Capítulo 1
The Ritual of Creation: How Artists Shape Their Days and Their Art
When Mason Currey published "Daily Rituals: How Women Work," he wasn't just compiling a collection of habits-he was revealing the secret engines behind some of history's most profound artistic achievements. The book, which serves as both sequel and corrective to his male-dominated 2013 volume, quickly became a cultural touchstone, featured on countless creative reading lists and cited by figures from Lin-Manuel Miranda to Phoebe Waller-Bridge. What makes this exploration so compelling is how it illuminates the particular challenges women faced in carving out creative space-often battling societal expectations, family obligations, and their own internalized doubts. Through profiles of 143 remarkable women across different disciplines and eras, Currey reveals that there is no single formula for creative success, but rather a fascinating spectrum of approaches to the fundamental challenge: how to protect the time and mental space required for meaningful work.
Capítulo 2
The Peculiar Power of Routine: Embracing Personal Oddities
For many groundbreaking artists, embracing their peculiarities rather than fighting them proved essential to their creative process. Science fiction pioneer Octavia Butler woke between 3-4 a.m. because it was her most productive time, away from others' influence. "We all have some weirdness, and this is mine," she explained, advocating for writing daily regardless of inspiration: "Screw inspiration." Her disciplined approach contrasts with Japanese conceptual artist Yayoi Kusama, who has lived voluntarily in a Tokyo mental hospital since 1977 while maintaining a rigorous daily schedule, working from 10 a.m. until 6-7 p.m. in her nearby studio. For Kusama, art-making serves as essential therapy: "I fight pain, anxiety, and fear every day, and the only method I have found that relieves my illness is to keep creating art."
Not all successful artists maintained strict schedules. American poet Elizabeth Bishop worked without regular patterns, sometimes writing intensively for days before producing nothing for months. Her friend Frank Bidart noted she would carry poem fragments "waiting to be finished for immense lengths of time"-her poem "The Moose" took twenty years to complete. German choreographer Pina Bausch developed her revolutionary "dance theater" through an exhausting collaborative process with her dancers, working from 10 a.m. until late evening during rehearsals, then returning home to analyze the day's work until 2-3 a.m. Despite this grueling schedule, Bausch described a perpetual cycle of creative despair and renewal: "Each time it is a torture... But no sooner has a premiere passed than I am already making new plans."
Venezuelan-born sculptor Marisol (Maria Sol Escobar) became a New York art-world star in the 1960s through her disciplined work habits, often returning to her studio late at night after socializing with Andy Warhol. Her notorious silence at social events wasn't affectation but genuine conservation of energy-as one friend explained, she saved her energy for work. Nina Simone compared her performances to bullfights, with audiences coming to see her "playing close to the edge." Her approach was highly methodical, creating carefully sequenced songs to build emotional climaxes, while remaining "super-sensitive" to audience reactions. Despite meticulous preparation, Simone acknowledged her transcendent performances came from something beyond technique: "Whatever it was that happened out there under the lights, it mostly came from God."
Capítulo 3
Indulgence and Discipline: The Creative Balance
Many renowned female artists maintained seemingly contradictory relationships with discipline and excess. Louise Nevelson, the Russian-born American sculptor, worked for days without sleep in cotton clothes she could both sleep and work in: "I don't want to waste time." Despite exhibiting for twenty-five years without making a sale, her breakthrough came at nearly 60 when MoMA included her work in a 1958 exhibition. Danish writer Karen Dinesen (Isak Dinesen) began writing at night to redirect her thoughts during personal crisis, eventually producing classics like "Seven Gothic Tales" and "Out of Africa" while battling severe health problems from syphilis. In her later years, she claimed to subsist on oysters and champagne but actually relied on amphetamines for energy.
American-born French performer Josephine Baker maintained a frenetic work schedule, dancing at the Folies Bergere before making appearances at other cabarets until dawn. Plagued by nightmares and insomnia, she mastered the art of catnaps, sometimes falling asleep mid-conversation before continuing as if uninterrupted. Playwright Lillian Hellman established herself at Hardscrabble Farm outside New York City, writing several hours daily while managing extensive farm operations. To protect her concentration, she posted a stern warning on her study door threatening court-martial to any who disturbed her.
