Creative Steps

On the Creative Steps programme we speak about the importance of ‘framing’. When we talk about framing we are speaking about using contexts and perspectives so that we can assign different meanings to certain events in our lives – so we can see them through ‘a different frame.’

We do this because the meaning we automatically assign to an event might not support our creative intentions. In cases like this it can be useful to change the frame so that we better serve ourselves.

Framing is a popular technique used by NLP practitioners and creativity coaches.

Viktor Frankl was a hugely influential psychiatrist who led what became known as The Third Viennese School of Psychotherapy. He survived three grim years at Auschwitz and other Nazi prisons only to gain freedom and learn that almost his entire family had been wiped out.

Frankl’s school of Psychotherapy made use of the technique of framing. In his own words, [his approach] “makes the concept of man into a whole…and focuses its attention upon mankind’s groping for a higher meaning in life.”

His ability to positively influence a person’s frame helped countless patients and his writing continues to help people today.

It is worth pondering how our creative lives would be improved if we could live as ‘activists’.

“The pessimist resembles a man who observes with fear and sadness that his wall calendar, from which he daily tears a sheet, grows thinner with each passing day. On the other hand, the person who attacks the problems of life actively [the activist] is like a man who removes each successive leaf from his calendar and files it neatly and carefully away with its predecessors, after first having jotted down a few diary notes on the back. He can reflect with pride and joy on all the richness set down in these notes, on all the life he has already lived to the full. What will it matter to him if he notices that he is growing old? Has he any reason to envy the young people whom he sees or wax nostalgic over his own lost youth? What reasons has he to envy a young person? For the possibilities that a young person has, the future that is in store for him? ‘No, thank you,’ he will think. ‘Instead of possibilities, I have realities in my past, not only the reality of work done and of love loved, but of suffering suffered.”

Viktor Frankl: Man’s Search for Meaning

It is good to remind ourselves that our work captures a moment in time, a record of our journey. It is worth remembering that our work, in itself, isn’t the destination on our journey.

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Simply put, your creative allies are people who want to see you become more yourself; they want to  help you on your path towards increasing creativity. These are people who recognise, acknowledge and safeguard the potential within you. A rare breed in many ways; their message is simply ‘you are unique and valuable and you have something unique to contribute’. True allies create a context in which you can behave as you’d wish and therefore go on to develop your own abilities and grow and flourish.

Ezra Pound as Creative Ally to T.S. Eliot

In the early part of the last century T.S. Eliot was an unknown poet and author. He had written some poems, most of which were simply lying unread in a drawer like so many unfinished creative manuscripts. Then he met Ezra Pound.

Click here to learn about the weight of unfinished creative plans.

In 1915 Ezra Pound was acting as overseas editor of Poetry magazine; he recommended to Harriet Monroe, the magazine’s founder, that she publish “The Love Song of J. Alfred Prufrock“.

It was clear to Pound that Eliot had talent. Indeed, he was so convinced that Eliot was already a great poet that he refused to let Monroe liaise directly with Eliot unless she ‘insulted’ him by suggesting alterations to his work.

Ezra Pound’s belief in Eliot’s quality was cemented in 1921 when Eliot left the manuscript of The Waste Land with him; he read it and immediately considered it to be a masterpiece.

At this time Eliot was working as a clerk in Lloyd’s Bank of London and the quantity of his creative output had reduced as he was unable to dedicate sufficient time to his writing. Pound recognised this waste and decided to ‘free’ him by attempting to establish a subscription plan called ‘Bel Espirit’, in which up to thirty people would each donate fifty dollars to help support Eliot. Pound himself gave money, as did Hemmingway and Aldington and others.

Despite Pound’s endeavours he was unable to find enough subscribers to allow Eliot to quit his job and dedicate himself to poetry. However, the publicity may have helped raise Eliot’s profile and, indeed, in 1922 Eliot was awarded the $2,000 Dial prize.

All or Nothing Thinking

Eliot did not leave employment to dedicate himself wholly to poetry, but he did continue to write. In 1925, he left Lloyds to join the publishing firm Faber and Gwyer (later Faber and Faber) where he remained for the rest of his career, eventually becoming a director.

Eliot avoided the common ‘all or nothing thinking’ trap by framing success as a poet in his own way:

“My reputation in London is built upon one small volume of verse, and is kept up by printing two or three more poems in a year. The only thing that matters is that these should be perfect in their kind, so that each should be an event.”

