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how much grammar do you take into consideration when you talk?

Thanks for commenting, the "creative thinking process" is actually something very difficult to describe, Knowledge, time, life events, feelings, many things are involved on it, Now I recall I made a Flash animation where I describe it much better, don't remember why I did it but I have it saved somewhere, let me find it and I post it in the "Headquarters" section... You just don't worry to much about the quality of you works, you just need keep composing and time to do it. Usually the compositions hold the best of what we could do in that moment, if the older works seem too easy with the time is a good signal or true improvement.

Lovely! I would like to know more about your creative thinking process. I'm one of those lame composers that knows little about theory (though learning) and really wants the best for his creations.

Er, well that's something else then. It still comes down to redundancy, like I said you can say everything ever has a theory behind it. I don't see the point of saying that since it brings nothing. You can make up your OWN theory based on other people's music and, behold, that's what everyone understands as "theory" today. I says nothing about the method of composing, just your own interpretation of what you see on paper.

statement that someone uses music theory while composing without doing it consciously is either nonsense, or trite. music theory is a large large body of statements and propositions regarding various things that are called musical. there is no chance that you can use music theory without knowing it (that you do it) . you can, nevertheless, use various musical patterns composing that you constructed some time before applying music theory to your composition, but these are not themselves something you could call 'music theory' or 'things that use music theory', since they are part of your instinctive writing process. these are blocks of compositional practice, but not music theory. music theory is a body of statements and propositions, you don't use these things unconsciously. you can use musical patterns derived from applying these statements, hypotheses ( which, of course is conscious) in your composition instinctively, but it's not the same as using music theory to construct these patterns. on another hand, if the argument goes that we, nolens volens, use musical theory, since it explains how we construct patterns, hear sound and so on and it is hardwired in us, it too assumes that theory somehow is the thing it tries to explain, which, of course, is nonsense. so either we use musical theory consciously, or we don't use it at all. and, most probably, use only some bits of musical theory, since i doubt we can use all of it without overloading.