“Seth material” search engine (Jane Roberts)

Creative people, if they succeed at all, often find themselves in a position where they feel that the precious inward isolation is threatened. Demands are then made by the outside world that were not made earlier. The inward work ends up causing them to relate to a physical world when they believed that their duty was to shut themselves off from that world.

There are other issues of which he has been lately somewhat aware, connected here for example. In the beginning the symptoms made certain that he would not have to get a job. That fear no longer operates. The belief as he wrote it alone was simply that to do his creative work he had to curtail other activities. In the beginning as an apprentice writer this was to allow him to develop.

Now. From the rich bed of creative imagination springs the physical facts that appear within your lives. Ruburt’s imaginative endeavor with the trailer for example represents the kind of activity that is far more productive than any attempt “to face” the terrible conditions that could result if the situation is not solved.

As probabilities operate in each moment of your life there are minute improvements in Ruburt’s condition, and minute backslidings; pulsations, really, of reactions. Now if you concentrate upon the improvements with this understanding that facts grow from that creativity, then you begin to structure your attention in the line of those improvements, minute as they appear. And they grow, sometimes slowly, or by leaps and bounds, and the backslidings begin to disappear, and become less and less apparent or meaningful.

(“I believed it was my duty to use my creative abilities each day, to concentrate fully there and to exclude everything else I could.”)