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The Creative Curve: How to Develop the Right Idea at the Right Time
Big data entrepreneur Allen Gannett overturns the mythology around creative genius, and reveals the science and secrets behind achieving breakout commercial success in any field.
We have been spoon-fed the notion that creativity is the province of genius -- of those favored, brilliant few whose moments of insight arrive in unpredictable flashes of divine inspiration. And if we are not a genius, we might as well pack it in and give up. Either we have that gift, or we don’t. But Allen shows that simply isn’t true. Recent research has shown that there is a predictable science behind achieving commercial success in any creative endeavor, from writing a popular novel to starting up a successful company to creating an effective marketing campaign.
As the world’s most creative people have discovered, we are enticed by the novel and the familiar. By understanding the mechanics of what Gannett calls “the creative curve” – the point of optimal tension between the novel and the familiar – everyone can better engineer mainstream success.
In a thoroughly entertaining book that describes the stories and insights of everyone from the Broadway team behind Dear Evan Hansen , to the founder of Reddit, from the Chief Content Officer of Netflix to Michelin star chefs, Gannett reveals the four laws of creative success and identifies the common patterns behind their achievement.
We have been spoon-fed the notion that creativity is the province of genius -- of those favored, brilliant few whose moments of insight arrive in unpredictable flashes of divine inspiration. And if we are not a genius, we might as well pack it in and give up. Either we have that gift, or we don’t. But Allen shows that simply isn’t true. Recent research has shown that there is a predictable science behind achieving commercial success in any creative endeavor, from writing a popular novel to starting up a successful company to creating an effective marketing campaign.
As the world’s most creative people have discovered, we are enticed by the novel and the familiar. By understanding the mechanics of what Gannett calls “the creative curve” – the point of optimal tension between the novel and the familiar – everyone can better engineer mainstream success.
In a thoroughly entertaining book that describes the stories and insights of everyone from the Broadway team behind Dear Evan Hansen , to the founder of Reddit, from the Chief Content Officer of Netflix to Michelin star chefs, Gannett reveals the four laws of creative success and identifies the common patterns behind their achievement.
288 pages, Hardcover
First published June 12, 2018
About the author
Allen Gannett
3 books76 followersAllen Gannett was the founder and CEO of TrackMaven, a marketing analytics platform whose clients included Microsoft, Marriott, Saks Fifth Avenue, Home Depot, Aetna, Honda, and GE. In 2018 it merged with Skyword, the leading content marketing platform, where he now serves as Chief Strategy Officer. He has been on the “30 Under 30” lists for both Inc. and Forbes. He is a contributor for FastCompany.com and his book The Creative Curve, came out June 2018 from Currency, a division of Penguin Random House. The book has been featured on CNBC, Forbes, numerous top podcasts, and has been picked up to be translated into seven other languages in 2019. Most importantly, he was once a very pitiful runner-up on Wheel of Fortune.
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Displaying 1 - 30 of 202 reviews
July 25, 2018
Although less than 300 pages, I took a month to finish the book thanks to the creative ideas that kept popping up in mind from the variety of inspirational stories. Halfway in I decided to use a green highlighter for parts that stood out to me, starting with:
"...our culture has created a mythology around these "flashes of genius." The thing is, they're just a normal, if spectacular, function of our brains. And the best news is that they can be enhanced."
I can relate with my most recent shower 'Aha!' idea. I'd love to have that happen more often, and preferably not always in the shower. Allen lays out the 'Creative Curve' and applies it to examples of successful companies and artists, such as Ben & Jerry's ice cream and J.K. Rowling's Harry Potter.
My favorite chapter was Law III: Creative Communities. Allen explains "I found that creatives had four different types of people in their networks: a master teacher, a conflicting collaborator, a modern muse, and a prominent promoter." As I read his descriptions & examples of the types, I enjoyed pondering which of these I (potentially) am for people in my inner circle. All four are essential to the creative curve sweet spot; it's a team effort after all.
I'm now curious to see the Kindle version so I can see the most popular highlighted parts. It's also one I've been referencing while networking. I wish I had a business card sized promo to hand out for the book; one of my creative ideas I got while reading it.
The book left me feeling inspired to revisit my creative interests I left off after childhood and teenage years, as school and a career mindset pushed them back. A musical instrument, a craft, and my dream to someday fly a hot air balloon. The sky's the limit!
"...our culture has created a mythology around these "flashes of genius." The thing is, they're just a normal, if spectacular, function of our brains. And the best news is that they can be enhanced."
I can relate with my most recent shower 'Aha!' idea. I'd love to have that happen more often, and preferably not always in the shower. Allen lays out the 'Creative Curve' and applies it to examples of successful companies and artists, such as Ben & Jerry's ice cream and J.K. Rowling's Harry Potter.