Fashion icons developed distinctive work patterns-Coco Chanel arrived at her Paris headquarters around 1 p.m., triggering military-like preparations with staff standing at attention and Chanel No. 5 sprayed near the entrance. Once there, she would drape fabrics directly on models rather than using patterns, standing for nine hours without breaks while chain-smoking. Her contemporary Elsa Schiaparelli rose to prominence with surrealist designs like hats shaped like lamb cutlets. Though she worked relentlessly from ten until seven, she actually conceived most designs outside her studio-while walking, driving, or in the countryside-as "she did not think well between walls."
Dance pioneer Martha Graham established her company in 1926 but avoided Greenwich Village's intellectual scene, believing "if you talk something out, you will never do it." Her process involved late-night reading of philosophy, typing scenarios in bed, and working in intense isolation each morning to discover movements that embodied emotions inexpressible through language. Even at ninety, Graham worked six hours daily, driven by chronic dissatisfaction until her death at ninety-six.
Capítulo 4
The Vortex: Total Immersion in Creative Work
For many artists, creativity demanded complete mental absorption that transformed their relationship with time and space. Louisa May Alcott wrote in manic bursts she called falling "into a vortex," working so intensely she would skip meals and barely sleep. Her "scribbling suit"-a black woolen pinafore for pen-wiping and a cap with red bow-signaled to her family when genius burned, with the position of the cap indicating her creative state: low on forehead meant intense work, askew showed excitement, and removed entirely signaled despair.
English novelist Radclyffe Hall transformed from dilettante to disciplined writer through love and loss. After her partner's death in 1916, grief and guilt drove the formerly "idle apprentice" to "work from morning to night and from night till morning." Her writing process was painstaking-she wrote illegibly by hand, then had her companion Una Troubridge read drafts aloud repeatedly, sometimes "a score of times" for a single chapter.
Irish-born architect Eileen Gray proudly avoided housework, employing a faithful housekeeper for nearly fifty years. She insisted on being driven everywhere, believing "Artists ought not to drive at all. First of all, they are too precious, secondly, driving prevents their thoughts wandering where they should, thirdly, it puts constant tension on their eyes." Dance innovator Isadora Duncan preferred spending "long days and nights in the studio seeking that dance which might be the divine expression of the human spirit through the medium of the body's movement." Though she experienced moments of "great disgust and a feeling of utter emptiness," she believed this was inherent to the artistic life.
French novelist Colette began writing when her first husband locked her in her room until she completed her daily quota. "A prison is indeed one of the best workshops," she later reflected. Though she never enjoyed writing, Colette's early "training" instilled discipline. She typically wrote between three and six in the afternoon, describing her process: "To write is to pour one's innermost self passionately upon the tempting paper, at such frantic speed that sometimes one's hand struggles and rebels."
Theater's greatest husband-wife acting team, Lynn Fontanne and Alfred Lunt, created their legendary performances through obsessive rehearsal. "Miss Fontanne and I rehearse all the time," Lunt said. "Even after we leave the theater, we rehearse. We sleep in the same bed. We have a script on our hands when we go to bed." Their meticulous home rehearsal process involved first memorizing lines separately, then working together, sitting on wooden chairs with legs interlocked, exchanging dialogue and clapping knees when mistakes occurred.
Capítulo 5
The Price of Creation: Suffering and Sacrifice
Many female artists viewed suffering as inseparable from their creative process. Marie Bashkirtseff, the Russian-born painter and sculptor who died from tuberculosis at twenty-five, followed a rigorous daily schedule for years: rising at 6:00 a.m., painting from 8:00 to noon and 1:00 to 5:00 p.m. Learning of her tuberculosis diagnosis only intensified her dedication: "Everything seems petty and uninteresting, everything except my work," she wrote in 1883. "Life, taken thus, may be beautiful."
Swiss-French intellectual Germaine de Stael wrote in 1800, "One must, in one's life, make a choice between boredom and suffering," proudly choosing suffering for herself. Forced into exile for opposing Napoleon, she transformed her family residence in Switzerland into a vibrant intellectual hub. Her productivity mystified visitors who rarely saw her actually writing-in reality, she worked in stolen moments throughout chaotic days, taking notes while riding in carriages and dictating letters during conversations.
