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Letters to a Young Artist: Building a Life in Art
The author of the best-selling The Artist's Way responds to letters and e-mails she has received as a result of her numerous written works, in a collection of inspirational correspondences designed to be read as an intimate dialogue between a teacher and student.
176 pages, Hardcover
First published April 21, 2005
13 people are currently reading
584 people want to read
About the author
Julia Cameron
102 books2,284 followersJulia Cameron has been an active artist for more than thirty years, with fifteen books (including bestsellers The Artist's Way, Walking In This World and The Right to Write) and countless television, film, and theater scripts to her credit. Writing since the age of 18, Cameron has a long list of screenplay and teleplay credits to her name, including an episode of Miami Vice, and Elvis and the Beauty Queen, which starred Don Johnson. She was a writer on such movies as Taxi Driver, New York, New York, and The Last Waltz. She wrote, produced, and directed the award-winning independent feature film, God's Will, which premiered at the Chicago International Film Festival, and was selected by the London Film Festival, the Munich International Film Festival, and Women in Film Festival, among others. In addition to making film, Cameron has taught film at such diverse places as Chicago Filmmakers, Northwestern University, and Columbia College. Her profound teachings on unlocking creativity and living from the creative center have inspired countless artists to unleash their full potential.
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Displaying 1 - 23 of 23 reviews
January 5, 2009
I can hardly see the author (or her letter-writing character), perched on so high a post, talking down to the lowly young artist. "Letters to a Young Artist" may serve well to discourage if not batter the fledgling artist before he or she has even had a chance to find their own voice and style. Those less fledgling may simply toss it with some degree of disgust at the arrogance and cliche treatment of the artistic process. It's not so much that there isn't the occasional grain of truth in the advice given, as that the occasional grain is lost in its tone and cavalier treatment.
This collection of letters is too obviously constructed for a book and is not an authentic exchange with an authentic questioner. Indeed, author Julia Cameron makes it clear these letters are a hodge podge of those she says she receives from fans, a conglomerate of questions and wonderings, seeking guidance and inspiration.
"Dear X" is the salutation heading up this collection of fabricated letters. That alone rather puts one off as lacking in authenticity (or semblence of), abundant only in added chill. How much better to give a letter writer a name, a voice, a persona that would come alive for the book reader. More often than not, the letters begin with a weakly disguised "you write that..." as segue for the missing letter in the exchange. It would have been far more fascinating to have been able to read both sides to this conversation.
Cameron's style (she takes on the voice of an elderly male writer, which in itself lacks authenticity and leaves me wondering - why?) is brash and bullying. Her advice, what there is of it, is so obvious that it offers little value. Mostly, it reads like one long brag perhaps constructed only of hot air (only the dissatisfied are bullies?). Here and there, inexplicably interspersed with literary advice, is advice for the lovelorn. Again, why?
This effort pales in comparison to similar efforts to offer beginning writers a hand up, done brilliantly, and I suggest those searching for such will find much more satisfaction, advice, and encouragement in Annie Dillard's "The Writing Life," Rainer Marie Rilke's "Letters to a Young Poet," Joyce Carol Oates' "The Faith of a Writer," Anne Lamott's "Bird by Bird," Stephen King's "On Writing," or a long list of others.
This collection of letters is too obviously constructed for a book and is not an authentic exchange with an authentic questioner. Indeed, author Julia Cameron makes it clear these letters are a hodge podge of those she says she receives from fans, a conglomerate of questions and wonderings, seeking guidance and inspiration.
"Dear X" is the salutation heading up this collection of fabricated letters. That alone rather puts one off as lacking in authenticity (or semblence of), abundant only in added chill. How much better to give a letter writer a name, a voice, a persona that would come alive for the book reader. More often than not, the letters begin with a weakly disguised "you write that..." as segue for the missing letter in the exchange. It would have been far more fascinating to have been able to read both sides to this conversation.
Cameron's style (she takes on the voice of an elderly male writer, which in itself lacks authenticity and leaves me wondering - why?) is brash and bullying. Her advice, what there is of it, is so obvious that it offers little value. Mostly, it reads like one long brag perhaps constructed only of hot air (only the dissatisfied are bullies?). Here and there, inexplicably interspersed with literary advice, is advice for the lovelorn. Again, why?