My favorite chapter was Law III: Creative Communities. Allen explains "I found that creatives had four different types of people in their networks: a master teacher, a conflicting collaborator, a modern muse, and a prominent promoter." As I read his descriptions & examples of the types, I enjoyed pondering which of these I (potentially) am for people in my inner circle. All four are essential to the creative curve sweet spot; it's a team effort after all.
I'm now curious to see the Kindle version so I can see the most popular highlighted parts. It's also one I've been referencing while networking. I wish I had a business card sized promo to hand out for the book; one of my creative ideas I got while reading it.
The book left me feeling inspired to revisit my creative interests I left off after childhood and teenage years, as school and a career mindset pushed them back. A musical instrument, a craft, and my dream to someday fly a hot air balloon. The sky's the limit!
February 26, 2020
An excellent book. I learned many models and methods that can be applied to my creative process, for example, the combination of novelty and familiarity, the laws of creativity (consumption, imitation, creative community which includes the master teacher + the conflicting collaborator + the modern muse + the prominent promoter, and iteration), the process of creativity (conceptualization, reduction, curation and feedback). Very useful. Very inspiring. My problem is, I just don't know when I can get out of my current procrastination and apply all of these ideas into my next creative project.
June 16, 2019
★★★★☆ (4/5)
A selection of my favourite passages from the book
There is in fact a science behind what becomes a hit and that today’s neuroscience gives us an unprecedented ability to decode and engineer the necessary moments of “inspiration” to create popular work
Chapter 1: The Making of a Dream
• Inspiration theory of creativity: the idea that creative success results from a mysterious internal process punctuated by unpredictable flashes of genius.
• On the other hand, most of us believe that if we lack the raw talent or innate genius, these moments will never strike. The inspiration theory of creativity is only relevant for those born with so-called genius.
Chapter 2: Learning a Lie
• Much of the phenomena we observe that seem organic or unique are actually the result of repeating processes and systems.
• It is a mistake to think that creativity is just about creating something different or original. It also has to be valuable, meaning that a group of people, large or small, have found importance or usefulness in that creative product.
• People crave the familiar, yet seek the novel.
Chapter 3: The Origin of the Myth
• Genius was viewed by both scientists and the public as an innate, hereditary trait that cannot be fostered or amplified (other than by getting sick). At the same time, genius became tightly and negatively coupled with insanity and madness.
Chapter 4: What Is Talent?
• According to academics, divergent thinking—where the goal is to come up with numerous solutions to problems—is correlated with creativity: the more divergent your thinking, the more creative you are. By looking at the number and originality of your responses, they believe they can accurately assess a person’s creative potential.
• There are two main flaws with the 10,000-hour rule. First, it neglects to mention that it’s not simply how many hours you spend that’s important, but how you spend those hours.
• “Automaticity is the enemy of growing your expertise,”
• Instead of simply practicing a task over and over again for 10,000 hours, Ericsson’s research shows you have to engage extensively in purposeful practice. This is a particular type of practice where you work on one small skill repeatedly, with a clear goal and a feedback mechanism.
• This concept, that our brains’ physiology adapts to situations and experiences, is known as brain plasticity.
Chapter 5: What Is a Genius?
• The truth is that when people talk about creativity, they are usually talking about a creative output that is widely adopted or accepted
• To create something novel, you must know what already exists.
• If you cannot attract the attention of the gatekeepers, you might very well be “original” and “technically skilled,” but the truth of the matter is you will not be considered creative.
• Part of being a successful artist is being a persuasive salesperson for your own brand. You must be able to generate and capture attention. This goes against the notion of the reclusive, angry artist.
• The result is that when you study the history of creative geniuses, you find people who had the opportunity to learn the right skills, the time to master those skills, and the ability to persuade others that their work had value.
Chapter 6: The Creative Curve
• Mere exposure to one of the Chinese characters made the respondents in the study perceive it more positively. Zajonc later called this phenomenon the mere exposure effect.
• Familiarity does not make us like things more. Rather, it makes us fear things less.
• The actual role of dopamine in our brains, he says, is to determine when we should approach something to learn more about it.
• the point of cliché, where novelty seeking peters out at a group level, the brand in question becomes overexposed and overfamiliar, and each additional exposure reduces a group’s overall interest in the product, idea, or concept.
• A good novel needs more than novelty; it also needs familiarity.
• In David Kirkpatrick’s book The Facebook Effect, Zuckerberg is quoted as telling the author that “the trick isn’t adding stuff, it’s taking away.”
• an idea that is too novel has a much harder time appealing to a broad audience.
• It turns out that when we consume something superficially, whether it’s an advertisement, song, or work of art, our brains process it in a different way than they do when we consume something in depth, or over time. A process that neuroscientists call perceptual fluency takes hold.
• When you process things deeply, you take time to evaluate them, and your competing emotions involving familiarity and novelty come into play.
Chapter 7: Law I: Consumption
• Pattern recognition relies on two mental models,
• The first is a prototype—but not the kind of prototype that might immediately come up in most people’s minds. In psychology, a prototype is an abstraction of any concept’s fundamental properties.
