We seem to have a strange but all too human cultural fixation on the daily routines and daily rituals of famous creators, from Vonnegut to Burroughs to Darwin — as if a glimpse of their day-to-day would somehow magically infuse ours with equal potency, or replicating it would allow us to replicate their genius in turn. And though much of this is mere cultural voyeurism, there is something to be said for the value of a well-engineered daily routine to anchor the creative process. Manage Your Day-to-Day: Build Your Routine, Find Your Focus, and Sharpen Your Creative Mind (public library), edited by Behance’s 99U editor-in-chief Jocelyn Glei and featuring contributions from a twenty of today’s most celebrated thinkers and doers, delves into the secrets of this holy grail of creativity.

Reflecting Thomas Edison’s oft-cited proclamation that “genius is one percent inspiration, ninety-nine percent perspiration,” after which 99U is named, the crucial importance of consistent application is a running theme. (Though I prefer to paraphrase Edison to “Genius is one percent inspiration, ninety-nine percent aspiration” — since true aspiration produces effort that feels gratifying rather than merely grueling, enhancing the grit of perspiration with the gift of gratification.)

In the foreword to the book, Behance founder Scott Belsky, author of the indispensable Making Ideas Happen, points to “reactionary workflow” — our tendency to respond to requests and other stimuli rather than create meaningful work — as today’s biggest problem and propounds a call to arms:

It’s time to stop blaming our surroundings and start taking responsibility. While no workplace is perfect, it turns out that our gravest challenges are a lot more primal and personal. Our individual practices ultimately determine what we do and how well we do it. Specifically, it’s our routine (or lack thereof), our capacity to work proactively rather than reactively, and our ability to systematically optimize our work habits over time that determine our ability to make ideas happen. […] Only by taking charge of your day-to-day can you truly make an impact in what matters most to you. I urge you to build a better routine by stepping outside of it, find your focus by rising above the constant cacophony, and sharpen your creative prowess by analyzing what really matters most when it comes to making your ideas happen.

One of the book’s strongest insights comes from Gretchen Rubin — author of The Happiness Project: Or, Why I Spent a Year Trying to Sing in the Morning, Clean My Closets, Fight Right, Read Aristotle, and Generally Have More Fun, one of these 7 essential books on the art and science of happiness, titled after her fantastic blog of the same name — who points to frequency as the key to creative accomplishment:

We tend to overestimate what we can do in a short period, and underestimate what we can do over a long period, provided we work slowly and consistently. Anthony Trollope, the nineteenth-century writer who managed to be a prolific novelist while also revolutionizing the British postal system, observed, “A small daily task, if it be really daily, will beat the labours of a spasmodic Hercules.” Over the long run, the unglamorous habit of frequency fosters both productivity and creativity.

Frequency, she argues, helps facilitate what Arthur Koestler has famously termed “bisociation” — the crucial ability to link the seemingly unlinkable, which is the defining characteristic of the creative mind. Rubin writes:

You’re much more likely to spot surprising relationships and to see fresh connections among ideas, if your mind is constantly humming with issues related to your work. When I’m deep in a project, everything I experience seems to relate to it in a way that’s absolutely exhilarating. The entire world becomes more interesting. That’s critical, because I have a voracious need for material, and as I become hyperaware of potential fodder, ideas pour in. By contrast, working sporadically makes it hard to keep your focus. It’s easy to become blocked, confused, or distracted, or to forget what you were aiming to accomplish. […] Creativity arises from a constant churn of ideas, and one of the easiest ways to encourage that fertile froth is to keep your mind engaged with your project. When you work regularly, inspiration strikes regularly.

Echoing Alexander Graham Bell, who memorably wrote that “it is the man who carefully advances step by step … who is bound to succeed in the greatest degree,” and Virginia Woolf, who extolled the creative benefits of keeping a diary, Rubin writes:

Step by step, you make your way forward. That’s why practices such as daily writing exercises or keeping a daily blog can be so helpful. You see yourself do the work, which shows you that you can do the work. Progress is reassuring and inspiring; panic and then despair set in when you find yourself getting nothing done day after day. One of the painful ironies of work life is that the anxiety of procrastination often makes people even less likely to buckle down in the future.

Riffing on wisdom from her latest book, Happier at Home: Kiss More, Jump More, Abandon a Project, Read Samuel Johnson, and My Other Experiments in the Practice of Everyday Life, Rubin offers:

I have a long list of “Secrets of Adulthood,” the lessons I’ve learned as I’ve grown up, such as: “It’s the task that’s never started that’s more tiresome,” “The days are long, but the years are short,” and “Always leave plenty of room in the suitcase.” One of my most helpful Secrets is, “What I do every day matters more than what I do once in a while.”

With a sentiment reminiscent of William James’s timeless words on habit, she concludes:

Day by day, we build our lives, and day by day, we can take steps toward making real the magnificent creations of our imaginations.

Entrepreneurship guru and culture-sage Seth Godin seconds Rubin and admonishes against confusing vacant ritualization with creative rituals that actually spur productivity:

Everybody who does creative work has figured out how to deal with their own demons to get their work done. There is no evidence that setting up your easel like Van Gogh makes you paint better. Tactics are idiosyncratic. But strategies are universal, and there are a lot of talented folks who are not succeeding the way they want to because their strategies are broken. The strategy is simple, I think. The strategy is to have a practice, and what it means to have a practice is to regularly and reliably do the work in a habitual way. There are many ways you can signify to yourself that you are doing your practice. For example, some people wear a white lab coat or a particular pair of glasses, or always work in a specific place — in doing these things, they are professionalizing their art.

He echoes Chuck Close (“Inspiration is for amateurs — the rest of us just show up and get to work.”), Tchaikovsky (“a self-respecting artist must not fold his hands on the pretext that he is not in the mood.”) E. B. White (“A writer who waits for ideal conditions under which to work will die without putting a word on paper.”), and Isabel Allende (“Show up, show up, show up, and after a while the muse shows up, too.”), observing:

The notion that I do my work here, now, like this, even when I do not feel like it, and especially when I do not feel like it, is very important. Because lots and lots of people are creative when they feel like it, but you are only going to become a professional if you do it when you don’t feel like it. And that emotional waiver is why this is your work and not your hobby.

Manage Your Day-to-Day goes on to explore such facets of the creative life as optimizing your idea-generation, defying the demons of perfectionism, managing procrastination, and breaking through your creative blocks, with insights from magnificent minds ranging from behavioral economist Dan Ariely to beloved graphic designer Stefan Sagmeister.