(Eliot, T. S. “Letter to J. H. Woods, April 21 1919.” The Letters of T. S. Eliot, vol. I. Valerie Eliot, ed. New York: Harcourt Brace, 1988, p. 285.)

Your Creative Allies

On your creative journey you will meet various types of travelling companion, some of them are allies and some of them turn out to be destructive to your creativity, the most subversive of these negative characters are the shadows and the most destructive are the shape-shifters.

Recognising the allies and guides, shape shifters and shadows can be difficult, but they define your journey. Are you aware of how the people in your life are shaping your creative destiny?

Learn more about how to recognise these people and how to interact with them to help your progress your own creative journey.

Sign up for the Information-Packed, Multi-Media, Online Creativity Coaching Course

Further Instances of Pound as Creative Ally

Pound was a tireless ally to many of the creative heavyweights of his day. When W.B. Yeats introduced Ezra Pound to the early writing of James Joyce, Pound became arranged for The Egoist to print A Portrait of the Artist, both serially and in book form.

Later when Joyce was writing Ulysses, Pound attempted to give the young artist more time to dedicate to his work by sending him money and clothing at his own expense (and anonymously) and also persuading other patrons of the arts to do the same. For instance, at Pound’s persuasion, Yates successfully lobbied the Royal Literary Fund for substantial grant. Pound also got the Society of Authors to send Joyce a bursary covering at least three months of expenses.

Your Creative Allies

You may think it was easy for Ezra Pound to see that Eliot was ‘unique and valuable’ and ‘had something unique to contribute’, after all he is one of the greats, but would you be able to recognise world class?

Rather than worry or wonder who your creative allies are, why not try and be an ally to someone else? Are you able to ‘recognise, acknowledge and safeguard the potential’ within someone else? Could you be a creative coach to somebody?

It seems to me that seeing the potential in others enables you to acknowledge the potential within yourself, too.

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We are all looking for ways to silence the inner critic. Some of us never manage this and we abandon our creative journeys far too soon, committing ourselves to an almost certain future of drudgery, boredom and dissatisfaction.

Whether you are an amateur attempting to cross a creative project off your life list, a more seasoned artist, writer or musician faced with a creative block, or a creative entrepreneur attempting to bring your ideas to life, if you evaluate your ideas and creative output too early you might be prevented from finishing at all.

Allen Ginsberg, who often seems to act as the creative spokesmen for a generation of beat artists, advocated continuous ’stream of consciousness’ writing as a way to silence the critic:

“The parts that embarrass you the most are usually the most interesting poetically, are usually the most naked of all, the rawest, the goofiest, the strangest and most eccentric and at the same time, the most representative, most universal…That was something I learned from Kerouac, which was spontaneous writing could be embarrassing…The cure for that is to write things down which you know will not be published and you won’t show people. To write secretly….so you can actually be free to say anything you want…

It means abandoning being a poet, abandoning your careerism, abandoning even the idea of writing poetry, really abandoning, giving up as hopeless, – abandoning the possibility of really expressing yourself to the nations of the world. Abandoning the  idea of being a prophet with honour and dignity, and abandoning the glory of poetry and just settling down in the muck of your own mind…You really have to make a resolution just to write for yourself, but just writing what your self is saying.”

In her book The Artists Way, Julia Cameron recommends a practice of writing three (A4) pages of longhand stream of consciousness writing each morning before doing anything else. This writing is not intended to be creative output; it is not profound, or artistic or even coherent. It is probably just nonsense, but it gives you the opportunity to clear all the internal dialogue that is silencing the real you.

As Julia Cameron says, “It is impossible to write morning pages for any extended period of time without coming into contact with an unexpected inner power… the pages are a pathway to a strong sense of self. They are a trail we follow into our own interior…“

In the online creativity coaching course, Creative Steps, How to Coach yourself to Increasing Creativity, I encourage you to engage in daily, ’stream of consciousness’ writing – it is a great a way to silence the inner critic and has worked for countless creative people struggling to overcome creative block.

Is your inner critic dominating you?

Recently the course has been free in return for feedback.  This has not only given me the chance to refine the training course and evaluate what is working and what is not, but also I have got to work with interesting people from around the world, including an Australian musician, two American painters, an Indian entrepreneur and a number of other creative people from the UK.  This has been a stimulating and rewarding experience for me and for this reason I am extending the offer:

In return for feedback on the site you get free access to the site and 5 free, 45 minute coaching coaching sessions.