• The second mental model is the exemplar, which is basically a specific example of a category.
• As entrepreneurs gain experience, most start to accumulate concrete examples of a variety of concepts, and over time they rely more and more on exemplars. Using exemplars speeds up idea processing. After all, entrepreneurs don’t have to slow down and recognize the individual, distinctive elements of each and every new idea that’s presented to them. Most simply accept that this or that new idea matches an exemplar and is familiar.
• I call this the 20 percent principle: by spending 20 percent of your waking hours consuming material in your creative field, you can develop an intuitive, expert-level understanding of the level of familiarity of an idea—where it lies on the creative curve—even without real-world experience.
• “You can’t have insights about things you don’t know anything about.”
Chapter 8: Law II: Imitation
• “The covenant that a romance writer has with their readers is that there will always be a happily-ever-after. This allows readers to lean into fear and risk while knowing that there is a safe landing at the end.”
• You may think that breakout success comes from breaking the pattern. In reality, it is only by following a pattern that you tap into the right level of novelty.
• What I call the Franklin method involves the careful observation and re-creation of the structures underlying successful creative work. Creators use the Franklin method to understand the formulas or patterns that have proven to be historically successful. Along the way they’re exposed to a baseline of familiarity that their audience would know. Then, on top of that structure, they can add novelty while maintaining the necessary familiarity.
Chapter 9: Law III: Creative Communities
• Even though over the course of writing this book I found that creativity is very much a team sport, our cultural mythology, at least in the United States, remains extremely focused on the individual.
• I found that creatives had four different types of people in their networks: a master teacher, a conflicting collaborator, a modern muse, and a prominent promoter.
• Master teachers serve two essential roles: They teach constraints, and they assist with deliberate practice through feedback.
• As more and more tech companies migrate to the neighborhood, more people seem to want to follow their path. Engineers want to be near other engineers. CEOs want to be near other CEOs. Sociologists call this effect clustering.
• Ideal collaborators balance out each other’s weaknesses and provide different perspectives.
• Modern muses: people who provide material for a creator to use as well as practical motivation.
• In previous chapters, I wrote that to be considered a “genius” you also need to be recognized. It’s not enough to work hard, or to create technically competent work—you also need social acknowledgment that you’re credible. For this reason especially, the last essential member of your creative community is a prominent promoter: someone with credibility who is willing to advocate for you and your work.
• This is because the people on the fringe give the establishment figures fresh ideas, and the establishment figures provide the necessary reputation and credibility. If you are already successful, this finding underscores how important it is for you to bring new and fresh voices onto your teams if you want to maximize your creative success. You need that source of novel ideas. And if you are an up-and-comer, you need a prominent promoter for recognition.
Chapter 10: Law IV: Iterations
• All commercial creativity in the end is about the same thing: creating products that will match—and intersect with—an audience’s taste at a particular point in time.
• Instead of seeing creativity as a series of eureka moments and sudden epiphanies, successful creatives who use data-driven iterations are far more likely to master the creative curve.
• By this point, you know the history of creativity, the driving forces behind trends, and the four steps you can take to maximize your odds of creating things that have a chance of going big and wide.
A selection of my favourite passages from the book
There is in fact a science behind what becomes a hit and that today’s neuroscience gives us an unprecedented ability to decode and engineer the necessary moments of “inspiration” to create popular work
Chapter 1: The Making of a Dream
• Inspiration theory of creativity: the idea that creative success results from a mysterious internal process punctuated by unpredictable flashes of genius.
• On the other hand, most of us believe that if we lack the raw talent or innate genius, these moments will never strike. The inspiration theory of creativity is only relevant for those born with so-called genius.
Chapter 2: Learning a Lie
• Much of the phenomena we observe that seem organic or unique are actually the result of repeating processes and systems.
• It is a mistake to think that creativity is just about creating something different or original. It also has to be valuable, meaning that a group of people, large or small, have found importance or usefulness in that creative product.
• People crave the familiar, yet seek the novel.
Chapter 3: The Origin of the Myth
• Genius was viewed by both scientists and the public as an innate, hereditary trait that cannot be fostered or amplified (other than by getting sick). At the same time, genius became tightly and negatively coupled with insanity and madness.
Chapter 4: What Is Talent?
• According to academics, divergent thinking—where the goal is to come up with numerous solutions to problems—is correlated with creativity: the more divergent your thinking, the more creative you are. By looking at the number and originality of your responses, they believe they can accurately assess a person’s creative potential.
• There are two main flaws with the 10,000-hour rule. First, it neglects to mention that it’s not simply how many hours you spend that’s important, but how you spend those hours.
• “Automaticity is the enemy of growing your expertise,”
• Instead of simply practicing a task over and over again for 10,000 hours, Ericsson’s research shows you have to engage extensively in purposeful practice. This is a particular type of practice where you work on one small skill repeatedly, with a clear goal and a feedback mechanism.
