First Thought, Best Thought

Commiting to Yes (And…)
First Thought, Best Thought was the title of a book of poetry by Chogyam Trungpa Rinpoche and a phrase he used to describe engaging fresh mind in any creative endeavor. Last week, we discussed the idea of a fresh start—how returning to the breath brings us into the present, allowing our next step to be free of past attachments. In this sense, first thought is the moment the mind comes to a creative inflection point, that is stepping forward with confidence and clarity.
However, first thought is not the first thought we notice. By the time we become aware of our thinking, we are generally enmeshed in a point of view shaped by past experience. This natural function of the mind contextualizes the present based on what we’ve learned, which, while useful, can lend itself to reiteration, blocking true creative exploration.
There are two aspects of mind we can consider: the fresh, free-flowing mind and the compounded mind that analyzes and categorizes based on prior knowledge. The compounded mind refines what it already knows, strengthening established neural pathways. This can feel satisfying and safe. Think serotonin. Fresh mind, on the other hand, forges new synaptic connections—an activity that excites the brain in an entirely different way. Think dopamine. Both aspects are integral to our mind when they harmonize in a workable balance. These fall out of balance when we lock ourselves into a secure redoubt, or jettison ourselves into unprotected space. These are known as 1st and 3rd circles, respectively. The middle way is known as the 2nd circle. This is the space of optimum creativity.
Square One and the Power of Space
In Trungpa Rinpoche’s Dharma Art course, the very first class begins with students sitting in a circle. There is a blank white sheet spread on the floor. This experience, which he called Square One, was designed to immerse students in the energy of clear, open space. The entire premise of Dharma Art—creating authentic expression within one’s environment—relied on the understanding that Square One was completely empty.
Emptiness is often misunderstood. To the materialist, ego-driven mind, emptiness feels like voidness, a loss of reference points. When we are not preoccupied with acquiring, ignoring, or resisting external things, the ego panics, interpreting the lack of engagement as nonexistence. Yet, space—like the vastness surrounding our planet—is filled with energy and potential. In tantric traditions, space is considered the feminine principle, the womb of all creation.
Sitting around the white sheet, the mind naturally throws up objections. It searches for past experiences to contextualize the moment, and when it fails, it fabricates fantasies based on conditioning. Anything to avoid accepting the pure potential of space. This can feel agonizing, especially when we believe we are supposed to create something. But did the universe know what it was creating when it began?
The Sacred Moment of Not Knowing
When faced with uncertainty, the ego scrambles to define, control, or solve what is before it. This is a noble instinct, but it is not the act of creation. Many spiritual traditions hold the moment of not knowing as sacred. The I Ching describes this as the moment just before the sacrifice, when the practitioner silently opens to the divine. This pause—this waiting—creates space for inspiration.
But what is inspiration? What is channeling? What does it mean to create without the conscious mind dictating the process? When we reach our highest potential and then simply open in silence, we are not controlling what comes next; we are making space for it to emerge. The next impulse may arise internally or from the environment. In theatrical improvisation, it might be prompted by a partner’s line. If we already know the line—as in scripted theater—we strive to make our response feel spontaneous. But in true improvisation, we do not know the prompt beforehand, so our response emerges authentically, as if it were a pure first thought.
Improvisation, Acceptance, and Flow
Naturally, even improvisation has guidelines to sustain the creative flow. The most well-known rule is Yes, and…—the principle of accepting whatever is presented and responding intuitively.
Our habitual responses to the world tend to fall into three categories: acceptance, resistance, or avoidance. Improvisation shifts this toward acceptance. The second rule, No Denial, ensures that energy continues moving forward. For instance, if my scene partner says, Good morning, Doctor, I should not reply, I’m not a doctor! That would break the flow. Instead, I might say, Good morning, Mrs. Smith. Your dog is doing very well and can be picked up today. This maintains the reality we are creating while still allowing space for personal agency.
Trungpa Rinpoche’s Dharma Art was a laboratory for discovering pure impulse and response in the creative process. It was not meant for performance. To cultivate a coherent flow, Trungpa employed three guiding principles: Heaven, Earth, and Human. A response could offer a larger perspective (Heaven), set the ground for what is happening now (Earth), or engage another person emotionally (Human).
