Chapter 61 seeks to debunk the stereotypical image of an artist as a tortured genius. Rubin argues that this idea implies that an artist needs to be hurt, traumatized, or broken to create. This generalization is false, according to Rubin. It is true that some artists face incredible obstacles and endure suffering to create their work, but it is also true that many artists live their lives with satisfaction and enthusiasm in their personal experiences. Artistic temperament has a diverse and wide range of possibilities. Rubin recommends that artists choose the most sustainable option for their artistic production.

Chapter 62 reminds readers to find the habits, routines, and procedures that work best for their creative output. Artists develop rituals that have a positive effect on their work. Rubin recommends finding their own personally tailored rituals. Although experimenting with others’ ideas can influence and provide guidance, the choice of rituals is ultimately up to the artist.

Chapter 63 explains the ways that artists learn mysteriously and in bursts. Daily practice stays consistent, but the rate of learning ebbs and flows. Often for artists, learning occurs in variable rates of proficiency. The overnight effect—wherein artists train hard one day with seemingly little to no progress sleep through the night, and wake up the next morning with greater ability—is frequent amongst artists.