This effort pales in comparison to similar efforts to offer beginning writers a hand up, done brilliantly, and I suggest those searching for such will find much more satisfaction, advice, and encouragement in Annie Dillard's "The Writing Life," Rainer Marie Rilke's "Letters to a Young Poet," Joyce Carol Oates' "The Faith of a Writer," Anne Lamott's "Bird by Bird," Stephen King's "On Writing," or a long list of others.
May 23, 2014
I once read a quote that letters are just notes to oneself. You are telling the other person what you have been doing but maybe you are just confirming what you have learnt from the experience and what you now believe to be true. This book can be at times a little condescending, repetitive or boastful but maybe all advice especially in letter form is. I found many encouraging thoughts and ideas in its pages, I took notes and I will reread them but if the book had just been notes I don't think it would have left such an interesting impression. I also don't think I could read the book again. Other reviews of this book seem a little extreme. The book is very clear that the young artist has asked for advice, if he doesn't like it he could always stop writing. Often we only seek positive feedback to encourage us, when really all feedback has merit. If you don't like this book, the advice or the way it's delivered and you're an artist the beauty of a book is you can always stop reading it.
November 3, 2016
This book is NOT at all in the tradition of Rilke's Letters to a Young Poet. This book is, however, in the tradition of arts teachers playing armchair psychologist to young people and of people with more power and agency to abuse those who are seeking their help. In the case of mentors, this abuse tends to be most invisibly but damagingly in first assuming that youth means immaturity, and inexperience and access to an abundance of resources, including time, energy, and art supplies, but unconsciously clocking that one of those resources is likely not better and less abusive arts teachers than they are and then using that likelihood to their advantage. In letters, Cameron does in spades...all while passive-aggressively pretending not to.
First of all, Rilke was writing about his experiences and to real person who later had his letters published. Second of all, he wasn't a jerk.
Instead of humbly offering her own experience and encouragement to someone whose position she admits to have occupied at one point the way Rilke does, Cameron vicariously chronicles her own opinions of youth and young artists by creating a straw poseur artist to mentor, chiefly by correcting their tendency to seek guidance in the first place while ranting and railing against any perspective but her own...and then offering insights that actually address artistic development only when seemingly forced to get to the point. That no one clocks she is doing this is likely because we're used to seeing this "teaching technique" used by other mentors to "help" real artists or anyone else in high-stakes/low-success rate vocations. Not noticing that we are rarely exposed anecdotally to any other path or relationship model, but knowing the world persists in producing fine artists (or baseball players, or CEOs), we illogically conclude that this is because the tradition of abuse must have played a positive role in their success and not a negative role in the failure of everyone else, or that the two are one and the same.
I beg to differ. Having had many healthy mentoring relationships and teachers and coaches in my life, I know that there is another, better way, and that it's possible to find someone healthy, honest, and successful to help guide you in almost any technique or industry you wish. It only takes finding them while weeding out and surviving the bad experiences.
So, IMHO, instead of internalizing the dysfunction of someone who treats you like this, if you get an arts mentor who talks to you the way Cameron talks to the straw young artist in this book, RUN. Or at least have the good sense to realize that you wouldn't live with a lover who talked to you like this; you wouldn't encourage a parent to "teach" their children like this; and that you certainly shouldn't let anyone help "develop" your life's work and future like this, and keep this person at yardarm's length.
(For example, Cameron repeatedly and admittedly> opens her letters in a condescending voice that admits that her previous letter contained assertions and attacks or phrasing that addressed her imaginary supplicant in ways that she intended to anger, frustrate, and provoke them for no real reason, she quickly follows the admission by repeating the behavior, and then leaves any cogent, loosely relevant advice to be had to the endof the letter. She is consistently congratulating herself to the student for having ticked them off, but only congratulates the student when they have submitted to her abuse or conceded her point by praising them for having "learned" something from what she had to say in spite of her unnecessary attacks. That's a known abusive dynamic and a technique of ambient abuse to take advantage of such trauma bonding by encouraging dependency; it's an advanced technique to do it while verbally encouraging independence from people who obviously think they need your advice already. And if you think I'm exaggerating about this or overreacting about the negative effects of this kind of bullying, please do some research into the tendencies of emotional abusers, especially on victims' forums. Look for detailed, first-person accounts of techniques if possible, and then do some research workplace bullying and long-term effects on productivity and mental health. It's a serious problem and what's worse, it's completely unnecessary and destructive to individuals and to the industries in which they work; so I take it very seriously.)