Just as the universe created itself, humanity may have evolved to perceive, feel, and interact with that unfolding creation. When we gaze at the night sky, we see a seemingly static and reliable expanse. Yet, in reality, it is dynamic and ever-changing. The stars we see may no longer exist as they appear; their light has taken years, even millennia, to reach us. The sky is a snapshot of creation in motion. When we quiet the mind—acknowledging our thoughts but resting in the space between them—we create the silence needed for inspiration to arise.
Creativity as a Way of Being
Of course, not every first thought is brilliant. That’s why the Dharma Art approach values process over performance. What matters is accessing the pure moment of space and noticing what naturally arises—before conditioning encumbers it. This process mirrors the way we engage with structured and unstructured elements in life.
A society functions through rules and norms, yet within that structure, we can live creatively. We don’t need to force ourselves to conform to rigid formulas, but we also don’t have to reject structure altogether. Instead, we can relate to societal frameworks in a way that allows for meaningful interaction while maintaining creative freedom.
In art, we see this dynamic play out in genre conventions. A procedural or romance novel follows a predictable structure (Earth), whereas an experimental novel unfolds in real time (Heaven). The most compelling works balance these elements, engaging readers with familiarity while surprising them with discovery. Similarly, we can author our own lives—grounded in reality yet open to the unknown.
This brings us back to the blank space. Try this experiment: Pause. Let your mind rest. Instead of steering your thoughts toward a desired outcome—especially one shaped by preconceived notions of what meditation or creativity should be—allow yourself to simply be. Notice the first authentic impulse that arises.
If you commit to Yes, and…, you can take the next step toward creating your piece, your day, or your life.


There is an old Zen saying: “Disappointment is the chariot of liberation.” But what does that mean? Is it simply wishful thinking when things go wrong? Not quite. It points to a fundamental aspect of the path toward liberation. What are we liberating ourselves from?
human behavior is that we will do the extra work of fabricating a fiction, rather than simply relax with what is. This is where mindfulness comes in: the ability to slow down, synchronize with the moment and rest our attention with what is happening. This allows the space for us to see a perspective grander than one constrained by habittual reaction. With mindfulness we are able to see if the next action is leading to freedom or reinforcing habitual patterns that limit us. And we can take the next step. If we are brave enough, we might step through the veil. When we are controlled by fear, we might cycle back to habit.
Even when we believe we are succeeding within a particular frame, we may only be reinforcing the walls that separate us from deeper understanding. Every mistake, problem, or disappointment is an opportunity—not for blame, but for insight. What we call “failure” often arises from the expectations of the frame we are living within. We didn’t get the job, the person didn’t call back, we failed to reach our goal weight—these disappointments expose the treadmill of habitual thinking that keeps us confined. But when these expectations are disrupted, we have a chance to reset, to step beyond the frame and see our lives with fresh eyes.
In Buddhist teaching, Patience is taught as one of the six paramitas. The Paramitas Generosity, Patience, Discipline, Exertion, Meditation and Wisdom are activities that transcend our conventional frame into a more expansive or “transcendent” expression of experience. This transcendence is sometimes referred to as “the other shore,” as we move from a self-centered, habitual interpretation to one imbued with greater depth and perspective. From this larger perspective, patience can be viewed as a positive application for the development of wisdom. We are not clamping down or tightening up; rather, we are allowing space between an impulse and our action. This space provides the opportunity for us to become cognizant, intentional, and mindful. Transcendent Patience is a momentary pause for us to find the most appropriate response to whatever situation confronts us. More importantly, that space allows us to connect with our natural serenity and peacefulness of mind. Through consistent, dedicated meditation practice, we can develop the ability to recognize these moments of pause—often just before we bite down or cling to our next reaction.
Patience, in its transcendent form, is not merely about waiting for external circumstances to shift. It is about cultivating space within the mind to introduce awareness into our processing. Patience allows us to see our thoughts as they form, granting us the opportunity to respond thoughtfully rather than react impulsively. In Tibetan, this reactive “hook” is referred to as shenpa; Pema Chödrön describes it as the feeling of being hijacked by familiar patterns of reactivity.