• This concept, that our brains’ physiology adapts to situations and experiences, is known as brain plasticity.
Chapter 5: What Is a Genius?
• The truth is that when people talk about creativity, they are usually talking about a creative output that is widely adopted or accepted
• To create something novel, you must know what already exists.
• If you cannot attract the attention of the gatekeepers, you might very well be “original” and “technically skilled,” but the truth of the matter is you will not be considered creative.
• Part of being a successful artist is being a persuasive salesperson for your own brand. You must be able to generate and capture attention. This goes against the notion of the reclusive, angry artist.
• The result is that when you study the history of creative geniuses, you find people who had the opportunity to learn the right skills, the time to master those skills, and the ability to persuade others that their work had value.
Chapter 6: The Creative Curve
• Mere exposure to one of the Chinese characters made the respondents in the study perceive it more positively. Zajonc later called this phenomenon the mere exposure effect.
• Familiarity does not make us like things more. Rather, it makes us fear things less.
• The actual role of dopamine in our brains, he says, is to determine when we should approach something to learn more about it.
• the point of cliché, where novelty seeking peters out at a group level, the brand in question becomes overexposed and overfamiliar, and each additional exposure reduces a group’s overall interest in the product, idea, or concept.
• A good novel needs more than novelty; it also needs familiarity.
• In David Kirkpatrick’s book The Facebook Effect, Zuckerberg is quoted as telling the author that “the trick isn’t adding stuff, it’s taking away.”
• an idea that is too novel has a much harder time appealing to a broad audience.
• It turns out that when we consume something superficially, whether it’s an advertisement, song, or work of art, our brains process it in a different way than they do when we consume something in depth, or over time. A process that neuroscientists call perceptual fluency takes hold.
• When you process things deeply, you take time to evaluate them, and your competing emotions involving familiarity and novelty come into play.
Chapter 7: Law I: Consumption
• Pattern recognition relies on two mental models,
• The first is a prototype—but not the kind of prototype that might immediately come up in most people’s minds. In psychology, a prototype is an abstraction of any concept’s fundamental properties.
• The second mental model is the exemplar, which is basically a specific example of a category.
• As entrepreneurs gain experience, most start to accumulate concrete examples of a variety of concepts, and over time they rely more and more on exemplars. Using exemplars speeds up idea processing. After all, entrepreneurs don’t have to slow down and recognize the individual, distinctive elements of each and every new idea that’s presented to them. Most simply accept that this or that new idea matches an exemplar and is familiar.
• I call this the 20 percent principle: by spending 20 percent of your waking hours consuming material in your creative field, you can develop an intuitive, expert-level understanding of the level of familiarity of an idea—where it lies on the creative curve—even without real-world experience.
• “You can’t have insights about things you don’t know anything about.”
Chapter 8: Law II: Imitation
• “The covenant that a romance writer has with their readers is that there will always be a happily-ever-after. This allows readers to lean into fear and risk while knowing that there is a safe landing at the end.”
• You may think that breakout success comes from breaking the pattern. In reality, it is only by following a pattern that you tap into the right level of novelty.
• What I call the Franklin method involves the careful observation and re-creation of the structures underlying successful creative work. Creators use the Franklin method to understand the formulas or patterns that have proven to be historically successful. Along the way they’re exposed to a baseline of familiarity that their audience would know. Then, on top of that structure, they can add novelty while maintaining the necessary familiarity.
Chapter 9: Law III: Creative Communities
• Even though over the course of writing this book I found that creativity is very much a team sport, our cultural mythology, at least in the United States, remains extremely focused on the individual.
• I found that creatives had four different types of people in their networks: a master teacher, a conflicting collaborator, a modern muse, and a prominent promoter.
• Master teachers serve two essential roles: They teach constraints, and they assist with deliberate practice through feedback.
• As more and more tech companies migrate to the neighborhood, more people seem to want to follow their path. Engineers want to be near other engineers. CEOs want to be near other CEOs. Sociologists call this effect clustering.
• Ideal collaborators balance out each other’s weaknesses and provide different perspectives.
• Modern muses: people who provide material for a creator to use as well as practical motivation.
• In previous chapters, I wrote that to be considered a “genius” you also need to be recognized. It’s not enough to work hard, or to create technically competent work—you also need social acknowledgment that you’re credible. For this reason especially, the last essential member of your creative community is a prominent promoter: someone with credibility who is willing to advocate for you and your work.
• This is because the people on the fringe give the establishment figures fresh ideas, and the establishment figures provide the necessary reputation and credibility. If you are already successful, this finding underscores how important it is for you to bring new and fresh voices onto your teams if you want to maximize your creative success. You need that source of novel ideas. And if you are an up-and-comer, you need a prominent promoter for recognition.
Chapter 10: Law IV: Iterations
• All commercial creativity in the end is about the same thing: creating products that will match—and intersect with—an audience’s taste at a particular point in time.
