E-book attached for references and guide about this class. Project (Individual): Pushing Out of the Comfort Zone During this module, you must engage in 6 new experiences. By new?, I mea

Organizational Creativity

Praise for Organizational Creativity: A Practical Guide for Innovators & Entrepreneurs

“Simple, deep, entertaining and useful—that rare combination can be found in this engaging book. A must-read for anyone interested in innovation and creativity. I enjoyed it and strongly recommend it.”

—Sergio Fajardo, Ph.D. in Math, UW-Madison; Mayor of Medellín (2004–2007) and Governor of Antioquia (2012–2015), Colombia “Organizational Creativity is one of the most lucid, thoughtful, and insightful books on how organizations can leverage creativity to produce innovative results. The “know-do-be” theme and the engaging writing style convincingly articulate ways to develop creativity skills and traits. Anyone interested in fostering innovation in organizations needs to read this book.”

—Srikant M. Datar, Arthur Lowes Dickinson Professor of Business Administration, Harvard Business School; Coauthor of Rethinking the MBA: Business Education at a Crossroads “Another insightful contribution to understanding creativity from Buffalo’s International Center. The significance of creativity for innovators and entrepreneurs is badly in need of such clarification.”

—Tudor Rickards, Emeritus Professor, Creativity and Change Management, Alliance Manchester Business School, University of Manchester “Organizational Creativity is a wonderful book—so engaging, enlightening, and inspiring that readers will hardly notice how much they are learning. It gives a guided tour through each stage of the innovation process, from identifying and defining the most important problems to generating breakthrough ideas to successfully implementing the best solutions. Aspiring entrepreneurs, innovators, and business leaders will find here the keys to nurturing not only their best ideas but also their most creative selves.”

—Teresa Amabile, Professor and Director of Research, Harvard Business School; Coauthor of The Progress Principle “Creative thinking is widely considered a 21st-century skill. To best prepare students for today’s complex work world, colleges and universities must find pedagogically sound practices that promote creative thinking. Here at Sheridan we have adopted, with great success, many of the principles, methods, and tools described in Organizational Creativity. There is little doubt that these strategies are contributing to our students’ creative-thinking capabilities.”

—Mary Preece, President & Vice Chancellor, Sheridan College, Ontario, Canada “Educational experts and business leaders throughout the world have consistently cited creativity, innovation, and entrepreneurial skills as vital for professional success in this century. At the Universidad Autónoma de Bucaramanga we have used the contents of this book to help guide a powerful institutional intervention to make our university the first creative campus in

Latin America. As a result, our students now have strategies to release the utmost potential they have within them.”

—Alberto Montoya Puyana, President, Universidad Autónoma de Bucaramanga, Colombia

Organizational Creativity A Practical Guide for Innovators & Entrepreneurs

• Gerard J. Puccio • Buffalo State–State University of New York • John F. Cabra • Buffalo State–State University of New York • Nathan Schwagler • The Dalí Museum, St. Petersburg, Florida, USA

FOR INFORMATION:

SAGE Publications, Inc.

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Copyright © 2018 by SAGE Publications, Inc.

All rights reserved. No part of this book may be reproduced or utilized in any form or by any means, electronic or mechanical, including photocopying, recording, or by any information storage and retrieval system, without permission in writing from the publisher.

Printed in the United States of America

Library of Congress Cataloging-in-Publication Data

Names: Puccio, Gerard J., author. | Cabra, John F., author. | Schwagler, Nathan, author.

Title: Organizational creativity : a practical guide for innovators & entrepreneurs / Gerard J. Puccio, Buffalo State, State University of New York, John F. Cabra, Buffalo State, State University of New York, Nathan Schwagler, University of South Florida Dali Museum.

Description: Thousand Oaks, CA : SAGE, [2018] | Includes bibliographical references and index.

Identifiers: LCCN 2016051144 | ISBN 9781452291550 (pbk. : alk. paper)

Subjects: LCSH: Creative ability in business. | Creative thinking. | Problem solving. | Technological innovations.

