Authors are used to creating alone, but most creative industries work in teams and this is spreading into the writing industry in the growth of co-writing. 

I've talked before about Jim Henson and his workshop of puppet storytellers, and artist Damien Hirst and his team of artisans. In today's article, Jim Denney talks about how the creativity of Walt Disney inspired an industry.  

Most people think of Walt Disney as a businessman who founded a company and hired other people to do all the creative work. Not true.

I have written two books on Walt Disney — How to Be like Walt (co-written with Orlando Magic exec Pat Williams) and Walt’s Disneyland. While researching these books, I discovered that the most creative person in the Disney organization was Walt himself. He was a fountain of ideas and imagination — yet he rarely gets credit for his creativity.

The reason Walt is thought of as a businessman rather than a creative genius is that he expressed his creativity through the medium of people — writers, artists, songwriters, directors, and Imagineers.

People mistakenly assume that Walt didn’t create anything himself. The truth is that most of the cartoons and feature films produced by the Disney studio began in the mind and soul of Walt himself.

He communicated his vision to his artists, and they carried it out.

The same is true of Disneyland. All the original attractions, as well as the hub-and-spoke layout of Disneyland, were fully formed in Walt’s imagination long before he told anyone about his dream.

During the weekend of September 26 and 27, 1953, Walt huddled with artist Herb Ryman at the Burbank studio. The two men worked for forty-eight hours without sleep.

Walt described his vision of Disneyland, and Ryman translated Walt’s words into a map, three feet tall and five feet wide, that the Disney Company used to pitch the Disneyland TV show to the networks.

The map Herb Ryman drew under Walt’s direction was amazingly close to the actual design of Disneyland when it opened on July 17, 1955. The only major difference was that the map showed Adventureland to the west of Main Street instead of the east. Disneyland was a fully-formed kingdom in Walt’s imagination long before Herb Ryman inked a single line.

The most popular attractions in the Park were all conceived by Walt —the Disneyland Railroad, the Mark Twain riverboat, the Jungle Cruise, the Castle, all of Fantasyland, the Monorail, the Matterhorn Bobsleds, Pirates of the Caribbean, and so much more.

Walt was a creative genius, and while studying his creative process, I uncovered insights that have made me a better writer.

I think they’ll change the way you write as well:

Insight No. 1: Mine Your Life Experiences

Walt owed much of his creativity to his warm childhood memories. Walt had two very different childhoods, one idyllic and happy, the other painful and harsh. He spent his first childhood — his happy childhood — on a farm outside of Marceline, Missouri, from ages four through nine.

He once told The Marceline News, “More things of importance happened to me in Marceline than have happened since — or are likely to in the future. Things, I mean, like seeing my first circus parade, attending my first school, seeing my first motion picture.”

As a filmmaker and theme park creator, Walt drew upon his Marceline years for inspiration. His early cartoons, his movies, and Disneyland itself are rich in idealized images of life in rural and small town America. Many scenes from Walt’s early life appear in his films.

For example, the enraged bull that chases Bobby Driscoll in Song of the South reenacts the time young Walt was chased across a field by a bull.

Walt’s happy childhood ended when his father, Elias Disney, became ill and was forced to sell the Marceline farm. Walt thought of the farm animals as his friends, and he wept as they were auctioned off. That’s when his unhappy childhood began.

The Disneys moved to Kansas City, where Elias bought a newspaper distributorship. He put Walt and his brother Roy to work delivering papers without pay.

Walt and Roy arose at 3:30 in the morning, and sometimes waded through waist-high snowdrifts to make their deliveries. Walt arrived at school completely exhausted, and often slept in class. After school, he worked at a candy store.

You won’t find references in Walt’s movies to his unhappy Kansas City boyhood — yet Disneyland represents one of the few bright spots in Walt’s Kansas City years. He grew up fifteen minutes away (by streetcar) from Electric Park, a huge amusement park that featured band concerts, a carousel, boat rides on a lagoon, a wooden roller coaster and other thrill rides. A steam train ran around the park, and a fireworks show lit up the nights.

If that sounds a lot like Disneyland, there’s good reason for that. Walt later said that Disneyland “has that thing — the imagination and the feeling of happy excitement — I knew when I was a kid.”

Disneyland not only re-creates the world of Walt’s nostalgic memories. It captures Walt’s boyhood obsessions. Fantasyland transforms the fairytales of Walt’s childhood into a fully immersive fantasy experience. Tom Sawyer Island and the riverboat bring to life the fondly-remembered Mark Twain tales he loved. Tomorrowland is the realization of Walt’s boyhood fascination with the futuristic novels of Jules Verne and H.G. Wells.