Contact me if this is of interest and I will forward a coaching intake pack that give more details of this service. I am particularly interested in hearing from writers or creative entrepreneurs who are looking to take their work to the next level.

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I received a response to my recent post What would you choose, money or Creative fulfillment? It simply read: ‘Other variant is possible also.’

Although this looks like a spam post to me, it is a valid point and has some lessons for coaching, especially if we are looking to coach ourselves to increasing creativity.

The question, as I posed it in the post, is a classic example of a bogus dilemma; that is a logical fallacy in which the range of choices is much greater than we are making out and we indulge in the drama of dilemma when none really exists. For example;

“You could be an actor or get yourself a real job and be happy.”

“If you are not the best you are just another wannabe.”

“Art is for the lazy.”

This type of thinking is discussed in Module 5 of the multimedia training course Creative Steps; How to coach yourself to increasing creativity. In the course we call it All or Nothing Thinking.

All or Nothing Thinking is a classic creative block and a major barrier to fulfilling our creative potential. It:

• Obscures choices
• Focuses our attention on the ultimate output and takes away our enthusiasm for practice.
• Overlooks the fact that a first draft may not be great but it might be the seed of something great.
• Makes the achievements of others appear overwhelming.
• Overlooks the vagaries of taste and opinion.

If your aim is to coach yourself to increasing creativity then you need to learn how to avoid All or Nothing Thinking. Here are some tips:

1) Be alert to all-or-nothing words like ‘always’, ‘never’, ‘everything’, and ‘nothing’, ‘either’, ‘or’.

2) When you hear yourself say these words (or when they are said to you) check to examine if more choices are available to you.

3) Try re-adjusting all or nothing phrases to more realistic words like ‘often’, ‘for now’ or ‘this time’.

For example:

“I’ll have to give up work or I’ll never finish writing my novel” can be adjusted to “I need to find a little more time somehow.”

4) Practice finding the middle ground. List all the options available to you outside of the dilemma presented. How can you find more time? How can you get some feedback on a recording

5) Think of more than one perspective on the issue. What would others think? What would a wise friend, a tutor or a guardian angel say about the issue?

An example:

For example: You might think, “I’m never going to be any good – I might as well give up.”

A wise friend might say, “Do you enjoy the doing?”

A guardian angel might that many people who were ultimately successful had failures at the beginning, too”.

Most important is to be alert to when you are being influenced by all or nothing thinking and know that there are often a myriad of choices available.

I’m going to sell my house and put all the equity on ‘red’, if I loose I can really start to suffer and then I can write my symphony, but if I win I’ll rid myself of worry and knuckle-down and write that symphony.

A Final Thought: If the post was random spam it shows that how ‘random association’ exercises can add sparks to dry tinder and get the ball rolling. Of course, this is a good example of a mixed metaphor……more on that in the members area, too.

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Take a look at this video from the TED conference.

Elizabeth Gilbert (author of Eat, Pray, Love) talks about some of the challenges of the creative life.

She suggests that instead of regarding an exceptionally creative individual as “being” a genius we should adopt a ’safer psychological construct’ and say that these people “have” a genius.

She suggests that each of us has a genius.

Is this really a radical idea?

In my opinion she appears to be using the same ’safe psychological construct’ as Julia Cameron did in The Artists Way (or books like ‘The Secret’, seem to do) – that is a re-framing at the spiritual dimension – that logical level above self.

What do you think of this approach? Could it work for you?

Tags: case studies, NLP
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Our lives are defined by our successes and failures,

but our energy is diminished by the weight of unfinished plans

It was Henry James that noted there was nothing as fatiguing as the hanging on of an uncompleted task. He knew the potential consequences of not achieving goals; the negative impact of our personal goals turning into interminable projects. For example, the proverbial unfinished manuscript, the type of which that surely sits in the drawer of countless writers, artists, intellectuals and other creative people.

Of course, there is nothing wrong in failing to achieve the results for which we are hoping – but beware! Our unfinished plans have weight and this accumulates over time to act like a millstone.

They say that nothing succeeds like success, and surely the corollary of this that nothing diminishes our energies like the disappointment of a de-railed plan and an unfulfilled goal.