• Instead of seeing creativity as a series of eureka moments and sudden epiphanies, successful creatives who use data-driven iterations are far more likely to master the creative curve.
• By this point, you know the history of creativity, the driving forces behind trends, and the four steps you can take to maximize your odds of creating things that have a chance of going big and wide.
July 12, 2018
Nothing super mind blowing, but I do love that math can prove that even creativity has patterns and rules and hidden structure. Plus, I enjoy busting the myth that creative people are just born amazing and the rest of us don’t have the gift unless we have it naturally.
September 10, 2018
I had hopes that this book would offer a tidbit or two of useful, applicable advice - these kinds of books rarely offer more than that. Unfortunately all I found was a meandering explanation of incredibly broad and well-known advice like practice intentionally, and consume media in your chosen field so you know what's happening. This was all peppered with rambling explanations of things that anyone who doesn't live under a rock knows about. Don't waste time telling me what a meme is, just get to the bloody point.
Also, if you decide to read the audiobook version, the author's voice is incredibly nasal and he emphasizes words mid-phrase in a very odd, startling way. I have no idea why he was a better choice than a professional voice actor or pretty much anyone lounging around in the studio that day with 8 hours of free time...
Also, if you decide to read the audiobook version, the author's voice is incredibly nasal and he emphasizes words mid-phrase in a very odd, startling way. I have no idea why he was a better choice than a professional voice actor or pretty much anyone lounging around in the studio that day with 8 hours of free time...
June 1, 2021
If reaching commercial success is a meme line then this book urges to exploit the template: use the same familiar phrase everybody begins with, and slay it with a twist.
Believing I am a creator too besides a patron I hoped my confidence to benefit from it. It is less of a revelation than a needed reminder that 'flash of genius' (Aha! Eureka!) —that creative idea— comes not only to a gifted few but to people cut from every cloth; it springs not innocently out of thin air but from what one purposefully engages in, practices or consumes time and again.
Insights are found in its instances of mainstream successes having identifiable structures and how these, if distilled, could inspire the same. I enjoyed most reading about creative communities: knowledge spillover; why it is that creatives flock even if staying where they are costs an organ or limb. The unique jobs flavor guru of Ben & Jerry's and meme manager of Reddit are absolutely interesting bits.
Did this book hit the sweet spot it talks about for me? If it's an ice cream flavor I'd say it's one that is out there for a while it's tasty. But quite generic for my palate.
Rating: 3.5/5
Believing I am a creator too besides a patron I hoped my confidence to benefit from it. It is less of a revelation than a needed reminder that 'flash of genius' (Aha! Eureka!) —that creative idea— comes not only to a gifted few but to people cut from every cloth; it springs not innocently out of thin air but from what one purposefully engages in, practices or consumes time and again.
Insights are found in its instances of mainstream successes having identifiable structures and how these, if distilled, could inspire the same. I enjoyed most reading about creative communities: knowledge spillover; why it is that creatives flock even if staying where they are costs an organ or limb. The unique jobs flavor guru of Ben & Jerry's and meme manager of Reddit are absolutely interesting bits.
Did this book hit the sweet spot it talks about for me? If it's an ice cream flavor I'd say it's one that is out there for a while it's tasty. But quite generic for my palate.
"Familiarity does not make us like things more. Rather, it makes us fear things less."
Rating: 3.5/5
September 22, 2021
Якось багато наговорено, купа прикладів, а висновки банальні. Певно, розраховано на тих, хто справді вірить, що творчість - це потік, політ і геніальні осяяння, а не піт, кров і сльози. Власне, саме про це ця книжка
February 19, 2019
I found The Creative Curve to be wholly unhelpful, uninformative, and repetitive. While I know there's no "secret pill" to creating a successful business or thinking of a creative "big" idea, I hoped to gain at least some sort of wisdom from reading this book. But all I learned was that Paul McCartney took years to write the successful song "yesterday." Thanks for that totally useless piece of info. I've frankly picked up more from a 45 minute free online webinar than I did in the entirety of this book, and it was much more useful info in a much shorter span of time and free. So 3 strikes. Honestly, don't waste your time. Just use Google if you want tips on developing "the right idea at the right time."
June 28, 2023
In case you have ever wondered if creativity is formulaic, this book has the answer for you. For the most part. Allen Gannett has interviewed renowned celebs and experts to construct a significant theory around the 'mystery' behind creativity.
To lay it simply, the creative curve is a bell - shaped curve, and the sweet spot of venturing into any activity that follows the popularity of a particular pursuit, provides the highest returns. If you're a writer or content creator, this book will help you to look at your craft from a clinical lens. This is important to crack the consistency code. Creativity isn't all about the 'aha' moments of sudden bursts of inspirations. In fact, those 'aha' moments are triggered only after you have been exposed to the craft for a significant amount of time.
It is said that it is hard to be consistent at being creative. This book emphasizes that practice makes near-perfect. On the basis of consistent efforts at your craft, a creative idea forms. You need to start somewhere to get into the flow state.
