Chapter 36 says that the creative mindset provides unlimited access to the world of ideas; as such, Rubin recommends keeping productivity consistent. Rubin advocates for the idea of manifesting creativity when he writes that each “mindset evokes a universal rule: whatever we concentrate on, we get” (202). Artists should regularly release artwork to maintain their creative flow while remembering that one’s art is ever-evolving and subject to change. Rubin recognizes the abundance of ideas and possibilities, which he hopes will encourage artists to release their work regularly.

Chapter 37 divides artists into two categories, “The Experimenter and the Finisher.” Rubin writes that “[e]xperimenters are partial to dreaming and play,” whereas finishers “move quickly to the end point with immediate clarity” (205). Each type of artist should borrow the attributes of the other. Rubin provides the example of an album: An experimenter stuck on a 10-song album should narrow their focus to two songs. Finishing smaller bits of work provides momentum.

Chapter 38 advocates for the strategic imposition of limitations to define the goals of a project. Temporary rules open the artist to opportunities by forcing restraint. Rubin uses the example of director Lars von Trier’s Dogma 95 rules, which led to Thomas Vinterberg’s film The Celebration (Festen), which was met with critical acclaim at the 1998 Cannes Film Festival.