Instead of picking through the unnecessary nastiness and codependent combativeness in this book in order to get to the decent although basic advice, I suggest picking up Rilke's original or Anna Deveare Smith's version, and any number of straightforward or insider's career manuals and biographies. They'll tell you a lot more about artists, their processes and their struggles, and the hurdles they cleared in their career paths than any (straw) youth-bashing second-person assertions disguised as a "teaching tool" will.
First of all, Rilke was writing about his experiences and to real person who later had his letters published. Second of all, he wasn't a jerk.
Instead of humbly offering her own experience and encouragement to someone whose position she admits to have occupied at one point the way Rilke does, Cameron vicariously chronicles her own opinions of youth and young artists by creating a straw poseur artist to mentor, chiefly by correcting their tendency to seek guidance in the first place while ranting and railing against any perspective but her own...and then offering insights that actually address artistic development only when seemingly forced to get to the point. That no one clocks she is doing this is likely because we're used to seeing this "teaching technique" used by other mentors to "help" real artists or anyone else in high-stakes/low-success rate vocations. Not noticing that we are rarely exposed anecdotally to any other path or relationship model, but knowing the world persists in producing fine artists (or baseball players, or CEOs), we illogically conclude that this is because the tradition of abuse must have played a positive role in their success and not a negative role in the failure of everyone else, or that the two are one and the same.
I beg to differ. Having had many healthy mentoring relationships and teachers and coaches in my life, I know that there is another, better way, and that it's possible to find someone healthy, honest, and successful to help guide you in almost any technique or industry you wish. It only takes finding them while weeding out and surviving the bad experiences.
So, IMHO, instead of internalizing the dysfunction of someone who treats you like this, if you get an arts mentor who talks to you the way Cameron talks to the straw young artist in this book, RUN. Or at least have the good sense to realize that you wouldn't live with a lover who talked to you like this; you wouldn't encourage a parent to "teach" their children like this; and that you certainly shouldn't let anyone help "develop" your life's work and future like this, and keep this person at yardarm's length.
(For example, Cameron repeatedly and admittedly> opens her letters in a condescending voice that admits that her previous letter contained assertions and attacks or phrasing that addressed her imaginary supplicant in ways that she intended to anger, frustrate, and provoke them for no real reason, she quickly follows the admission by repeating the behavior, and then leaves any cogent, loosely relevant advice to be had to the endof the letter. She is consistently congratulating herself to the student for having ticked them off, but only congratulates the student when they have submitted to her abuse or conceded her point by praising them for having "learned" something from what she had to say in spite of her unnecessary attacks. That's a known abusive dynamic and a technique of ambient abuse to take advantage of such trauma bonding by encouraging dependency; it's an advanced technique to do it while verbally encouraging independence from people who obviously think they need your advice already. And if you think I'm exaggerating about this or overreacting about the negative effects of this kind of bullying, please do some research into the tendencies of emotional abusers, especially on victims' forums. Look for detailed, first-person accounts of techniques if possible, and then do some research workplace bullying and long-term effects on productivity and mental health. It's a serious problem and what's worse, it's completely unnecessary and destructive to individuals and to the industries in which they work; so I take it very seriously.)
Instead of picking through the unnecessary nastiness and codependent combativeness in this book in order to get to the decent although basic advice, I suggest picking up Rilke's original or Anna Deveare Smith's version, and any number of straightforward or insider's career manuals and biographies. They'll tell you a lot more about artists, their processes and their struggles, and the hurdles they cleared in their career paths than any (straw) youth-bashing second-person assertions disguised as a "teaching tool" will.
This entire review has been hidden because of spoilers.
April 25, 2019
*** Possible Spoilers ***
I'm being generous. I figure 3.5 is about right for this book and I rounded up.
The author is competent at her craft but the contents are targeted towards a young person. My work habits are already pretty good so she didn't have much to communicate to me. I think a young person might benefit from some parts of this book.