Walt teaches us that our lives are a gold mine to be dredged for memories, emotions, and ideas.

The lesson of his life is that we, as writers, should regularly ask ourselves:

• What were the turning points in my life?

• What were the most important lessons life has taught me?

• What am I nostalgic about? What are the experiences that hurt me? Frightened me? Thrilled me? Comforted me?

• What were my childhood fascinations? What were the stories, ideas, and places that captured my young imagination?

These are the things we must write about.

These experiences make us unique and creative: joys and sorrows, fears and fascinations, hard realities and flights of imagination. Walt didn’t merely tap into his memories and experiences. He plunged into his youthful obsessions: the Peter Pan stage show he saw as a boy, and the books he loved, from Alice in Wonderland and The Wind in the Willows to The Adventures of Tom Sawyer and Treasure Island.

So peer deeply into the gold mine of your life. Pick up and examine every shiny nugget of your past. Remember all the stories you read and objects you collected and places you explored in childhood. Seize the inspiration that’s there for the taking — then start building your own Disneyland out of words and memories.

Insight No. 2: Become an Actor

Walt Disney had the soul of an actor.

As a boy, he amused his classmates with impressions of Charlie Chaplin. He once came to school in a shawl, stovepipe hat, and fake beard, and delivered the Gettysburg Address as President Lincoln. He also donned his mother’s dress, hat, and wig, then rang the doorbell and carried on a conversation with his mother, pretending to be a neighbor lady. They talked for several minutes before his mother recognized him.

Walt loved to perform. One night in early 1934, Walt assembled his artists in a darkened soundstage at the Burbank studio. He stepped into the spotlight and told them they were going to make a fully animated feature-length film, Snow White and the Seven Dwarfs.

Then he proceeded to act out the entire film. He performed each character, from Snow White to the evil Queen to each of the seven dwarfs. He became the characters, speaking in their voices, gesturing with their mannerisms. It was a three-hour bravura performance.

As Walt finished, his animators broke out in applause. Years later, one of the animators who was there that night told interviewer Robert De Roos, “That one performance lasted us three years. Whenever we’d get stuck, we’d remember how Walt did it on that night.”

To be creative like Walt, become an actor. When you write, act out your character’s voice and gestures. This works best, of course, when you write using voice dictation instead of a keyboard. But if you write by typing, then simply act out your scene before you type.

Get out of your chair, walk around the room, and become your characters. Act out the scene and experience the emotions of your characters. Then sit down and immediately write the scene you acted out.

Write your story the Walt Disney way. Act it out. You’ll find added power and energy in your writing, and it will transform your creative process.

Insight No. 3: Write Your Obsessions

When Pat Williams and I were writing How to Be like Walt, director Ken Annakin told us that the key to Walt’s creativity was his obsession with his dreams. He said, “I doubt whether one person in fifty million is capable of the obsessive focus with which Walt lived each day of his life. His grand obsession was simply to bring happiness to others. It made him who he was.”

And media critic Neal Gabler told us, “Walt Disney was an obsessive man. That obsessive quality made him passionate and kept him focused on his dreams. Of all the successful people I have ever studied, Walt was the most intensely focused on his goals. His ideas possessed him.”

One of Walt’s obsessions was a magically eccentric governess named Mary Poppins. But Walt had a problem: The creator of the Mary Poppins, P. L. Travers, refused to sell him the movie rights.

In fact, Walt spent more than two decades, from 1938 to 1961, trying to convince her to part with the rights. He made overtures, sent her gifts, and engaged in on-again-off-again negotiations —but she was convinced that no film studio could do justice to Mary Poppins.

Finally, persistence paid off and Walt persuaded Ms. Travers to grant him the rights. But once the film went into production, she battled Walt over every detail. She fought him over the script, the music, the dialogue, the casting, the animation, and on and on. She was tough — but Walt was determined. Ultimately, he got the film made his way.

Walt once explained the importance of maintaining an obsessive focus on your goals in order to achieve success: “A person should set his goals as early as he can and devote all his energy and talent to getting there. With enough effort, he may achieve it. Or he may find something that is even more rewarding. But in the end, no matter what the outcome, he will know he has been alive.”

Writing is challenging work. It takes time and focus — and you’ll face opposition and even ridicule from the people who ought to be in your corner. Learn from Walt. Never give up. Write your obsessions, and be obsessed with your dreams — and one day, your books and stories will bring happiness to the world.

