The essence of art lies in genuine expression. Authenticity aids creativity, but focusing on originality can often distract. This article looks at defining a personal perspective, allowing work to evolve organically.
by JD FitzRoy
An Introduction of Sorts
I’ve been thinking about this subject for quite some time. It’s developed as I’ve worked through the planning, writing and then editing of my novels. The notion of being genuine sits at the very core ethos of being an artist. Strange as it may seem, I feel some of these may appear contradictory in our modern world of social media and mass communication.
In this article, I will focus on the artist as a writer of fiction, but you could see this as a look into any kind of artist really.
Being genuine is perhaps the most crucial part of any artistic project or venture. Yet it is something that’s very difficult to achieve. Being genuine wears many guises. It represents the fundamental goal for the work. It should represent the core vision of the artist. And it is also the best way to connect to an audience.
On Humanity and Evolution
The human aspect will always be the driving force for any narrative, even if your characters are aliens or trees, whether your word is an alternate timeline, fantasy or a distant future.
Beyond all categories for your work (your vision, goals, themes or mindset), it is vital to find the true humanity of a story.
With a love for philosophy, I think my writing and art can often veer into the stuffy and intellectual. I love dealing with matters of the mind, of thought and aspects of the definition of consciousness and even the notion of reality itself.
And in this, I sometimes need to be mindful when I disappear into a stuffy library! To allow my emotional side to recognise when my intellectual side is taking control of a story or scene. To remember where and how the character should act in any moment, and keep a little voice to one side as an editor, advising on venturing too far from humanity.
Yet there can be a tangle and weaving between what you want and what the project itself determines. When sculpting, the story itself can dictate its own needs and some of these can lead you off track from your original vision or authenticity. Not to say it could evolve and form a new validity, and perhaps that’s what any artist should be free to explore and let happen.
These aspects sometimes determine the pace, flow, character requirements or even the length of the finished narrative. Sometimes, I feel myself to be the writer (the creator), and at other times I’m the conductor or director, helping guide the emotional essence of a story.
Perhaps crucially here, you should be free to let the work evolve, yet keep a critical eye on veering too far from your goals, the work’s inspirational core, or too deeply into distractions.
Originality vs. Subjectivity
Is anything truly original?
It’s an important question to ask. Too often, I feel, a writer can get bogged down and procrastinate over originality.
Trying to be original can often act like a poison pill. I think a better way to look at your creative work is less about trying to be original, and more about what are you trying to say. What is your unique perspective on a story. Yes, every single person/writer/artist has a unique perspective. This is the beating heart of subjective experience. Everyone has a different story to tell and different emotions and experiences to draw upon.
I believe this is how the remake of a film can be successful. Yes filmmaking techniques and the language of cinema itself can change, but a new perspective on an old story can sometimes be massively successful.
And anyway, sometimes being original is out of your hands. Probably quite often, really. By the time your magnum opus is published, someone else may have cornered the market or become famous for inventing something. Or you may not even see what others see and claim as original. And this is where any creative work takes on a new life. Through the eyes and minds of its audience.
The Duality of A Creative Work
It is often said that any creative work has two lives. The one where the creator (or creators) invent and shape the narrative, and the other where the reader or audience absorb and interpret the work.
If you are being genuine to the work, you shouldn’t spend too much time trying to second-guess and sculpt what the reader may understand. There’s a delicate balance to be maintained throughout a narrative and this is dependent upon your reader’s abilities and your narrative’s marrow. You’ll need to gently keep the reader up-to-date on characters, locations and the passage of time, but you’ll also need to maintain core themes and subtext.
Some of these deeper aspects to a story can be found or even invented by the reader. So, trying to explain your trusted themes within the work might be a waste of time.
On the Subject of Vulnerability
A facet of being genuine is vulnerability. The revealing of a deeply seated part of yourself, your ideas, fears and emotions. This is something you need to be prepared for, and something many artists will fully recognise: The desire to be introspective, to study oneself and one’s place in the world. And to grapple with any darkness, frustration and anything else you may unlock. Yet this process sits at the heart of being an artist and can be cathartic. What you find may frighten you, but it will more than likely inthrall and motivate you to continue.
Yet vulnerability is more than just tapping into, and opening a deep aspect of yourself to the world (and to yourself!), it can also mean financial vulnerability.
The need to showcase your work – to court interest, to build an audience or seek publication – also risks getting it stolen by people, companies or now, even AI algorithms. With no clear publication-goal, this aspect can hamper artists, limiting their desire to dedicate the time needed.
And dedicating months or years on a project can be a time and financial burden with little or no reward. So perhaps as a structural foundation, you need to build upon the understanding that you may struggle for years or even a lifetime. And you need to be prepared for a certain kind of fulfilment from the completion of work without publication.
A Conclusion of Sorts
I believe the heart and soul of an artist is to tap into quiet and subtle facets from somewhere deep within. To find and sculpt a voice and way to express yourself. And not to worry about originality but instead really tap into your unique, subjective experiences. If you stay true to yourself and your visions but allow flexibility for the work to evolve organically, you may be thrilled by the completion of your masterpiece. And, maybe, hopefully, others will too.
Here’s to mine and your future works!
© J.D. FitzRoy 2026
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