Backed up with relevant statistics and data, the book provides some pretty actionable insights for your next creative pursuit.
To lay it simply, the creative curve is a bell - shaped curve, and the sweet spot of venturing into any activity that follows the popularity of a particular pursuit, provides the highest returns. If you're a writer or content creator, this book will help you to look at your craft from a clinical lens. This is important to crack the consistency code. Creativity isn't all about the 'aha' moments of sudden bursts of inspirations. In fact, those 'aha' moments are triggered only after you have been exposed to the craft for a significant amount of time.
It is said that it is hard to be consistent at being creative. This book emphasizes that practice makes near-perfect. On the basis of consistent efforts at your craft, a creative idea forms. You need to start somewhere to get into the flow state.
Backed up with relevant statistics and data, the book provides some pretty actionable insights for your next creative pursuit.
January 15, 2022
EN. UA below.
One of the most inspiring books I've ever read. It is about the creative curve, which says, that any idea is successful until it is too familiar to the audience and its' success is not permanent.
It is about the importance of consumption of the proper information, about the community around you, from which you can learn, the importance of the teamwork to reach success and also about creativity being a hard work rather than the "flash of genius".
UA.
Одна з накращих книг, яку я читала. Автор виводить закон творчої кривої, що має "дзвіноподібну структуру" - успіх будь-якої ідеї, не вічний і згасає з часом та відсутністю розвитку цієї ідеї.
Книга про те, наскільки важливе оточення для творчості та виникнення нових ідей, а також про те, що творчість - це робота і що "геніальні осяяння" насправді результат довгої роботи, цілеспрямованого споживання контенту, і, дуже часто, командної роботи.
Книга надихає.
One of the most inspiring books I've ever read. It is about the creative curve, which says, that any idea is successful until it is too familiar to the audience and its' success is not permanent.
It is about the importance of consumption of the proper information, about the community around you, from which you can learn, the importance of the teamwork to reach success and also about creativity being a hard work rather than the "flash of genius".
UA.
Одна з накращих книг, яку я читала. Автор виводить закон творчої кривої, що має "дзвіноподібну структуру" - успіх будь-якої ідеї, не вічний і згасає з часом та відсутністю розвитку цієї ідеї.
Книга про те, наскільки важливе оточення для творчості та виникнення нових ідей, а також про те, що творчість - це робота і що "геніальні осяяння" насправді результат довгої роботи, цілеспрямованого споживання контенту, і, дуже часто, командної роботи.
Книга надихає.
January 8, 2019
A few quick thoughts:
- Interesting topic although I was personally not satisfied with the level of analysis. Arguably too superficial - although there are plenty of good tidbits of information/research literature I learned about.
- The short anecdotes describing ice cream flavor production, JK Rowling's writing process, Darwin's path to producing 'On the Origin of Species' and their relation to Allen Garnnett's thesis were fascinating. Absolutely love learning about these interesting groups and people in history.
- Nothing extremely groundbreaking in this book. His description of what is considered 'creative' as being one foot into the unfamiliar and one foot into the familiar is - at least to me - common knowledge.
- Not a criticism per se, but the book reminds me a lot of Mastery by Robert Greene. It follows a similar format and these two books go nicely hand in hand.
Verdict: This book was worth reading. While it didn't exactly change my mind, it reinforced much of what I've already believed in. A couple takeaways:
- In what you create, have elements of familiarity and unfamiliarity. This mirror's JBP's order/chaos idea.
- Not often talked about, but like Stephen King has said (I only know via a quote), you need to consume, consume, consume, before you can create.
- Without saying it explicitly, Gannett hints that you need a mentor. An idea that Greene also iterates in his book 'Mastery'.
Note: These reviews are more for me than those seeking an opinion on whether they should pick up this book.
- Interesting topic although I was personally not satisfied with the level of analysis. Arguably too superficial - although there are plenty of good tidbits of information/research literature I learned about.
- The short anecdotes describing ice cream flavor production, JK Rowling's writing process, Darwin's path to producing 'On the Origin of Species' and their relation to Allen Garnnett's thesis were fascinating. Absolutely love learning about these interesting groups and people in history.
- Nothing extremely groundbreaking in this book. His description of what is considered 'creative' as being one foot into the unfamiliar and one foot into the familiar is - at least to me - common knowledge.
- Not a criticism per se, but the book reminds me a lot of Mastery by Robert Greene. It follows a similar format and these two books go nicely hand in hand.
Verdict: This book was worth reading. While it didn't exactly change my mind, it reinforced much of what I've already believed in. A couple takeaways:
- In what you create, have elements of familiarity and unfamiliarity. This mirror's JBP's order/chaos idea.
- Not often talked about, but like Stephen King has said (I only know via a quote), you need to consume, consume, consume, before you can create.
- Without saying it explicitly, Gannett hints that you need a mentor. An idea that Greene also iterates in his book 'Mastery'.