But it is more than a simple accumulated loss of momentum that can destroy your creative dreams. Consider the consistent, unrelenting absorption in the lingering creative project that can occupy private thoughts for decades. The internal focus that this brings reduces our abilities to be present and our own internal critic chastises us for the exorbitant waste of time and effort.

In our denial we become embittered as we see people, perhaps less talented, receive the plaudits or lead the life that we had planned for ourselves. Rather than engaging and deriving pleasure from our creativity it becomes a burden and we become taunted by our inability to produce the quantity and quality of creative work that we easily imagine. No amount of positive thinking can overcome the reality of seeing your creative dreams unfulfilled.

Spend time with the elderly and their advice will generally be the same: the regrets of the things they don’t do weigh heavier than any regrets caused by doing.

But we are fooled. Obituaries are filled with stories of successes and achievements, but they never list the longed for things that remained unfulfilled – and we could perhaps learn most about our subject by knowing this.

“Twenty years from now you will be more disappointed by the things you didn’t do than the ones you did do. So throw off the bowlines. Sail away from safe harbor. Catch the trade winds in your sails. Explore. Dream. Discover.”

Mark Twain

Despite all the evidence, we are deluded into believing that we have time. This leads us to believe that the manuscript can wait, but time passes. Perhaps when twenty years have passed and we are able to see that our creative dreams have not substantially progressed we will then know the weight of the uncompleted task. With luck it will not then be too late.

For some thoughts on achieving goals click here.

Tags: Creativity Coaching, Goals, Increasing Creativity
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Conventional Wisdom produces a tyranny of what is accepted over what is true. This can be seen in all areas of knowledge, including creativity coaching.

Within a very large range of ideas, we are able to believe what we please. We are able to hold whatever world view that best fits our tastes. This can lead to a tyranny of ‘what is acceptable’ over what is relevant or useful. Perhaps to call it a tyranny is a little strong, but there is certainly a danger associated with ideas constrained by the boundaries of conventional wisdom.

An audience of any kind is likely to applaud most what they like best.

Even the internet is constrained by conventional wisdom. To a certain degree Google defines the ‘markets’ so ideas tend to be organised around Google’s definitions and conventions. In this way, obscurity is guaranteed to people that do not adhere to theses norms; if you want to be found by people interested in your topic then you must use the keywords that these people are using in their searches with the result that even the most original thinker can soon just be ‘giving them what they want.’ Passion for a subject is soon replaced with finding out what people and offering them more of the same.

It happens in politics too. To Fly a Kite means to raise an idea to gauge the reaction to it. Depending on the reaction, the idea may be implemented (if the reaction was positive) or disowned and denied (if negative).

The test of audience approval influences content much more than the test of truth or utility.

Ideas come to be organised around what the audience as a whole finds ‘acceptable’ and the skill of the internet marketer or political svengali is to identify and reproduce what is acceptable.  Never is this more true than in the case of the speaker that opens his address by stating his intention of telling the hard, shocking truth; inevitably these speeches go on to expound want the audience most wants to hear.

It pays to be on the guard for conventional wisdom; it pays to keep looking for what is right and what gets results and not just resonates with what we want to hear.

What is the conventional wisdom in the field of creativity coaching? Here is one way of looking at it: whatever sounds ‘acceptable’ but doesn’t get you results.

Remember this: performance improvement should always be about results. Selling information is often about peddling conventional wisdom.

Know this: www.creative-steps.com, How to coach yourself to increasing creativity is about performance improvement.  Take a look at my guarantee.

About a year ago a client and I parted company because she wanted to spend more time nurturing her creative child. This is a shame, especially as I am a firm believer in the conventional wisdom of ‘refilling the well’ (as Julia Cameron calls it).

We really do need to nurture our creative selves; we need time and space and inspiration for growth. But we need other things too. We need to do the work now and again and any coaching that tells you differently is not doing you any favours. I was calling my client to account. I guarantee results and don’t like time wasters.

This client subsequently re-contacted me and we again started worked together. After a period of self-nurture she realised that she was no closer to her goal. Being commended by her support group did not bring her the same satisfaction as actually completing her exhibition. When she was ready she got down to the work.

In any field success is most likely to be driven by doing the work: accountability and follow up are universally useful. You must nurture your creative child but you must also remember that your creative child needs to get off its creative arse now and again.

