discovering that we are more than we think we are. More than our parents/children/teachers think we are. We fear that we actually possess the talent that our still, small voice tells us. That we actually have the guts, the perseverance, the capacity. We fear that we truly can steer our ship, plant our flag, reach our Promised Land. We fear this because, if it’s true, then we become estranged from all we know. We pass through a membrane. We become monsters and monstrous.
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When we're living as amateurs, we're running away from our calling — meaning our work, our destiny, the obligation to become our truest and highest selves. Addiction becomes a surrogate for our calling. We enact the addiction instead of embracing the calling. Why? Because to follow a calling requires work. It's hard. It hurts. It demands entering the pain-zone of effort, risk, and exposure.
"This, I realized now watching Dienekes rally and tend to his men, was the role of the officer: to prevent those under this command, at all stages of battle — before, during and after — from becoming "possessed." To fire their valor when it flagged and rein in their fury when it threatened to take them out of hand. That was Dienekes' job. That was why he wore the transverse-crested helmet of an officer. His was not, I could see now, the heroism of an Achilles. He was not a superman who waded invulnerably into the slaughter, single-handedly slaying the foe by myriads. He was just a man doing a job. A job whose primary attribute was self-restraint and self-composure, not for his own sake, but for those whom he led by his example."
The creative act is primitive. Its principles are of birth and genesis. Babies are born in blood and chaos; stars and galaxies come into being amid the release of massive primordial cataclysms. Conception occurs at the primal level. I’m not being facetious when I stress, throughout this book, that it is better to be primitive than to be sophisticated, and better to be stupid than to be smart. The most highly cultured mother gives birth sweating and dislocated and cursing like a sailor. That’s the place we inhabit as artists and innovators. It’s the place we must become comfortable with. The hospital room may be spotless and sterile, but birth itself will always take place amid chaos, pain, and blood.