American writer Dorothy Parker loathed writing and barely met deadlines, following a weekly pattern of procrastination and last-minute production that tormented her editors. As biographer Marion Meade describes, Parker would promise copy was nearly finished when she hadn't started writing, claiming she needed "just one more hour" throughout Sunday. When asked what she did for fun, Parker's response was telling: "Everything that isn't writing is fun."
By contrast, Pulitzer Prize-winner Edna Ferber sat at her typewriter every morning at 9:00 a.m., aiming for one thousand words daily. This discipline produced an impressive body of work over fifty years. Location never hindered her work-she'd trained herself to write anywhere: "in bathrooms and aboard ships; on jet planes and in woodsheds; on trains between New York and San Francisco or Paris to Madrid; in bed at home or propped up on a hospital contraption."
Margaret Mitchell began writing "Gone with the Wind" around 1928, finally delivering the manuscript in 1935 after seven years of painstaking work. Her process was brutally inefficient: "Night after night I have labored and labored and have wound up with no more than two pages. After reading those efforts on the morning after, I have whittled and whittled until I had no more than six lines salvaged." By her estimation, most chapters were rewritten "at least twenty times" before she considered them acceptable.
American contralto Marian Anderson approached learning new music with methodical care, studying the music first, then the lyrics separately, researching the song's background, and finally combining all elements. Anderson described music as "an elusive thing," noting that she might work on a song daily for weeks without progress, only to experience a sudden "flash of understanding" at an unpredictable moment.
Capítulo 6
The Art of Neglect: Finding Freedom in Imperfection
Some of history's most significant female creators discovered that abandoning perfectionism-particularly in areas outside their art-freed essential creative energy. Playwright Zoe Akins needed vast stretches of unscheduled time, making her seem "a procrastinator, an idler" to friends. Yet she insisted this apparent disorganization was necessary: "Somehow, sometime, the inevitable moment comes when renouncement is easy for the sake of that empty stretch of time down which one may travel with an idea."
American painter Agnes Martin cultivated a "vacant mind" to receive inspiration, believing it "comes from a clear mind. Right straight through." Her passion for solitude led her to remote New Mexico, where she lived primitively-no electricity or running water-working in daylight hours. Despite her schizophrenia, Martin's practice required "an incredible act of will" to quiet internal voices: "You're permanently derailed. It's through discipline and tremendous disappointment and failure that you arrive at what it is you must paint."
Katherine Mansfield's journals reveal her struggles with procrastination and self-doubt while battling tuberculosis. "Well I must confess I have had an idle day-god knows why," she wrote in 1921. "All was to be written but I just didn't write it." However, she recognized that perseverance eventually yielded results: "What happens as a rule is, if I go on long enough I break through. It's rather like tossing very large flat stones into the stream."
Katherine Anne Porter lived a long life but published relatively little-twenty-seven stories and one novel that took twenty years to write. Porter claimed she needed long intervals between writing: "I write at top speed, but things form slowly." For her novel "Ship of Fools," she finally secluded herself in Connecticut: "I kept myself free for work: no telephone, no visitors... I really lived like a hermit." Yet she rejected permanent isolation: "Any such alienation from society is death."
English Op Art painter Bridget Riley approaches her work with deliberation rather than spontaneity, beginning with numerous exploratory sketches. She embraces painting's slow pace, seeing it as advantageous: "An artist needs enough time to reflect, to revise, to explore various directions." Riley employs assistants for most actual painting, allowing her to maintain critical distance: "Holding myself at certain distance enables me to be more engaged, not less."
Political activist, teacher, and short story writer Grace Paley once explained how she managed her multiple roles with "pure neglect." Yet she embraced these competing demands: "Any life that's interesting, lived, has a lot of pulls in it... it's only one life for Christ's sake. And you are privileged somehow to do as much as you can." Paley's stories typically began with a single "absolutely resonant" sentence, but she often got stuck after a paragraph: "I begin by writing paragraphs that don't have an immediate relation to a plot. The sound of the story comes first."