The creative drive is linked firmly to a deity. I tend to be rather skeptical when someone starts using the word 'God' and I generally check my wallet. There's nothing wrong with believing in God except this author carries it a little too far. She suggests the young writer to whom she is communicating throw caution to the winds, leap into writing and God will see that he's taken care of. I don't like that advice. Just the other evening I met an independent author who self-published three books. He also went the print route using one of the various services that offer that sort of thing. Then, with his first book he launched a serious marketing campaign and by serious he says he invested approximately 100K dollars. The revenue generated was around 10K so he lost roughly 90K. That's a lot of money. He was sufficiently fortunate to have the sort of job that allowed him to take the hit but consider some young person, fresh out of school, throwing caution to the winds and incurring a massive debt that he might be faced with for years to come. Therefore I strongly recommend that if anyone reads this book, proceed with extreme caution. There is plenty of advice in this book that is perfectly fine but not that part. Some might argue 'nothing ventured nothing gained' and that's all very well but there's something to be said for caution as well and when it comes to publishing, the risks are high.
I don't recommend this for older readers. With the above caution, it might benefit a young person.
I'm being generous. I figure 3.5 is about right for this book and I rounded up.
The author is competent at her craft but the contents are targeted towards a young person. My work habits are already pretty good so she didn't have much to communicate to me. I think a young person might benefit from some parts of this book.
The creative drive is linked firmly to a deity. I tend to be rather skeptical when someone starts using the word 'God' and I generally check my wallet. There's nothing wrong with believing in God except this author carries it a little too far. She suggests the young writer to whom she is communicating throw caution to the winds, leap into writing and God will see that he's taken care of. I don't like that advice. Just the other evening I met an independent author who self-published three books. He also went the print route using one of the various services that offer that sort of thing. Then, with his first book he launched a serious marketing campaign and by serious he says he invested approximately 100K dollars. The revenue generated was around 10K so he lost roughly 90K. That's a lot of money. He was sufficiently fortunate to have the sort of job that allowed him to take the hit but consider some young person, fresh out of school, throwing caution to the winds and incurring a massive debt that he might be faced with for years to come. Therefore I strongly recommend that if anyone reads this book, proceed with extreme caution. There is plenty of advice in this book that is perfectly fine but not that part. Some might argue 'nothing ventured nothing gained' and that's all very well but there's something to be said for caution as well and when it comes to publishing, the risks are high.
I don't recommend this for older readers. With the above caution, it might benefit a young person.
February 15, 2018
I feel like I was thrust headfirst into the life and mind of an artist. There was no easing into this book; no gently advice. It was a swift and sometimes harsh confrontation of the misconceptions, doubts, and stereotypes of what it is to be an artist. In “Letters to a Young Artist,” an older, more experienced author is writing letters to a younger author, a style reminiscent of “The Screwtape Letters” by C.S. Lewis. Despite only reading one side of the letters, we as readers develop a very clear sense of style for both of our protagonists. Julia Cameron does an incredible job of flowing from one letter to the next, somehow creating a whole story from fragmented pieces.
What I love most about “Letters to a Young Artist” is the way that I found myself within the pages of the book. People generally stick to a strict dichotomy when it comes to creativity: you either have it or you don’t. I have always self-identified as someone with zero creativity. Which is incredibly untrue! We are ALL creative and we ALL have an artist in us. Creativity isn’t a possession that you either have or don’t have. It’s an energy or a force that, if we are open and accepting, will flow through us. We are conduits for Art. The other point Cameron drives home is that daily habits and discipline produce art, not just inspiration or being in the “mood” (although those two things sure help a lot). Like I said, the older artist confronts the younger with pieces of advice. Sometimes it’s pretty harsh, but I appreciated the blunt delivery. As you read, you understand that the older artist is pushing the younger’s mind into new territory, forcing him to think in ways he had not previously. I think all of us need to be startled out of the trappings of our own mind. I sure know that my mind can be the biggest hurdle in creating my own art, and I imagine it is similar for a lot of people.
I give this book 4 stars. I really enjoyed the advice in this book, and I found my mind and heart being stirred to start creating, regardless of my moods or doubts.