“Great things are not accomplished by those who yield to trends and fads and popular opinion.” Jack Kerouac

Tags: Coach Yourself, Creativity Coaching
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I was having dinner with a friend who had worked on Leonard Cohen’ s 2009 UK tour. She told me something that may or may not be true but is a provocative story that can help with creativity coaching…

But first a question; have you ever wanted to pursue a creative dream but didn’t because you believed you could not afford to?

If you had the choice, what would you choose? Money or creative fulfilment?

Financial worries are a common creative block. Is this something that hinders your creative work?

Consider that question as you peruse this story…

Leonard Cohen was famously ripped off by his ex-manager Kelley Lynch, who not only misappropriated over US $5million from Cohen’s retirement fund but also sold the publishing rights to his music.

A certain Simon Cowell bought the rights to this body of work and fed arguably Cohen’s most popular song, Hallelujah, to a hungry public via his X-Factor TV Show.

In some quarters there was uproar. How could Cowell ruin such a classic by making it Saturday night muzac?

“I hate ‘Hallelujah’ now. It’s mawkish, mewling, so earnest it’d make Halfwit cringe and, worst of all, it’s too damn religious. It makes me want to vomit up my own kidneys so I can ram them down the throat of anyone singing it.”

“Perhaps Cowell actually thinks the song is about him. After all, a key line is “you don’t really care for music, do ya?””

Others thought Cowell was bringing good music to popular attention; noting that Jeff Buckley’s version and the original were also charting.

But I doubt Simon Cowell paid much attention to this debate. Why should he? He owned the rights to all three versions!

My friend told me that Cowell was making £250,000 per day from the three tracks during the period that they all charted. Leonard Cohen was making some money, but nowhere near as much.

So what did the great man think about that? I asked her.

She said, ‘you know Leonard!’ (I don’t) ‘He was resigned and relaxed about it…’

Was he really I wondered? When asked about having his fortune stolen by his manager the Zen Buddhist, Cohen, was quoted as saying: “You know, God gave me a strong inner core, so I wasn’t shattered. But I was deeply concerned.”

So who would you rather be Cowell or Cohen?

Money or creative talent: what would you do if the choice was yours?

If we imagine looking back on our lives then many of us would want to be remembered as great people. Living forward (as we have to) most of us want to be comfortable. How do we get both? When is enough enough? What is the thing we want to be remembered for?

Some interesting themes for coaching and, as always, there are no right answers. Coaching is an ongoing enquiry; it is about getting more of what you want.

What did Leonard Cohen really want – money or creative fulfilment?

In an interview in The Guardian Newspaper, Cohen was asked if he had been fearful of starting a career in the music industry, especially at the relatively old age of 33 (he had previous made his living as a writer).

It may surprise you that, like Paul McCartney, Cohen did it for the cash!

Leonard Cohen: “I’ve been generally fearful about everything, so this just fits in with the general sense of anxiety that I always experienced in my early life. When you say I had a career as a writer or a poet, that hardly begins to describe the modesty of the enterprise in Canada at that time – an edition of 200 was considered a bestseller in poems. At a certain point I realised that I’m going to have to buckle down and make a living. I’d written a couple of novels, and they’d been well received, but they’d sold about 3,000 copies. So I really had to do something, and the other thing I knew how to do was play guitar. So I was on my way down to Nashville – I thought maybe I could get a job. I love country music, maybe I’d get a job playing guitar. When I hit New York, I bumped into what later was called the folk-song renaissance. There were people like Dylan and Judy Collins and Joan Baez. And I hadn’t heard their work. So that touched me very much. I’d always been writing little songs myself, too, but I never thought there was any marketplace for them.”

The interviewer then commented: “Some people would think it’s ironic to go into music to make money, given that it’s not necessarily the most lucrative of professions for most artists.”

Leonard Cohen: “Yeah, I know. In hindsight it seems to be the height of folly. You had to resolve your economic crisis by becoming a folk singer. And I had not much of a voice. I didn’t play that great guitar either. I don’t know how these things happen in life – luck has so much to do with success and failure.”

I am still not sure if Simon Cowell did make that much money from Hallelujah and there are lots of conflicting stories online, but I did find this from England’s Daily Mail which supports her claim. If anyone knows anymore, post a reply; I’d love to learn more.