Classification: LCC HD53 .P83 2018 | DDC 658.4/094—dc23 LC record available at https://lccn.loc.gov/2016051144

This book is printed on acid-free paper.

Acquisitions Editor: Maggie Stanley

Developmental Editor: Neda Dallal

eLearning Editor: Katie Ancheta

Editorial Assistant: Ashley Mixson Production Editor: Jane Haenel

Copy Editor: Mark Bast

Typesetter: C&M Digitals (P) Ltd.

Proofreader: Christine Dahlin

Indexer: Terri Morrissey

Cover Designer: Janet Kiesel

Marketing Manager: Ashlee Blunk

Brief Contents 1. Introduction: Purpose and Design of This Book 2. About the Authors 3. Part I. Knowing: Creativity Knowledge to Support a 21st-Century Innovator

1. Chapter 1. Innovation Wired: You Evolved to Create 2. Chapter 2. How to Survive and Thrive in an Era of Innovation and Change 3. Chapter 3. What We Know About Creativity 4. Chapter 4. The Practical Benefits of Creativity: Becoming an Innovation Asset

4. Part II. Doing: Proven Practices for 21st-Century Innovators 1. Chapter 5. Think: How to Improve Your Fundamental Capacity to Think in

Creative Ways 2. Chapter 6. Understand: The Power of Observation and the Importance of Problem

Definition 3. Chapter 7. Ideate: Ways to Visualize and Generate Breakthrough Ideas 4. Chapter 8. Experiment: Strategies to Develop and Validate the Best Solutions 5. Chapter 9. Implement: Gaining Buy-In and Driving Change

5. Part III. Being: Ways to Sustain Yourself as a 21st-Century Innovator 1. Chapter 10. The Emotionally Intelligent Leader 2. Chapter 11. Sustaining Your Creativity: Learning to Defy and Transform the

Crowd 6. Notes 7. Index

Detailed Contents 1. Introduction: Purpose and Design of This Book 2. About the Authors 3. Part I. Knowing: Creativity Knowledge to Support a 21st-Century Innovator

1. Chapter 1. Innovation Wired: You Evolved to Create 1. Knowing—You Were Born to Be Creative

1. Creativity Lessons From Evolution 2. Everyday Creativity

2. Doing—Tuning in to the Creativity Already Inside of You 1. Idea Journal and In-and-Out Note Taking

3. Being—Making Reflection a Habit 4. ► Case Study: The StartupBus

2. Chapter 2. How to Survive and Thrive in an Era of Innovation and Change 1. Knowing—The Forces for and Against Creative Thinking

1. Creativity Lessons From the Chicken 2. The Domestication of the Human Being: The Positive Side to

Conformity 3. Overcome Your Inner Chicken: Getting Out of Your Comfort

Zone 4. The Impending Perfect Storm

2. Doing—Removing the But in Your Thinking 3. Being—Reflecting and Redirecting Yes-But Thinking 4. ► Case Study: Physician of the Future

3. Chapter 3. What We Know About Creativity 1. Knowing—Sorting Creativity Fact From Fiction

1. Misconceptions and Mysterious Things That Go Bump in the Night

2. A Model for Understanding Creativity: Like a Crime 2. Doing—Creating Your Own Mood 3. Being—Developing an Internal Locus of Control 4. ► Case Study: Hacking Creativity in Taiwan

4. Chapter 4. The Practical Benefits of Creativity: Becoming an Innovation Asset 1. Knowing—Top Reasons for Studying and Developing Your Creativity

1. Reason #1. Sustains and Fuels Prosperity in the Innovation Era 2. Reason #2. Necessary for Success in Today’s Workplace 3. Reason #3. Contributes to Effective Leadership 4. Reason #4. Improves Problem-Solving Skills 5. Reason #5. Enhances Resilience, Coping Skills, and Psychological

