Reason #1: Self-Imposed Creative Limitations Promote Sanity.

While this is likely the least important reason on this list, I still it’s think worth mentioning.

“There are two kinds of folks who sit around thinking about how to kill people: psychopaths and mystery writers.”
― Richard Castle

“To me, Rocket and Groot are real. I feel love for them like I would a human being. That’s probably some form of mental illness on my part, but that’s just the way it is.” — James Gunn

I’m paraphrasing here, but someone once said that all creative people were mentally insane by default. There’s a LOT of truth in that sentiment. But the problem with it is that there’s no real reason for creative types to be teetering on edge. Creativity at its fundamental core is an unleashing of the mind. But as with all fragile things, the mind must be handled with care.

Every writer is different, which means every writer will have their own set of limitations. Some writers are more apt to write about topics such as rape, while others are quick to shy away from it. Others have a difficult time writing violent acts, while their peer’s continue to write a plethora of shoot-em-up-bang-em-up stories like there ain't no tomorrow.

For some writers, certain content may act as a psychological trigger. Some might still carry fears that make them toss and turn at night. For others, maybe some content runs parallel to their convictions. The reasons why certain content might not sit well with someone is truly all over the board. But, when writers learn their own psychological limits, they can begin to hone them as a creative strength.

Reason #2: Self-Imposed Creative Limitation Is Like A Knife Sharpener

“A happy ending is a little like eating ramen I think. It’s great going down and then it’s gone. I find that ambiguity stays with us because we’re forced to think about the thing. Digest it. There is more multitiered meaning there when ambiguity is present.”
— Robyn Miller, on why he favors ambiguous endings

With my own writing, I’ve found that when it comes time to bring an edge to your work, that edge will be sharper and more effective if you've practiced good self-limitation.

My absolute favorite example of this is the ending of Gone with the Wind.

For the uninitiated, Gone with the Wind ends with Rhett Butler leaving Scarlett O’Hara after years of being unloved, just as Scarlett discovers her true love for Rhett. Despite Scarlett begging him to stay, Rhett leaves her with what is considered to be the most memorable line in movie history:

“Frankly my dear, I don’t give a damn.”

In one line, a film that had resisted profanity shows up and seals its fate in history. A single instance of the word “Damn” says what no other word in the English language could say, making the moment all the more powerful.

A few years ago, I started calling character beats like these “Rhett Butler Moments:” instances where the only word left in the English language to convey a point is a curse word. They’re almost always powerful moments, and they’re often the result of a creative limitation.

That said, one could very fairly argue that Rhett Butler’s famous one-liner was a product of its time.

So, let’s look at a more modern example.

In X-Men: First Class, there’s a brief cameo appearance by Wolverine. In the overall context of the film, his appearance is mostly unimportant; but the filmmakers found a nice little way to make it relevant.

In the setup, Charles and Erik are out recruiting mutants across the globe. They’re briefly seen entering a bar, where Wolverine is sitting, alone, smoking a cigar. When Charles and Erik attempt to make contact, Logan pips up and says three little words:

“Go f*** yourself.”

Three. Little. Words. And in that one line, you learn everything you’ll ever need to know about Wolverine.

Now, you could argue that Logan still had the ability to say something less provocative, instead of a word that no one else in the film uses. I however would argue that Logan’s use of strong language was a demonstration of his character, and it wasn't within him to say something different. In other words: he had a Rhett Butler Moment, and the writers wisely limited themselves in order to make it stick (especially when you consider the PG-13 restrictions for such things).

This type of self-limitation exists beyond the use of strong language as well.

Man of Steel provides a recent example:

Why is this an example of self-limitation by the writer, you ask? Because throughout the film, we’re shown time and time again that Clark Kent does NOT kill. Therefore, when Clark finally DOES kill, you’re left with a moment in his life that mirrors the shock factor generated by Rhett Butler’s walkout line. Only this time, that shock deeply affects the character and the audience alike.

Superman killing Zod is one of the strongest character beats in the movie, and it’s wholly attributable to creative self-limitation.

Reason #3: Self-Imposed Creative Limitations Foster Further Creativity

“The vision and feeling was all based on our previous work. Myst evolved out of those works. Those early worlds set our basis on which we would build more complexity and depth.
“The limitations we faced were for the most part technical. The slow speed of CD-ROM, interface issues. But we knew those limitations when we started and strived to design the game around those issues.”
— Rand Miller, on the development of Myst

You’re probably asking, “How in the world could limiting YOURSELF foster creativity? Huh, HUH?! Do 2+2=39?!?!”

Well, the answer is simple. Take an independently owned pizza place as an illustration:

The pizza place in question offers unbelievably amazing food, and incredibly high quality service. There’s just one catch: they’re being clobbered by the competition. They’re out advertised, they’re out matched at bringing in new customers, and it’s really taking its toll on their business.

In other words, they've met their limitations.

What now? How will this pizza joint ever survive?

The same sort of situation arises for those who choose the path of self-limitation. And in the process, you’re forced to exert your creative muscles.

As it happens, the pizza place in our original example decided to run a special for a $4.00 Large Pepperoni pizza: a price that couldn't be matched by their competitors, because it was being sold without any markup. Word of mouth spread, and pretty soon business increased by ten fold.

Likewise, some of the greatest creative endeavors of all time were born out of limitations.

Myst (computer hardware limitations). Star Wars (inability to secure film rights to Flash Gordon). Pilgrims Progress (imprisonment). Podcast Audio Dramas and YouTube channels (budget limitations). HBO (broadcast restrictions).

Real world limitation forces those who are creative minded to find a new and better way. A more creative way.

Creative self-limitation acts similarly, keeping writers confined to an infinite sandbox walled in only by the writer’s limits. As a writer graduates and matures, those walls can expand, making what was once old feel new again. Self-limitation forces writers to discover new things in a smaller space.

To put it another way: it’s a big world, but it’s amazing how much you can discover right here at home.

The self-imposed limits a creative writer might have where a topic like, say, extreme alcoholism is concerned, might just be the avenue that leads them to write a story that tackles extreme alcoholism head on in a new and inventive way.

When I consider this sort of self-limitation, I’m reminded of how Suzanne Collins chose to tackle the tough subjects that affected her world. Through The Hunger Games, she gave herself room to present social commentary on everything from war, to propaganda, to our culture’s obsession with media, even the public’s love for sport, all in a manner that transcends political barriers, and one that allowed her to express her thoughts while respecting her own creative boundaries.

In closing, I've found these three points to be helpful in my own creative endeavors. Learning one’s limits can allow you as a writer or a creative individual to hone them and apply them to your output.

If you’re someone who’s afraid of feeling trapped, the great thing about creative limits is that they’re practically designed to be pushed by default. You as a writer get to set where your limits are, and only you get to decide when to adhere to them or dig a trench under them. Which is great! Because as cool as it would be, self-imposed creative limitation isn't a one-size fits all thing. It’s more like a department store: a world within a world, where variety abounds.