Tags: case studies, Creativity Coaching
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The Washington Post arranged for Joshua Bell, one of the world’s finest classical musicians, to busk incognito in a metro station.  They wanted to know if the average commuter would spot musical ‘greatness’ if they saw it unannounced. They called it an “experiment in context, perception and priorities.” What do you think happened?

Would you know world class if you saw it?

For 43 minutes, the internationally acclaimed virtuoso performed six classical pieces, “some of the most elegant music ever written on one of the most valuable violins ever made.”

1,097 people passed by, few stopped to appreciate the music and 27 people gave a total of $32.

What does this tell us? On this occasion, in a ‘banal setting at an inconvenient time’ beauty did not transcend. It seems that context is important.

We would perhaps like to think that we would know world class if we saw it, but the truth is that without a context great work can be hard to appreciate.

We see this is other walks of life too: art treasures can be lost in attics; in many fields the greats are only discovered years after their deaths; different stores retail the same product at vastly different prices.

For aspiring creatives this holds a lesson; it can be hard to appreciate the quality of our own work as we tend to see it in a particular ‘personal’ context. Familiarity can allow us to overlook the quality of our work and, conversely, out intentions can cause us to underestimate its flaws.

This story also instructs us not to believe the feedback we receive. Joshua Bell was used to reverential audiences but was ignored in the subway. His work was the same in both situations; it was the context that was different.

Pay Attention

The context on this occasion was the daily commute. People do not expect to see a world class musician performing as a busker and so they tended to overlook it when it actually happened. The other point is that their minds were probably elsewhere; already in work, or perhaps still in bed, or on some other daydream.

If we are able to miss something of this quality then what else do we miss?

Without the ability to pay attention we can miss so much that the world has to offer. And if we are in the business of creating art we might benefit from noticing what is going on around us.

The daily commute can train us to focus inward, but it doesn’t have to be that way. Every time a child walked past he or she tried to stop and watch (and the parent hurried the child along). Is this because the children are more open to having new experiences?

As a general rule we should remember that we need to be present in order to appreciate life and similarly we need to bepresent to create art. We do not know when the next world class performance will be staged right before our eyes.

Pay attention is the third creative steps ebook.

Click here for the Washington Post article.

Tags: creative steps, Creativity Coaching, Feedback, Pay Attention
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Creative Steps and Creativity Coaching Concepts

Creative Steps is a nine-module, multi-media, creativity course for people who want to learn how to coach themselves to increasing creativity. It is for people who want to more consistently and effectively connect with their creative side.

Creative Steps is an online coaching course for seasoned professionals who want to take the quantity and quality of their creative work to the next level.

It is also a creativity guide for passionate amateurs who have always wanted to accomplish a creative dream and in the process become more fully self-expressed.

Each module is one step on the journey to creativity and each module presents the following:

downloadable tools and techniques to enhance creativity;
coaching material to help you overcome whatever is holding you back move towards increasing creativity;
case studies of famous people and enthusiastic amateurs;
exercises and tasks so you can flex your creative muscles and trial different ways of working;
tricks of the trade and lots of bonus material.

The course is practical; this is because we learn best through doing. You will be asked to take on new behaviours, try new ways of thinking and you will also be encouraged to work on a creative project of your own.

The Role of Coaching

Creativity Coaching was originally conceived to help people achieve more of what they want in their creative lives. It draws on many of the best concepts of life coaching, nlp and other fields of performance improvement to help people move towards increasing creativity.

This course helps you learn to be your own creative coach.

We assume you have no experience of coaching or the tools and techniques employed in this field. That is why everything you need is here.

For those new to coaching, the GROW model is a great starting point. It is one of the basic of coaching concepts introduced on creative steps. It is a framework that helps you unpack a problem and select the appropriate next step without getting into overwhelm. Use the structure whenever you feel a little directionless or when there is ‘a dip in the road’.

Goals - What do you want?
Reality - What’s happening now?
Options - What could you do?
What next? - What will you do?

You will learn more about the GROW model in the download area. You will also learn many other creativity coaching concepts.

If you feel you would benefit from creativity coaching then you might be interested to know that for a limited time my Information-Packed, Multi-Media Online Creativity Coaching Course is offered free of charge!

Unlimited Free Creativity Coaching

FIND OUT MORE

Tags: Coach Yourself, coaching concepts, Creativity Coaching, Increasing Creativity
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