Steal Like an Artist: 10 Things Nobody Told You About Being Creative

Kleon starts his book by saying that this advice is accumulated from a decade of “trying to figure out how to make art,” but that his tips “aren’t just for artists,” but for “anyone who’s trying to inject some creativity into their life and work” (1). Kleon’s definition of art is inclusive and flexible, not limited to “high” art. Kleon parallels making art with “creativity,” and expresses the view that everybody has some sort of creative practice and can therefore be making “art.” Kleon’s wide definition of art continues throughout the book: His references are varied, including visual artists, musicians, businesspeople, craftspeople, inventors, coders, and authors.

Kleon draws a distinction between compulsory school and education as voluntary lifelong learning. He has a broad and inclusive definition of education. Beyond schooling, he argues that “it’s always your job to get yourself an education” (19) and that seeking new understanding is part of the creative impulse and discipline. Kleon equates education with being curious about the world. The more artists are curious and learn about the world that surrounds them, the more content they have available to “steal.” He encourages his readers to “look things up. Chase down every reference. Go deeper than anybody else […] Google everything. I mean everything. Google your dreams, Google your problems. Don’t ask a question before you Google it” (19). Digital technology aids curiosity and education. To Kleon it is also accessible—rather than needing the skills or opportunities to access traditional forms of knowledge, aspiring creatives can search online for reputable sources on any topic. By doing this, artists will learn more about the world around them, which provides education that can inspire new, creative ideas.

While Kleon’s main thesis is to “steal like an artist” (1), he sets some important boundaries on what it means to steal. He is clear that he doesn’t mean to plagiarize or directly imitate someone else’s work. Though he encourages his audience to “copy” their heroes, the idea behind copying is to emulate them, not imitate them. He writes that “imitation is about copying” while “emulation is when imitation goes one step further, breaking through into your own thing” (38). While trying to copy heroes, an artist will necessarily diverge and “discover where our own thing lives” (41) and begin making art that only they can make.

Kleon addresses what he characterizes as a “very real thing that runs rampant in educated people. It’s called ‘imposter syndrome’ […] It means you feel like a phony, like you’re just winging it, that you really don’t have any idea what you’re doing” (27-28). Imposter syndrome is a theory founded in the 1970s to describe the crisis of confidence that many successful or talented practitioners feel. Although Kleon accepts that imposter syndrome may be an unavoidable experience for some, he suggests that this can be alleviated by separating the personal fulfilment of creative practice from external markers of success: “[Y]ou don’t try to make money or get famous off it, you just do it because it makes you happy” (72). Taking away the pressure of succeeding and acquiring fame, recognition, or money can alleviate the feeling of imposter syndrome, since creativity just becomes about passion and joy rather than success.

One of the two types of files Kleon suggests creatives keep is a “praise file.” He is clear that artists should not make art for the goal of fame, validation, or money. However, he does admit that “it’s still a tremendous boost when people say nice things about our work” (113). The internet can get people’s work in front of more people if a piece goes viral, or “take[s] off online” (113), which might result in “Tweets and nice e-mails from people discovering my work” (113). As the internet allows artists to show their work to a wider audience, it allows others to contact artists and compliment their work. Kleon suggests that artists compile the “really nice” emails and comments and put them in a “special folder” (115). This folder is not for gratuitous praise, but to look at whenever there is “a dark day when I want to quit” (115). If an artist keeps a praise file for their loneliest days, they can achieve a confidence boost that keeps them going.