Note: These reviews are more for me than those seeking an opinion on whether they should pick up this book.
January 8, 2021
The definition of creativity used in this book is quite narrow and unusual. Creativity is not dependent on public recognition, which is what the author (and allegedly researcher and author Mihaly Csikszentmihaly) claim. What he's really talking about is "creative success", or "mainstream popularity". If that's your ambition, it's what this book is all about.
The first part of the book works hard to dismantle the myth of "special people" with a "special access to inspiration". I suppose this was needed if you have zero personal experience or insight into what goes on before you are struck with an idea that may be worth exploring. Again, the author uses the word inspiration in a very specific and limited way, when this term is used far more widely in creative circles (at least the ones I've hung out in). Does anyone seriously believe that ideas come "out of nowhere", and that they have nothing to do with the cultural content we consume? The author spends an awful lot of time drumming on that point.
The rest of the book tries to reverse-engineer a foolproof creative process and highlight the requirements that will lead to success of a creative project. Besides the concept of a "creative curve", which may be a unique way to explain the balance of familiar (existing patterns) and new (originality, invention), not much else is new.
The real value of the book is that the author was able to interview some very interesting people, both creatives and scientists. The first-person accounts of their own journey, process, or research, made it a somewhat worthwhile read for me.
3.5/5 stars
The first part of the book works hard to dismantle the myth of "special people" with a "special access to inspiration". I suppose this was needed if you have zero personal experience or insight into what goes on before you are struck with an idea that may be worth exploring. Again, the author uses the word inspiration in a very specific and limited way, when this term is used far more widely in creative circles (at least the ones I've hung out in). Does anyone seriously believe that ideas come "out of nowhere", and that they have nothing to do with the cultural content we consume? The author spends an awful lot of time drumming on that point.
The rest of the book tries to reverse-engineer a foolproof creative process and highlight the requirements that will lead to success of a creative project. Besides the concept of a "creative curve", which may be a unique way to explain the balance of familiar (existing patterns) and new (originality, invention), not much else is new.
The real value of the book is that the author was able to interview some very interesting people, both creatives and scientists. The first-person accounts of their own journey, process, or research, made it a somewhat worthwhile read for me.
3.5/5 stars
October 6, 2018
Книжка говорить про те, що існує певний патерн у успішності творчості і ідеї. Що ідея має бути чимось знайомим на достатньому рівні, щоби не відлякати, але і чимось новим, щоби захопити водночас і викликати бажання дослідити або отримати. І що для такої ідеї потрібно вміти вивчати ри��ок, працювати над ідеєю і викарбовувати її беручи до уваги відгуки аудиторії. І що потрібно працювати не самому і попасти в “хвилю”. В мене майже виникло відчуття, що тут науково описаний феномен іграшок в школі, які приходять хвилями і які заполоняють всіх і тоді відходять, тому що їх стало вже забагато.
З цікавого, це те, що тут ніби викрито як на мене одним з спроб чи патернів, як можна зрозуміти інтуїцію, як вона працює. Описана хороша наче думка, але довкола стільки лишнього тексту, і іноді автору так важко пояснити ідею, що аж дивно.. Гарна була частина про дофамін, де розказано, що “Дофамін відповідає не за насолоду від вживання, а за мотивацію добути щось”.
Ще автор намагався пояснити, чому хороша вибухова ідея, це не момент осяяння чи натхнення чи творчої музи.. але мене якось переконав у протилежному.
Щодо самого читання, то мені дуже важко дався початок.. Мало не кинула читати. Але взагалі, - це книжка яка якось кожномоментно викликала у мене то хороші враження, то погані.. Словом, купу змішаних відчуттів, але і певні хороші запитання.
З улюблених історій з життя, історія роботи на морозивом, і над смаками..)
А ще там була така цікава фраза: “І в процесі ми плутаємо легкість з істинною насолодою”.
З цікавого, це те, що тут ніби викрито як на мене одним з спроб чи патернів, як можна зрозуміти інтуїцію, як вона працює. Описана хороша наче думка, але довкола стільки лишнього тексту, і іноді автору так важко пояснити ідею, що аж дивно.. Гарна була частина про дофамін, де розказано, що “Дофамін відповідає не за насолоду від вживання, а за мотивацію добути щось”.
Ще автор намагався пояснити, чому хороша вибухова ідея, це не момент осяяння чи натхнення чи творчої музи.. але мене якось переконав у протилежному.
Щодо самого читання, то мені дуже важко дався початок.. Мало не кинула читати. Але взагалі, - це книжка яка якось кожномоментно викликала у мене то хороші враження, то погані.. Словом, купу змішаних відчуттів, але і певні хороші запитання.
З улюблених історій з життя, історія роботи на морозивом, і над смаками..)
А ще там була така цікава фраза: “І в процесі ми плутаємо легкість з істинною насолодою”.
This entire review has been hidden because of spoilers.