Well-Being 2. Doing—Selling Creativity 3. Being—Making Creativity a Habit 4. ► Case Study: Keen IO: A Learning-First Organization

4. Part II. Doing: Proven Practices for 21st-Century Innovators 1. Chapter 5. Think: How to Improve Your Fundamental Capacity to Think in

Creative Ways 1. Knowing—Understanding the Creative Mind

1. A Story About Managing Judgment 2. Creative Thinking and the Creative Process 3. Developing the Mindset for Improved Imagination

2. Doing—Training the Creative Mind 1. Improving Imagination by Applying Principles for Divergent

Thinking 2. Defer Judgment: The Key Attitude to Open the Creative Mind 3. Seek Novelty: An Attitude to Ensure Original Thinking 4. Go for Quantity: A Universal Cognitive Strategy

5. Make Connections: The Cognitive Ability to Form New Combinations

3. Being—Internalizing the Divergent Thinking Principles 4. ► Case Study: Dr. Dominic D’Agostino: Navy Seals, Seizures, and

Starving Cancer 2. Chapter 6. Understand: The Power of Observation and the Importance of Problem

Definition 1. Knowing—Seeing and Questioning What Others Miss

1. Observation and Problem Defining: In Our DNA 2. The Power of Observation 3. The Importance of Defining the Problem

2. Doing—Acting Like a Serial Opportunist 1. Honing Observational Skills 2. Honing Problem-Defining Skills

3. Being—Living Like a Serial Opportunist 4. ► Case Study: Innovation by Observation: NanoTouch Technology

3. Chapter 7. Ideate: Ways to Visualize and Generate Breakthrough Ideas 1. Knowing—Ideating: The Mind’s Capacity to See the Future

1. Visualize: Understanding the Behaviors That Lead to Seeing Ahead

2. Generate: Knowing How to Produce Many Alternative Ideas 2. Doing—Using Associative Thinking to Visualize Anew 3. Being—Living Like an Idea Generator 4. ► Case Study: The Aha Behind Intezyne

4. Chapter 8. Experiment: Strategies to Develop and Validate the Best Solutions 1. Knowing—Developing and Validating Through Experimentation

1. Development: Refining Ideas Through Play, Sketching, and Prototyping

2. Validation: How to Refine and Select the Best Options 2. Doing—Acting Like an Idea Developer

1. Honing Your Idea Development Skills 2. Honing Your Idea Validation Skills

3. Being—Living Like an Idea Developer 4. ► Case Study: From Student, to Student-preneur, to Millionaire: The

Story of Check I’m Here 5. Chapter 9. Implement: Gaining Buy-In and Driving Change

1. Knowing—Everyone Is in the Business of Sales 1. Perspective Taking Replaces Sales Bluster 2. Influence Management: The Fine Art of Getting Buy-In 3. Drive Change: Bridging and Managing Four Critical Aspects

2. Doing—Acting Like an Influencer and Change Agent 1. Honing Your Pitch Skills 2. Honing Your Change Skills

3. Being—Influencing and Leading Change 4. ► Case Study: ChappellRoberts: Creative Ideas

5. Part III. Being: Ways to Sustain Yourself as a 21st-Century Innovator

1. Chapter 10. The Emotionally Intelligent Leader 1. Knowing—Emotional Intelligence Is Not a Soft Skill

1. A Story About Managing Emotions 2. Research Support of Emotional Intelligence 3. Emotional Intelligence Abilities 4. Transformational Leadership 5. Blocks and Barriers to Creative Thinking 6. Fear: The Silent Killer

2. Doing—Tools and Strategies for Overcoming Creative Blocks 1. Embracing and Internalizing the Terror of the New

3. Being—Actively Learning From Failure 4. ► Case Study: Airbnb

2. Chapter 11. Sustaining Your Creativity: Learning to Defy and Transform the Crowd

1. Knowing—Investment Theory of Creativity 1. A Story About a Sandwich That Revolutionized an Industry 2. Sternberg and Lubart’s Investment Theory of Creativity