Capítulo 7
Isolation and Intimacy: The Creative Sanctuary
For many women artists, creating a mental and physical sanctuary proved essential to their work. Susan Sontag declared, "Somewhere along the line, one has to choose between the Life and the Project," and never doubted her choice. Rather than daily discipline, she worked in "very long, intense, obsessional stretches" of up to twenty-four hours, often driven by looming deadlines. Writing was "extremely painstaking and painful" for her, requiring ten to twenty drafts per essay. As a single mother, she managed by prioritizing work over domestic duties, joking that she "didn't cook for David" but "warmed for him." During intense writing sessions, her ten-year-old son would even light her cigarettes while she kept typing.
American abstract painter Joan Mitchell developed a remarkable ability to evoke landscapes through non-representational compositions, yet paradoxically painted almost exclusively at night under fluorescent lights. Alcohol was essential to her process, starting around 5 p.m. daily. Though sensitive about the stereotype of drunk Abstract Expressionists, Mitchell once confessed to a friend that "if she did not drink she could not paint." Her approach was methodical-making a few decisive brushstrokes, then retreating across the studio to contemplate her work: "The idea of 'action painting' is a joke. There's no 'action' here. I paint a little. Then I sit and look at the painting."
For French writer Marguerite Duras, writing wasn't invention but confrontation-uncovering what already existed in her unconscious, often drawn from her traumatic childhood. She found the process terrifying: "It's like a crisis I handle as best I can. It's a kind of subjugation. When I'm writing I'm frightened; it's as though everything were crumbling around me." Rather than following any regular schedule, Duras wrote in obsessive bursts when a book idea possessed her, often fueled by alcohol: "I drank red wine to fall asleep. Afterwards, Cognac in the night. Every hour a glass of wine and in the morning Cognac after coffee, and afterwards I wrote."
English sculptor Barbara Hepworth maintained an eight-hour workday while raising four children: "I had to have a very strict discipline with myself so that I always did some work every day, even if it was only 10 minutes." Rather than postponing work until circumstances improved, she maintained consistent contact with her practice, finding that ideas "can go on developing behind the scenes." Hepworth insisted motherhood didn't hinder her artistic development: "We lived a life of work and the children were brought up in it, in the middle of the dust and the dirt and the paint and everything."
After giving birth to her daughter in 1920, Australian painter Stella Bowen found herself increasingly torn between artistic aspirations and caring for both her child and her temperamental husband Ford Madox Ford. While Ford wrote steadily, he questioned why Bowen couldn't do the same with her painting. As she later explained: "Pursuing art is not just a matter of finding the time-it is a matter of having a free spirit to bring to it."
Capítulo 8
Determination Against All Odds: The Will to Create
Throughout history, women have demonstrated extraordinary determination in pursuing creative work despite formidable obstacles. Marie-Therese Rodet Geoffrin transformed Parisian intellectual gatherings through strategic innovation, establishing her own salon with two crucial innovations: shifting the main meal to one o'clock dinner rather than late-night supper, and creating a regular weekly schedule (Mondays for artists, Wednesdays for writers). This structured approach became so influential that when an Italian economist attempted to replicate her salon in Naples, he lamented they couldn't succeed "unless we find a woman to guide us, organize us, Geoffrinise us."
Elizabeth Carter, an English intellectual, poet, and translator who mastered multiple languages, developed unusual methods to stay alert during late-night work sessions: taking snuff, binding wet towels around her head, applying wet cloths to her stomach, and chewing green tea and coffee. Mary Wollstonecraft wrote her groundbreaking three-hundred-page treatise "A Vindication of the Rights of Woman" in just six weeks, driven by powerful indignation and audacity that overcame any structural flaws.
German piano prodigy Clara Schumann faced significant challenges when her husband Robert's need for silence while composing meant she couldn't practice piano or work on her own compositions during his creative periods. "My piano playing is falling behind," she lamented in 1841. "This always happens when Robert is composing. There is not even one little hour in the whole day for myself!" Eventually, she carved out time from 6:00 to 8:00 p.m. when Robert visited a neighborhood tavern. Despite having eight children and managing the household without Robert's help, Clara gave at least 139 public concerts during their fourteen-year marriage.