Insight No. 4: Synergize

I sometimes think Walt Disney must have invented synergy. He assembled teams of talented people to turn his dreams into reality, and the result was always greater than the sum of the parts. Walt carefully selected the best people for every project. He’d mix skills, talents, and personalities like paints on an artist’s palette.

When I co-wrote How to Be like Walt with Pat Williams, Imagineer X Atencio told us, “Walt had an uncanny knack for discovering talent. He’d see talent in people that they didn’t even see in themselves. I had been an animator all those years. One day Walt said, ‘I want you to write the script for Pirates of the Caribbean. There’ll be scenes with pirates and townspeople and so forth, and I want you to write all the dialogue.’”

Walt even assigned X to write the Pirates theme song — and the result was the unforgettable tune, “Yo Ho, Yo Ho, A Pirate’s Life for Me.” It’s hard to believe X had never written a song before.

The essence of synergy is valuing the differences of other people. You and I don’t think alike, and we don’t have the same interests, talents, or experiences. This means you can supply what I lack, and I can supply what you lack, and together we can be far more creative than we could ever be alone.

Valuing the differences of other people means setting aside our own egos. It means opening ourselves to new ideas and perspectives. It means accepting criticism and advice from editors and fellow writers.

A friend of mine is part of a group of professional novelists who regularly gather for a weekend of mutual encouragement and inspiration. They write in different genres — romance, thriller, mystery, fantasy — yet they always find that their differences turn out to be strengths. They critique each other’s work, they provide solutions for each other’s writing problems, and they motivate each other to keep reaching for their goals.

How do you find a writers group? Here are some suggestions:

• Google your city and the search term “writers group” (in quotes) and some groups or meetings in your area should pop up.

• Attend a regional writers conference and talk to the people you meet (for a list of writers conferences, consult the Guide to Writers Conferences & Writing Workshops at http://writing.shawguides.com).

• Professional writers’ associations often have local chapters where you can meet fellow writers: Society of Children’s Book Writers and Illustrators, Horror Writers Association, Sisters in Crime, Mystery Writers of America, Romance Writers of America, and so forth. Some of these associations have member directories so that you can find fellow writers in your area.

• National Novel Writing Month also supports local and online writers groups.

• Meetup.com is a website that connects people with common interests; the Meetup page for writers is at https://www.meetup.com/topics/writing/.

• You can also find local and online writers groups via Twitter, Goodreads, Facebook, and LinkedIn.

So follow Walt’s example. Mine your life. Act out your creations. Pursue your obsessions. Value the synergistic differences of other writers.

Then go build your castles and make some magic.

Are you inspired by Walt Disney's creative example? Do you have another favorite creative who inspires you? Please leave your thoughts below and join the conversation.

Jim Denney is a writer with more than 120 books to his credit, including the Timebenders science-fantasy series for young readers and a 2004 Disney biography, How to Be Like Walt, co-written with Orlando Magic founder Pat Williams. Jim has also written books with supermodel Kim Alexis, Star Trek actress Grace Lee Whitney, and Super Bowl legends Bob Griese and Reggie White. He’s a member of Science Fiction and Fantasy Writers of America (SFWA). Jim lives in California and blogs at WritingInOverdrive.com and at WaltsDisneyland.wordpress.com. His latest book, Walt’s Disneyland, is available from Amazon.com.

Rejection is part of the writer's life, whether that's from an agent or publisher, a one-star review, or lack of sales. But that doesn't mean that rejection has to destroy you.

Here are some tips from Michael Alvear on how to handle it in a more positive way. 

What danger is to a cop, rejection is to a writer–always hanging in the air dripping with possibility. And drip it does, onto the talented and untalented in almost equal measure.

Actually it doesn’t just drip; it pours.

Rejection has a 360-degree aim — from literary agents who don’t want you as a client, editors who don’t want your manuscript, publishers who give you an insulting advance, bad reviews from literary critics, hate speeches on Amazon, and of course the ultimate rejection—poor sales. Somebody, somewhere at just about every stage of your writing life gives you the finger, a hand and sometimes the whole arm.

Success makes it worse because now you have more to lose. Who do you think suffers more—the newbie who can’t get her first manuscript accepted or the best seller who can’t get his last published because his prior two books tanked? Success, as any best-selling author knows, doesn’t protect you from rejection.

What’s Your Coping Strategy For Rejection?

I didn’t have one for a long time and it hurt my career. I’d spiral into a depression or get paralyzed by the twin sisters of seizure—anxiety and rumination. I tried the usual motivational Band-Aids (“Every no gets you closer to a yes!”) but all they did was slow my descent.