2. Doing—Addressing Resistance to Change 3. Being—Becoming a 21st-Century Innovator

1. Limiting Your Options 2. Resting on Success 3. Expecting Guarantees 4. Letting Other People’s Approval Be More Important Than Your

Own 5. Not Being Clear About What You Want

4. ► Case Study: Repeatable Magic: Sergio Fajardo and the Transformation of Medellín, Colombia

6. Notes 7. Index

IntroductionPurpose and Design of This Book

We begin this book with an exercise in creative thinking. Ponder this: What do Bob Dylan and James Dyson have in common? To be fair, to answer this question, you must first be familiar with these two individuals. Most will easily recognize the name Bob Dylan, but in case not, he is an American singer, songwriter, artist, writer, and Nobel Prize winner. Dylan’s recording career has spanned more than 50 years, during which time he has sold more than 100 million records. As for James Dyson, have you ever dried your hands in a public bathroom that had the Dyson Blade mounted on the wall? James Dyson is a British inventor, innovator, and entrepreneur.

So, what do a famous musician and an entrepreneur have in common? The answer is creativity. Both have been successful professionally because of their creativity, but more than that, both are ardent creativity advocates as well.

Dylan and Dyson recognize the power of a creative idea and encourage others to address significant issues in their lives through the deliberate application of creative thinking. Bob Dylan, for example, was recently named founding patron of the University of Auckland’s Creative Thinking Research Fund and is the inaugural creative laureate of that university’s Creative Thinking Project. This project promotes a deeper understanding of the creative process, to encourage wider participation in creative thinking and to promote creativity as being crucial to individual and community success, well-being, and development.1 As Jenny Dixon, chair of the Creative Thinking Project and deputy vice chancellor of the University of Auckland, stated,

Creative thinking drives success. Creativity is a proven force for cognitive development, academic achievement and social and economic innovation. Being creative strengthens neural pathways and generates connections. It opens up worlds of possibilities and change.2

James Dyson is quick to attribute his success as an entrepreneur and innovator to his prowess as a creative thinker. In fact, Dyson is a passionate spokesperson for the importance of organizational creativity and creativity in education. Indeed, he has put his money where his mouth is by establishing a foundation to support the next generation of innovative engineers. Dyson makes a close connection between creativity and the invention process, and in the following excerpt from a Wall Street Journal interview, it is easy to detect how important he believes creative thinking is for organizational success.

I think if you have a general atmosphere of creativity, of wanting people to come up with ideas and not rejecting them when they do—but trying them out and seeing how they work—and of generally employing engineers who are creative and scientists who are creative, and if you have the reputation of following good ideas through, however unusual and however strange they look, then I think you attract people who are creative and who want to do their best creatively. So I don’t think there is any magic potion. I think it is simply having the right attitude internally— that you are there to create things.3

Creativity, and to be more specific creative thinking, has always been important. In fact, you could say creativity is a basic human need. In Franken’s popular book on human motivation, he argues that humans are driven to create for at least three fundamental reasons:

• Need for novel, varied, and complex situations; • Need to communicate ideas and values; and • Need to solve problems.4

Given the pace of change in the 21st century, it could be argued—and we do so in this book— that creativity and creative thinking are necessary for success now more than ever. Indeed, the World Economic Forum recently published a report on workplace trends in which they forecast that in 2020 creativity will become the third most important job skill (complex problem solving will be number one).5 Bob Dylan’s own words capture well life in our times: “There is nothing so stable as change.” What Dylan’s quote does not capture is the pace of change. For instance, the case has been made that a student pursuing a 4-year technical degree will discover that nearly 50% of the knowledge acquired in the first year of study will be out of date before graduation.6 In the early 21st century, creative thinking has become a survival skill.

