The Creative Curve – Allen Gannett

How to Develop the Right Idea, at the Right Time

Part I: Overturning the Mythology of Creativity

1. The Making of a Dream

The "Inspiration Theory of Creativity" is that inspiration just randomly strikes some lucky few of us at unpredictable times without any concrete process.

[bq] "The things we view as unexplainable genius often have a genesis of some sort."

While media likes to focus on sudden inspiration, research paints a different picture.

2. Learning a Lie

[bq] "Inspiration theory of creativity simply isn't true."

While many creators might not be consciously aware of it, there is a process to creativity.

Creativity in the "academic" sense requires both novelty and the creation of value to others.

The "creative curve" is a bell shaped curve with familiarity on the x-axis and preference on the y-axis. The sweetspot some level of familiarity but without overexposure / saturation. Want both safety and surprise, similarity and difference.

Mustering the creative curve requires mastering four laws.

  • The law of consumption

  • The law of imitation

  • The law of communities

  • The law of iteration

3. The Origin Myth

The inspiration myth goes back to ancient Greece, where it was thought that are comes from divine inspiration or even possession.

The inspiration theory is both more flattering to the artist ego, as well as makes better stories for media and fans, and speaks to our desires – so many people happily created and fed the myth.

Neurosis and insanity are also often associated with creative genius, partly due to the jealousy of others.

4. What is Talent?

What sets expert performers apart from amateurs in many domains are better mental models.

[bq] "Perhaps we don't have to be geniuses to excel in creative fields. We just have to train like them."

Purposeful practice with the deliberate aim to improve is what really sets top performers apart, not just the amount of time they've been doing something (the "10,000 hours" myth).

5. What is a Genius?

[bq] "A person's work has to be accepted by other people to garner the creative label, and by even larger numbers of people to be labeled a creative genius."

To be perceived as a creative genius you not only need to do the work, but also be able to sell yourself.

Understanding your domain and subject matter is important for delivering creative work, and timing within your respective domain is important.

Appealing to your domain's gatekeepers is also critical.

The circumstances of an individual, from resources to charisma, are also critical for creative success.

[bq] "Creativity and genius are social phenomena."

6. The Creative Curve

"Mere exposure effect": the more people are exposed to something, the more they tend to like it and associate positive qualities with it. More recently, fMRI studies showed that it is really our natural reflex to avoid the unfamiliar that gets reduced with exposure.

On the other hand dopamine, which controls motivation, is released more when presented with novelty.

The resulting balance of these two forces leads to a bell shaped curve relationship between preference and familiarity.

[q] "The trick isn't adding stuff, it's taking away." - Mark Zuckerberg

Want to give people stuff that feels both novel and at the same time familiar.

[bq] "Being able to balance familiarity and novelty isn't just useful for creating fortunes, it is essential."

The more familiar we get with a concept the less processing power our brain needs for it. We can mistake this ease of processing for liking.

Part II: The Four Laws of the Creative Curve

7. Law I: Consumption

Identifying promising ideas becomes far easier if we have good mental models and "prototypes." Both actual experience as well as deliberate exposure to and consumption of the right information can contribute to that.

Spending 20% of your time consuming material in your creative field seems like the sweetspot for developing strong mental prototypes and be a prolific and successful creator. But deliberate and critical consumption is important.

Building these mental models also helps us prime our brain for "aha moments," sudden flashes of inspiration when our brain is in a relaxed state.

[bq] "You can't have insights about things you don't know anything about."

8. Law II: Imitation

The right level of novelty is often reached largely by imitation and a little originality rather than the other way round.

[bq] "Structures, formulas, patterns, recipes, norms, and so forth aren't a burden at all;  in fact they're widely considered tools of the craft."

Constraints enable an easy way to provide both familiarity and novelty.

[bq] "Ironically, constraints free up creators to focus on the novelty portion of the creative curve."

"Franklin method": Careful observation and re-creation of high quality material in one's chosen field for the purpose of learning.

9. Law III: Creative Communities

Despite the myth of the lone creative genius, top performers and creators usually rely on extensive communities.

Four particular types that appear around successful creators:

  • master teachers

  • conflicting collaborators

  • modern muses

  • prominent promoters

Honest curiosity and asking lots of questions and listening are the best ways to attract master teachers.

Being part of a cluster of our particular creative community is also essential for access to and connection with master teachers.

[bq] "Ask questions; make it clear you want to learn. Successful people tend to admire this quality."

The best collaborations usually are far from frictionless. They bring complementary skills and perspectives and push each other towards new ways of thinking and creating.

[bq] "The modern muse within your creative community doesn't simply inspire you via reassurance and validation; this person can also show you what is possible."

Someone credible who is willing to promote and advocate for your is an invaluable asset.

Promoters often benefit from this relationship as well, not just the mentees.

10. Law IV: Iterations

The creative process often follows a four step funnel of conceptualization (coming up with lots of ideas), reduction (narrowing down and developing a few ideas), curation (selecting the best for launch) and feedback.

The use of data is critical both in developing your ideas as well as assessing its success and refining it (or working on its successor).

Epilogue

[bq] "Achieving your creative potential isn't for the faint of heart. It requires ceaseless hours, days, and even years of work. But it's no longer a mystery."