Finally, creative fields reveal how production dissolves paralysis. In Bayles and Orland’s Art & Fear (1993), the ceramics-class anecdote shows that a quantity-focused group, by making pot after pot, surpassed the quality-only group—practice uncovered technique. Likewise, Steven Pressfield’s The War of Art (2002) personifies resistance to highlight a daily ritual: sit down and start. The lesson loops back to Clear’s imperative—move your hands—because consistent making, not perfect planning, is what turns uncertainty into craft. [...]