In 2008, Harvard Business School, perhaps the preeminent business school program in the United States, celebrated its 100th birthday. Three Harvard Business School professors, Datar, Garvin, and Cullen, used this milestone to reflect on how current and future business education might better meet students’ needs. Their book, Rethinking the MBA: Business Education at a Crossroads, highlights what they see as the unmet needs associated with business programs. Included in their list of unmet student needs is “acting creatively and innovatively,” which they describe in the following way: “finding and framing problems; collecting, synthesizing, and distilling large volumes of ambiguous data; engaging in generative and lateral thinking; and constantly experimenting and learning.”7 Perhaps influenced by this work, or in recognition of the innovation economy that defines modern-day life, the Association to Advance Collegiate Schools of Business (AACSB) updated its accreditation standards around the three themes of innovation, impact, and engagement.8 To that end, as of 2013 the AACSB standards for general business programs at the master’s degree level now include thinking creatively. And, we would strongly suggest, creativity and creative thinking are basic skills for undergraduate students to master as well.

Whereas the field of creativity studies has enjoyed more than 6 decades of research and practice, relatively few business programs, let alone colleges and universities, have incorporated the key insights and best practices from this field into their curricula. This book shares knowledge and practices drawn from the field of creativity so that business school students, as well as any program that prepares students to join or create their own organizations, might reignite and further develop their capacity to think creatively and to produce innovative outcomes. Indeed, a model of entrepreneurial competencies and cognitive skills reads like the classic description of a creative person: energetic, open to risks, unafraid of failure, and intuitive; demonstrating a need for achievement, an internal locus of control and the ability to work with change; capable of fluent idea generation; and ultimately, flexible and original thinking.9 What the field of creativity education and studies has shown us is that these attitudes and skills are highly teachable. The goal of this book is to expose the reader to knowledge and tools aimed at improving these and other creativity-related skills and traits.

The reader will quickly recognize that this book has adopted a tone that is not typical for most textbooks. Because of a creativity exercise the authors self-administered, one that placed us in the user’s experience—the student reader—we decided to adopt a writing style designed to speak directly to the audience. Why? Ultimately, creativity is both an act of doing and being, not simply knowing or dreaming. We wanted to engage the reader in a manner that we hope will lead to personal transformation and growth. To that end, you will find the book uses an active voice and often speaks directly to you—the reader.

Besides writing in an engaging voice, we also included “thought starters” in the text to invite the reader to interact with the ideas presented in this book. Adults learn best and retain the most information when their minds are actively involved and provoked. You will get more out of this book if you use these thought starters. The thought starters are designed so that the reader can pause to interact with some of the main concepts in the book by generating reactions, thoughts, reflections, and connections. When you see a thought bubble, we encourage you to actively engage with that particular concept by capturing your thoughts in the margins of the book or elsewhere. Effective creative thinkers find it easy to make associations. Each thought bubble

provides an opportunity to practice associative thinking, thereby allowing you to further develop your creative-thinking skills.

Recognizing that some learners learn best through visual stimuli, we include original sketches by the famous surrealist artist Salvador Dalí. We selected Dalí’s work for several reasons. First, as a surrealist artist Dalí attempted to communicate abstract concepts, such as emotions and the cognitive processes associated with the unconscious, human characteristics and qualities that often go unnoticed and unobserved but have a profound impact on our lives. Like surrealist artists we endeavor to help our readers become more aware of the emotions and cognitive processes that make up creativity. For many, a heretofore-unconscious experience once grasped can transform your life—positioning you to be an innovator or entrepreneur. Second, Dalí, like all successful creatives, deliberately engaged in the creative process. Whereas he is famous for his large canvasses, he had to play with many ideas before arriving at these final products. His sketches provide insight into his creative process, and show how he tinkered with ideas, played with alternatives, made unusual connections, and refined original ideas into workable solutions—aspects of the creative process that we all can master.