What I love most about “Letters to a Young Artist” is the way that I found myself within the pages of the book. People generally stick to a strict dichotomy when it comes to creativity: you either have it or you don’t. I have always self-identified as someone with zero creativity. Which is incredibly untrue! We are ALL creative and we ALL have an artist in us. Creativity isn’t a possession that you either have or don’t have. It’s an energy or a force that, if we are open and accepting, will flow through us. We are conduits for Art. The other point Cameron drives home is that daily habits and discipline produce art, not just inspiration or being in the “mood” (although those two things sure help a lot). Like I said, the older artist confronts the younger with pieces of advice. Sometimes it’s pretty harsh, but I appreciated the blunt delivery. As you read, you understand that the older artist is pushing the younger’s mind into new territory, forcing him to think in ways he had not previously. I think all of us need to be startled out of the trappings of our own mind. I sure know that my mind can be the biggest hurdle in creating my own art, and I imagine it is similar for a lot of people.
I give this book 4 stars. I really enjoyed the advice in this book, and I found my mind and heart being stirred to start creating, regardless of my moods or doubts.
December 10, 2019
Julia Cameron's work here has been hugely helpful to me, and has carried me through a pretty big bout of artistic self-doubt.
That said, I would also have been interested in the letters sent her way, and not just her replies; I was hopeful for a more well-rounded dialectic. Another aspect that did not resonate with me in particular was the repeated assertions about the existence of God and said deity's supposed role in my life/art. This felt preachy and unnecessary, but ultimately did not overpower the useful parts of the book. Overall, I'd recommend this book to fellow artists while advising to take given advice with a grain of salt.
That said, I would also have been interested in the letters sent her way, and not just her replies; I was hopeful for a more well-rounded dialectic. Another aspect that did not resonate with me in particular was the repeated assertions about the existence of God and said deity's supposed role in my life/art. This felt preachy and unnecessary, but ultimately did not overpower the useful parts of the book. Overall, I'd recommend this book to fellow artists while advising to take given advice with a grain of salt.
June 23, 2022
I found it redundant, not only with her other books, but also within the letters themselves.
I couldnt appreciate the fictitious character she created for herself …. Or “X”. I think it would have been more authentic to respond to “X” with her own voice. But thats just me. I would have much preferred to read real letters ( with names chgd of course) and her genuine responses.
I couldnt appreciate the fictitious character she created for herself …. Or “X”. I think it would have been more authentic to respond to “X” with her own voice. But thats just me. I would have much preferred to read real letters ( with names chgd of course) and her genuine responses.
August 14, 2022
Far from her best. She is having a correspondence with an imaginary aspiring artist. She gives him the same advice over and over again
March 29, 2018
Greetings fellow readers,
I must say I was skeptical of this book off the hop, as I'd traded "Crime and Punishment" for it in a tuk-tuk in Cambodia. My counterpart had not even finished this short read as she stated it came off as condescending and discouraging to a young artist. I'm in agreeance the book can be come off as an elder handing gifts of information off a pedestal to a measly young peasant, the tone was more natural that way.
I read the book in the tone of a mentor challenging someone they see potential in. A bit of a "Mamba-mentality" if you will but obviously Julia Cameron is not Kobe Bryant. If you want to succeed, it will not be easy and I will not cuddle your ego. I think a few of the letters softened up halfway through, applying pressure when needed and easing off when necessary.
Knowing the author, Julia, is female I assumed the older writer was also female and for whatever unknown reason, I assumed the young artist was male. As I discussed this book with my friend on the banks of the Mekong river, he informed me that we don't actually know that fact. The truth is we know very little about very basic things in the two characters lives. It challenged me to rethink assumptions. It's been a while since I've read it but we don't even know what kind of "art" the young artist was working on. Artist is a broad term and makes the umbrella of relatability that much wider.
After realizing the above facts, I took a post-read reflection on the book and decided I quite liked the idea.
I must say I was skeptical of this book off the hop, as I'd traded "Crime and Punishment" for it in a tuk-tuk in Cambodia. My counterpart had not even finished this short read as she stated it came off as condescending and discouraging to a young artist. I'm in agreeance the book can be come off as an elder handing gifts of information off a pedestal to a measly young peasant, the tone was more natural that way.
I read the book in the tone of a mentor challenging someone they see potential in. A bit of a "Mamba-mentality" if you will but obviously Julia Cameron is not Kobe Bryant. If you want to succeed, it will not be easy and I will not cuddle your ego. I think a few of the letters softened up halfway through, applying pressure when needed and easing off when necessary.