In 1841, Harriet Beecher Stowe wrote to her husband, "If I am to write, I must have a room to myself, which shall be my room," anticipating Virginia Woolf's famous concept by almost a century. Despite having seven children, Stowe managed to write for three hours daily amid constant interruptions, noting that "nothing but deadly determination enables me to ever write-it is rowing against wind and tide."
Rosa Bonheur, the most celebrated female artist of the nineteenth century, secured one of only twelve cross-dressing licenses granted by Paris police, claiming she needed trousers to visit slaughterhouses for anatomical study. For nearly forty years, Bonheur lived with her longtime partner Natalie Micas and later with American painter Anna Klumpke, maintaining an extraordinary menagerie of animals that allowed her to paint from life without leaving home.
Eleanor Roosevelt maintained an exhausting daily schedule, working from 7:30 a.m. until about 1:00 a.m., thriving on just five or six hours of sleep. She often dictated her "My Day" column from bed at 11:00 p.m., one of her last tasks before sleep. Despite her packed schedule, Roosevelt somehow maintained the energy and focus to fulfill all her commitments, apparently "not knowing the meaning of the word 'fatigue.'"
Capítulo 9
The Creative Alchemy: Transforming Experience into Art
The most profound artistic achievements often emerge from an almost mystical process of transforming lived experience into creative expression. New Zealand author Janet Frame wrote twelve novels, four story collections, poetry, and a three-volume autobiography despite spending eight years in psychiatric institutions where she underwent 200 electroshock treatments after being misdiagnosed with schizophrenia. Her first book, published while institutionalized, won a prestigious literary prize that saved her from a scheduled lobotomy. Throughout her career, Frame required absolute silence while writing, eventually wearing earmuffs and adding an extra layer of bricks to her home's walls in futile attempts at soundproofing.
New Zealand filmmaker Jane Campion begins her creative process by immersing herself in mood and feeling. When writing the screenplay for "The Piano" (1993), she spent a week alone, deliberately inducing the emotional state of her protagonist, sometimes bringing herself to tears. "It starts with a feeling that's quite unnameable," she explained, "and a mood... and then you try to write things that create the mood you are feeling."
French novelist Francoise Sagan published her best-known book, "Bonjour Tristesse," at just eighteen, writing it in "two or three months, working two or three hours a day" without much planning. She never followed any particular writing routine: "Sometimes I write in bursts of ten days or a fortnight at a time. In between, I think about the story, day-dream and talk about it." For Sagan, writing poorly was "humiliating...rather like dying," but when it flowed well, she felt "like a well-oiled machine that's working perfectly."
American novelist Gloria Naylor wrote her debut novel, "The Women of Brewster Place," during an "impossible schedule"-while working as a hotel switchboard operator, attending Brooklyn College, and going through a divorce. She wrote whenever possible: on days off, between classes, and during night shifts at the hotel. Despite this rigorous approach, Naylor insisted she was "not an overly disciplined person. It was something I wanted to do...It was helping me to achieve order because my personal life had been in total chaos."
One of the twentieth century's great portrait artists, Alice Neel painted daily despite poverty, critical neglect, and raising two sons alone. When asked how she managed with young children, Neel explained she initially worked at night while they slept, then during school hours as they grew older. She never considered pausing her practice: "If you decide you are going to have children and give up painting during the time you have them, you give it up forever...It must be a continuous thing."
American author Shirley Jackson balanced her literary career with raising four children while her husband pursued his own career. "50 percent of my life is spent washing and dressing the children, cooking, washing dishes and clothes, and mending. After I get it all to bed, I turn around to my typewriter and try to-well, to create concrete things again." Rather than hindering her work, biographer Ruth Franklin argues Jackson "seems to have derived imaginative energy from the constraints." Compared to household drudgery, writing offered joy: "My husband fights writing; it is work for him, at least he calls it work. I find it relaxing. For one thing, it's the only way I can get to sit down."
These remarkable women demonstrate that creative achievement doesn't emerge from perfect circumstances or ideal routines, but from an unwavering commitment to expression despite-and sometimes because of-life's constraints. Their diverse approaches reveal that there is no single formula for artistic success, only the persistent determination to transform experience into art, whatever the cost or method. In their struggles and triumphs, we find not just inspiration but practical wisdom about the eternal challenge of creating meaningful work in an imperfect world.