Finally, the structure of the book is unique as well. Datar and his colleagues from the Harvard Business School recommend that effective business programs, and we would suggest any educational or training program, should balance three components: knowing, doing, and being. Knowing, which is the focus of most programs, is concerned with transmitting facts, frameworks, and theories. Doing relates to practices that develop skills and capabilities. Being is concerned with ongoing personal development and integration that sustain beliefs, values, and attitudes in a way that allows one to model the way for others. This book uses these components in a fractal manner, in that these components repeat themselves. Specifically, the chapters are organized into these three categories, starting with what we “Know” about creativity (Part I). We then move to the “Doing” chapters that focus on practices associated with effective creative thinking (Part II). In the spirit of integration, we close with chapters in the “Being” section aimed at helping you to sustain your creative behavior. Additionally, each chapter is structured using the same framework. All begin with what we know about the topic addressed in that chapter. This material is followed by recommendations for activities you might do to develop skills relative to the chapter’s topic. Finally, each chapter concludes by exploring ongoing actions aimed at sustaining the newfound skills and behaviors (i.e., being). All chapters end with a case study designed to provide a real-world example of concepts explored in that chapter.

We believe creativity is an essential life skill. Our goal is to provide the necessary background information (knowing), along with proven creative-thinking strategies (doing) that, when internalized (being), help the reader bring about creative breakthroughs that are valuable to an organization (either an existing organization or a start-up). Through developing and improving these creative-thinking skills, the reader will be prepared to serve as a creative leader, someone who successfully facilitates organizational creativity.

With this aim in mind, our book is intended to accomplish two primary objectives: (1) to guide readers on a journey through the creativity essentials (intellectual, cognitive, affective, and behavioral) needed to position themselves as creative assets in the organizations they serve— whether they be for-profit or not-for-profit or existing or start-up ventures—and (2) to support

instructors in their efforts to prepare students for successful intrapreneurship and entrepreneurship in the age of innovation.

Acknowledgments Collectively the authors wish to express their deep appreciation to their colleagues at the International Center for Studies in Creativity, Buffalo State. This unique group of professionals teaches, studies, and promotes creative thinking and creative problem solving on a daily basis. By living what we teach, we have created a rare environment, a work climate characterized by colleagueship and friendship. Thanks, Mike, Marie, Selcuk, Susan, Cyndi, Roger, Deb, Lee Ann, Jo, and all our wonderful adjunct lecturers—you make coming to work a joy! And a special thanks to our former graduate assistant, Molly Holinger, for creating the learning activities in this book.

As the International Center for Studies in Creativity begins its 50th year at Buffalo State, we wish also to acknowledge the founding faculty members, Drs. Sid Parnes and Ruth Noller. We stand on the shoulders of these giants. We also want to express our gratitude for the ongoing support on the part of the Buffalo State administration, especially Associate Dean Rita Zientek, Dean James Mayrose, Provost Melanie Perreault, and President Katherine Conway-Turner.

Finally, we wish to thank those whose feedback was instrumental in shaping the final version of this book. Jasmine Hodges, our writing coach, provided feedback that was both invaluable and inspirational. Maggie Stanley, business and management acquisitions editor for SAGE, guided this book from inception to realization. Mark Bast, our copy editor, whose attention to detail was truly impressive. And to the team of reviewers who pored over early drafts of our manuscript.

• Lizabeth Barclay, Oakland University • Sara Beckman, University of California, Berkeley • H. David Chen, Saint Joseph’s University • Gary Coombs, Ohio University • AnnMarie DiSiena, Dominican College of Blauvelt • Lesley Dowding, Coventry University • Susan Fant, University of Alabama • Michael Littman, SUNY Buffalo State • Patrick Lee Lucas, University of Kentucky • Enrique Mu, Carlow University • Patricia K. O’Connell, Lourdes University • Jim Olver, College of William and Mary • Tudor Rickards, University of Manchester • Rajesh Sharma, University Centre Croydon • April J. Spivack, Coastal Carolina University • Eric M. Stark, James Madison University • Paul D. Witman, California Lutheran University • Amy Zidulka, Royal Roads University

Authors’ individual acknowledgments follow.

G. J. Puccio

It is an illusion to think that a creator can be successful without the

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