Knowing the author, Julia, is female I assumed the older writer was also female and for whatever unknown reason, I assumed the young artist was male. As I discussed this book with my friend on the banks of the Mekong river, he informed me that we don't actually know that fact. The truth is we know very little about very basic things in the two characters lives. It challenged me to rethink assumptions. It's been a while since I've read it but we don't even know what kind of "art" the young artist was working on. Artist is a broad term and makes the umbrella of relatability that much wider.
After realizing the above facts, I took a post-read reflection on the book and decided I quite liked the idea.
August 2, 2010
As a series of letters to an imagined (?) young artist, the book can be repetitive at times. But that is the nature of writing letters. Otherwise, Cameron's advice comes down a few basic tenets and habits, the main one of which is to develop a habit of creating your art every day, regardless of mood and circumstance. Once you decide to be an artist, you have to commit and work at being an artist in whatever medium you work in. Cameron does a good job of knocking down any romantic notions of art, and what it means to work as an artist. She does delve into spirituality, which can be a turnoff for some, but she has convincing reasons for doing so. Quick read, which makes it perfect for when a reminder is needed or when spirits are low.
September 18, 2015
A great reminder of the independent life of the artist, which came to me just when I needed several reminders of how far I have come on my own journey. In her letters to an un-named emerging artist are all the hallmarks of Cameron's Artist's Way principles, which these letters reveal she is actually reminding herself of, once again, as we all should. They are common sense, protective, nurturing, and a great relief to anyone on the path to creating work and putting it out there. As with all Cameron's work, 'blocked' artists will hate this and those on the path will ruefully chuckle and get back to business.
September 14, 2012
I love Julia Cameron.
This book was so healing to read as an artist and as a writer. She handled so many hang-ups and unhealthy mindsets that I've either seen, wondered about, or personally bumped into relating to being a "true writer" or "true artist" and she handled each of them with panache, grace, a little tough love, and charm.
Beautiful for anyone who wants to make art, be an artist of any kind, or live a life of grace.
This book was so healing to read as an artist and as a writer. She handled so many hang-ups and unhealthy mindsets that I've either seen, wondered about, or personally bumped into relating to being a "true writer" or "true artist" and she handled each of them with panache, grace, a little tough love, and charm.
Beautiful for anyone who wants to make art, be an artist of any kind, or live a life of grace.
September 7, 2016
I liked it. Surprisingly I found some new ideas in what I thought was a pretty well-hashed topic, and while I am not as religious as Cameron, I was in agreement that work can be therapeutic and a way to feel a sense of purpose and grace. The format was a schtick, but it came off well and I started routing for the young artist whose life needed to get back on track. I took more out of this then just guidance for artists.
July 7, 2016
This wise and experienced artist wrote a series of letters to a young artist full of self-doubt about his writing abilities. She answers questions central to the artist’s journey: How do I know I am truly an artist? How can I find encouragement? How can I keep moving forward despite my fear?
Real words of wisdom.
Real words of wisdom.
May 7, 2012
Julia Cameron is insightful and perceptive. Her letters illustrate both the importance and the different ways one can articulate one's desires, fears and longings while recognizing the artist in all of us.
January 8, 2008
The illusions of an artist's life are broken through the fictional letters of an elder artist to a young artist.
March 12, 2009
I'm definitely going to read this book multiple times. It was a fast read, and felt like having a conversation with a more experienced artist who genuinely wants you to do well.
January 20, 2010
There are some really nice thoughts in here. I'm a fan of Julia's and I like pretty much everything she has to say about creativity.
December 23, 2019
Good read.
January 3, 2013
'n Wonderlike boekie waarsonder geen een wat wil skryf moet wees nie. Ek herlees dit gereeld.
August 7, 2013
Comforting!
January 26, 2016
Gleaned a few tidbits of advice. Mostly this is The Artist's Way in a different form.
May 3, 2017
I so enjoyed reading this book...there were times where I didn't want to put my pencil down. Lots of questions that are perfect to spend time writing out the "answers" to. I think I've found another book to add to my list of pieces to re-read! Can't wait!
Displaying 1 - 23 of 23 reviews