Patience also applies on a behavioral level, especially when we are cultivating something new—a relationship, a creative project, or a business. In some spiritual traditions, practitioners “turn it over to God.” In Buddhism, we turn it over to space itself, trusting that space is imbued with the same intelligence and compassion others may attribute to a deity. Rushing a project or relationship may bring temporary gratification but rarely yields sustainable growth. Patience allows the natural rhythms of the process to unfold, supporting more authentic and enduring outcomes.
importance of creating safety for not only himself but also the Dharma and for his students. The need for protection grew alongside his rapidly expanding community. In Tibet, monasteries were safeguarded by monks trained in awareness and nonviolent crowd control. Trungpa’s close attendant, John Perks, a British armed forces veteran, played a pivotal role in this initiative. Perks, who passed away on January 31st, was an outrageous and endlessly creative figure whose book The Mahasiddha and His Idiot Servant captures the spirit of the time.
These principles trace back to the 9th century when the Indian Mahasiddha Padmasambhava introduced Buddhism to Tibet at the invitation of King Trisong Detsen. Padmasambhava encountered numerous obstacles, as Tibet’s rich mystical traditions were diverse and often aggressive. While some practices were positive, others were rooted in fear and superstition. The Tibetan king sought to unify his people through a central spiritual framework, seeing Buddhism’s ideals of nonviolence and compassion as tools for governance. Inspired by India’s spiritual renaissance, Padmasambhava aimed to refine Tibet’s spiritual landscape.
The ideal meditative state—clarity and acceptance—rests on the openness and settledness of the body, heart, and mind. However, life rarely offers us perfect conditions. For me, morning practice often begins with a scattered or resistant mind. The first step, then, is acceptance—meeting the mind as it is and not as I wish it to be.
Once again, meditation isn’t about fixing; it’s about seeing. The mind of meditation arises in awareness like a point in space. And as the space of awareness is relieved of the pressure to fix itself or chose a side, it remains loving and supportive. It is a state of grace. By stepping into the grace of awareness, we don’t need to force change—we simply allow what we notice to be with us, remembering none of it is as real, solid or urgent as our fear suggests. Trungpa Rinpoche famously wrote, “good, bad, happy, sad – all thoughts vanish like an imprint of a bird in the sky.” Once we release ourselves from the grip of control, we see everything as ephemeral, diaphanous and in dynamic transition. Sakyong Mipham calls this the displaysive activity of mind. All of our worries are the mind revealing itself. Many of our worries are kid fears. And like kids, they need to be loved and accepted, but not always believed.
Ego which can be seen as the very limited defensive nature of the mind, serves to reduce our world to a controllable space. Its logical extension is the propagation of surety, dogma and doctrine. The opposite of ignorance(ma-Rigpa) is knowing (Rigpa), and therefore, egoless being is sees and knows what is happening. And it always has. This is Buddha Nature – our natural state. Because it is accepting reality as it is, it is not at war. Thus, Buddha Nature is said to be indestructible. It has never changed. It is the life of the universe and the very life around us. And though our lives will pass into other configurations, our essential nature is said to be part of all of nature. Ego clings to temporal things in order for us to believe that temporary things give us solace and sustenance. We can squint our eyes and believe what we are happy but, inside us, we know that happiness is immaterial. Material things are “like a banquet before the executioner leads us to our death.” Revenge, retribution, and displays of grandiosity masquerading as leadership are fleeting and meaningless. They are basically good, because they are there. But they are expressions of ego and ultimately fleeting.
Physical pain awakens us to the possibility of danger or a need to heal. While few of us like pain, it serves a vital function. Some p
There is nothing wrong with fantasies until they take the place of actual engagement in life. Fantasies allow us to journey into edgy realms with no real investment. By imagining pleasures of the flesh, we have no actual skin in the game. (Yes, bad pun intended.) We can live out fantasies at will in apparent safety. However, as they serve an important creative function, it may be that fantasizing only supports the solitude that allows wounds to fester. Sometimes we analogously recreate the actual wounding we are otherwise unable to look at directly. People may act out abuse sexually by entering a “play space” that is an active dissociation of their primary personality. The “play-space” is a safe space people can act out being unsafe. And whether this is working through their deep wounds or reinforcing them is unclear.
The present moment rests between the past and the future. Specifically, how we could protect ourselves from this situation or how we can enact laws to protect our community in the future. Or, going deeply into the causes and conditions of what happened to us might lie in the past. Either of these examples might be helpful, but they are more the province of therapy. Meditation looks at what is happening now. That is what we mean by the light. Many of us were wounded so deeply in the past that there is little possibility of contacting the source of that suffering. But we can feel their effect right now if we remain conscious. And as we become more and more conscious of that which lies within us, we become more and more whole.