Some of the research findings may seem obvious, though we’ve often been surprised at the counterintuitive nature of some results. Although scholars disagree on many issues, there is an emerging consensus on the science of creativity. This includes long-term historical studies extending back two centuries or more, and the latest in 21st century research on human cognition and brain function (Csikszentmihalyi, 1996; Grant, 2016; Johnson, 2010).
Virtues of Creativity
Amid the platitudes and botched science, certain findings are consistent, coalescing around a handful of essential ideas. By defining and examining these themes, it is easier to conceptualize the underlying patterns of the creative process as a whole. These themes, or virtues as we have come to call them, are neither absolute nor all encompassing. Nevertheless, there is a substantial body of research that supports focus as a key to learning, leadership, and change. Just as an expert actor might think of a thousand or more ways to develop and portray a character, the vast majority of this artist’s work comes down to a very few considerations: voice, body, tone, feeling, and instruction from the director. We could add historical context and contemporary relevance. Ultimately, Brooks would argue, presence and engagement are the most important qualities in bringing a character to life. Our focus on seven virtues, therefore, is a means of accessibly communicating a complex and vast field. If you find additional virtues in your quest to understand creativity, we encourage you on such a journey. We have chosen to focus on the following seven virtues.
1. Curiosity: This is the hunger for knowledge. It is the passion that drives us to look around each corner and turn every page. Curiosity is fundamental, and while the simple act of asking a question and seeking the answer is not necessarily inherently creative, it is certainly a prerequisite to creative activity. It can also be a drive that is too easily quelled when the answer to almost any question is seemingly a Google search away. We will consider how you can be your own explorer in a world awash in easy information. Creativity challenges boundaries. Critical thinking challenges assumptions. Together, they are the twin attributes that propel new ideas.
2. Versatility: Having a creative vision is not always a matter of sticking to your guns. Adapting one’s work to a changing set of circumstances can often lead to powerful breakthroughs. We explore how unlimited freedom can be counterproductive in innovation and how constraints both real and imaginary can push the mind to places it would never go on its own.
3. Synthesis: Instead of viewing creativity as the act of pulling original ideas out of the ether, we consider how creativity is actually the joining of disparate notions and sources together into something greater than the sum of its parts. We will explore the myth of the lone genius and review the anatomy of invention. We will also look at the controversial issue of intellectual property laws and ask the important question, Who owns ideas?
4. Discipline: Ideas, art, and invention are not the product of mystical inspiration. Instead, they are almost always the consequence of hard work. We will examine the consistent role of ritual and habit in the work of many of the greatest writers, artists, and thinkers. We will discuss tools you can use to break through blocks and rough patches as well as show you how to push through your inner critic and the voice of the desperate procrastinator.
5. Collaboration: Some of the most fruitful inventions and artistic endeavors have been the work of creative individuals working in tandem (Shenk, 2014). While some artists and thinkers have staunchly preferred to work in isolation, the realities of life often require working collaboratively with our fellow human beings. We will identify fundamental principles of successful collaboration while also examining how to avoid common pitfalls of human interaction.
6. Experimentation: Great ideas are rarely the result of eureka moments. Rather, the creative process is often one marked by trial and error. We argue that the nature of art and science are more similar than one might suspect.
7. Tenacity: Creating something new means upsetting the prevailing order of things. The role of a revolutionary is rarely easy. We look realistically at the consequences and rewards of struggling to promote new ideas within a system that resists creativity and experimentation, and is intolerant of error. We also examine how the grit and perseverance that are an essential prelude to creativity benefit students.
You can find successful artists and innovators who directly violate each of our virtues at some point. There are famous artists who scorn collaboration and great innovators who seem to have stumbled into instant rewards. For example, Ludwig van Beethoven refused entreaties from well-meaning critics to “improve” the dissonant chords in his symphonies (Greenberg, 1996), and Alexander Fleming’s discovery of penicillin was a fluke based not on collaboration, but on idiosyncratic and unplanned observation (Brown, 2004). These are exceptional cases, however, and do not undermine our essential principles. We must ensure these principles are encouraged in classrooms through individual lessons and the school culture. To do so, we provide some practical advice for educators and policymakers at every level.
About This Book
This is not a recipe book for the next great thing, nor do we claim to divulge secrets that the great geniuses of the world have been keeping from mere mortals. Our intent is to start a conversation about what creativity is, the forms it can take, and our understanding of its function. We believe that understanding and learning the utility of our seven virtues is important to anyone who cares about fostering creativity within themselves or throughout their organization. As such, we envision this text being used as a book study title for collaborative teams, whole schools, or entire districts that individual educators, administrators, and other stakeholders read and then discuss during in-service, collaborative team meetings, professional development time, or any other collaborative setting a school or district uses for stakeholders to communicate about and work toward common goals. Leaders may choose to ask participants to read the book in its entirety before discussion or discuss predetermined chapters over the course of multiple meetings, as is practical with regard to their group’s meeting time and schedule. We have provided reflection questions at the end of each chapter to facilitate those discussions. Additionally, we have included a number of specific examples in mathematics, art, music, theater, social studies, language arts, and other disciplines. However, in doing so, we risk two errors. First, if we make the examples too simplistic, we will alienate our readers who are subject-matter experts. Second, if we make the examples too complex, we will alienate our readers who are unfamiliar with that particular discipline. So, we have deliberately chosen to make the second error, hoping that readers who don’t find a particular example to their liking will quickly skim ahead and find an example that engages both their intellect and their academic preferences.
While this book is conducive to group study and discussion, individual readers will also benefit greatly from engaging with the content and reflection questions on their own. Readers who are interested in creativity may not be those most likely to take a linear approach to this or any book. Some readers will start with the “References and Resources” section to identify the intellectual underpinnings of the authors’ arguments; others will skim the chapter titles for those that most resonate; others just want to get to the point. To help you navigate, we provide a brief summary of the book’s structure.
Chapter 1 explores the common misconceptions about creativity and the