I knew I had to do something about it so while my contemporaries went to writing retreats I retreated to the library and investigated the latest research on building resiliency. The result is my book, The Bulletproof Writer: How To Overcome Constant Rejection To Become An Unstoppable Author. I want to share some of the book’s concepts in the hopes that I can prevent you from giving up in despair or simply help you get more enjoyment out of your career.

Most Successful Authors Have A Coping Strategy For Rejection

It may be unconscious but they have one. This isn’t just my opinion but a fact uncovered by the eminent psychologist Dean Simonton in his masterpiece On The Origins Of Genius: Darwinian Perspectives on Creativity. He’s famous for saying:

“Creativity is a probabilistic consequence of productivity.”

Translation: Successful people produce more.

Ahhh, but here’s the catch. The only way to produce more is to fail more. And in fact, Simonton discovered that successful creative people fail at much larger rates than the unsuccessful. Given that all his subjects were near-geniuses what accounted for the fact that some succeeded and others didn’t?

A higher threshold for failure. The ability to bounce back from rejection. The successful rebounded like rubber bands. The unsuccessful like twigs.

The Main Component Of A Bulletproof Coping Strategy

You must first be clear on why you write. What are you offering to the public? What would the world miss if you weren’t in it? These are important questions for you to explore because they are the centerpiece of a “bulletproof consciousness.” Here’s why: People are more resilient when they operate out of their purpose than their ego.

My friend Lisa McLeod is a thought performance leader. Her research shows that individuals with a clearly stated purpose dramatically outperform those who don’t. Quick example: Two people are selling a mechanical part that helps a train slow to a stop. Which one is going bounce back from rejection and sell more product—the guy who’s focused on meeting his revenue goal or the woman who sees every sale as an opportunity to save the lives of passengers?

Apply this concept to publishing. Two writers are selling mystery thrillers. Which one is going bounce back from rejection and write/sell more manuscripts—the guy who’s focused on getting a bigger advance, seeing his name on a marquee and getting congratulatory calls or the woman who sees every manuscript as an opportunity to voice new ideas, give readers a welcome break from the doldrums of every day life and manifest her need to tell stories?

Stand on your purpose and your ability to rise above rejection rises exponentially.

Other Components Of A Bulletproof Consciousness

Operating out of a clearly stated purpose will do wonders for your ability to transcend rejections but it’s not the only thing that matters. Managing the pain of rejection is a huge component. I use the 48-Hour Sulking Rule to manage mine. And for particularly painful episodes I use something that researchers discovered works better than talk therapy: Distraction and Distancing.

You also need a strategy for dealing with bad reviews. Ever notice that you gloss over the 99 positive reviews on your Amazon page and obsess/rage on the single one-star review? Brain researchers believe we are wired to focus on the negative because it helped keep us alive (was that twig-snapping sound coming from a branch swaying in the wind or a tiger about to eat you? Staying positive could get you killed). There are ways of overcoming your brain wiring but it’s too long to detail here. I invite you to check out brain researcher Rick Hanson’s wonderful Hardwiring Happiness: The New Brain Science of Contentment, Calm and Confidence. I used his discoveries and applied them to writers in my own book.

Managing The Biggest Critic Of All: YOU

Our inner critic is an indispensable help in establishing quality control. There’s a reason you don’t put out crap as a writer—your inner critic won’t let you. But the same inner critic that’s helpful in one area can be devastating in others. If you want to be more resilient in the face of rejection you have got to change the way your inner critic voices its discontent. For too many writers it takes the form of self-persecution rather than self-correction. There are proven ways to make that happen but they require your willingness for searing honesty.

Constant rejection is a fact of life for a writer. Your ability to master this challenge will have a profound effect on your career. If your inner strength is a little weak, if your ability to thrive under pressure is increasingly wilting it may be time to construct a conscious, deliberate strategy to manage rejection. With a little luck you might make it into Dean Simonton’s next book.

Do you struggle with fear of rejection? How do you get back up off the mat after a rejection and keep writing? Please leave your thoughts below and join the conversation.

Michael Alvear is the author of The Bulletproof Writer: How To Overcome Constant Rejection To Become An Unstoppable Author (Woodpecker Media January 2017).

He’s been a frequent contributor to National Public Radio’s All Things Considered and his work has appeared in Newsweek, The Washington Post, Reader’s Digest, The New York Times, The Los Angeles Times and The Huffington Post.