April 24, 2019
I recently finished reading Allen Gannett's The Creative Curve: How to Develop the Right Idea at the Right Time (https://lnkd.in/eV4meUP). Here are my thoughts.
* The book makes a solid contribution to demystifying "genius". Increasing data for a few decades has been that "genius" is often more or less hard work from an early age. The good news here is that anyone of moderate IQ can develop "creative genius."
* Sherlock Holmes's frequent complaint was that everyone thought his findings were obvious once he had explained them. The findings in Gannett's book aren't obvious beforehand to the vast majority of us. We idolize the creative genius and implicitly make excuses for having settled on apparently more attainable pursuits. But Gannett does a good job summarizing much of the data and compiling it into a sort of narrative. It's easy to digest and makes you feel like you really knew it all along. That makes his work not obvious, but Sherlockean.
* The four rules of creativity that Gannett fleshed out seem legitimate to me. I have neither the data nor the creative genius (see what I did there?) to argue against him. Nonetheless, his framework doesn't seem to stretch the data excessively.
Verdict: read it.
* The book makes a solid contribution to demystifying "genius". Increasing data for a few decades has been that "genius" is often more or less hard work from an early age. The good news here is that anyone of moderate IQ can develop "creative genius."
* Sherlock Holmes's frequent complaint was that everyone thought his findings were obvious once he had explained them. The findings in Gannett's book aren't obvious beforehand to the vast majority of us. We idolize the creative genius and implicitly make excuses for having settled on apparently more attainable pursuits. But Gannett does a good job summarizing much of the data and compiling it into a sort of narrative. It's easy to digest and makes you feel like you really knew it all along. That makes his work not obvious, but Sherlockean.
* The four rules of creativity that Gannett fleshed out seem legitimate to me. I have neither the data nor the creative genius (see what I did there?) to argue against him. Nonetheless, his framework doesn't seem to stretch the data excessively.
Verdict: read it.
September 3, 2018
Interesting book which showcases that creativity is fueled by practice, not intelligence. Divergence thinking, which is finding multiple solutions to a problem is associated with creativity.To become experts in any field, we must practice in a way that emphasizes tangible goals and continual feedback. Creative curves describe our paradoxical preference for familiarity and novelty, the more familiar we are with something, the more we like it. But then, the flipside of the creative curve, our desire for novelty can lead to a fall of what we originally liked. Another tip is to spend about 20% of your time consuming the output of your chosen industry to make insights. It also pays to take talented people with you along the way instead of working completely alone. All of this contirbutes to what people recognize as genius.
May 2, 2021
Nothing really earth shattering in here but some cool points. Love the argument that we all (more or less) have the same creative potential, we just need to employ the right strategies
Definitely could have done without the JK Rowling praise since she’s actually super problematic but I recognize the importance of dispelling the built up story that the whole serious magically appeared to her on the train
Definitely could have done without the JK Rowling praise since she’s actually super problematic but I recognize the importance of dispelling the built up story that the whole serious magically appeared to her on the train
June 11, 2019
No real surprises - consume a lot of info about your chosen field; surround yourself with people that can fill the gaps in your knowledge (mentors, challengers, support network), see what's out there and currently working, add something original and iterate throughout. Interesting case study about Ben and Jerry at the end though!
January 15, 2019
Being creative is not just a buzzword. It involves hard work according to the plan towards the goal of being right with the idea at the right time. And this book provides a very tangible steps on how to develop creativity in yourself in any domain. Love it!
October 6, 2018
Million dollar ideas coming soon
March 4, 2020
This was easy to read. I constantly read it in spurts. I enjoyed the process it laid out and definitely felt like people could learn something from leaning into the creative curve.
April 10, 2020
I liked this book from its first page! A very enlightening read, that goes into how the creative process works , making abstract concepts easy to understand and apply to your own work.The examples used are very relatable and varied.
June 12, 2018
From start to finish The Creative Curve was relatable, easy to read and informative on the subject of tapping into your own version of creative success. Allen argues that creatives find the most success when they create ideas that are a blend of the familiar and the novel. And that's exactly what his book did as you're presented with familiar ideas, examples and myths about creativity, but then given a new and impactful perspective on how to approach creative work for the future. It's a definite must-read for all creatives, content creators and business folks looking to get their ideas out into the market or in the workplace.
December 11, 2018
In reading The Creative Curve, I was most interested in the idea that creativity is the result of a replicable set of steps that is equally accessible to anyone. Rather than waiting for an idea to come to you as a passive actor, having four “laws” to start following at any time is an empowering concept. Implicit in this book is in the insinuation that commercial success (going viral, selling a million copies of a book or song or ice cream flavor) is synonymous with creativity. This isn’t necessarily a bad thing; realistically, creative pursuits that are monetizable give people the time, resources, and opportunities to focus on personal passions that may be less compatible with making a livelihood.
Timing is a key factor in reception. Vonnegut thought of his thesis as his coup de grace, yet as an avid Vonnegut fan I’d never heard of it until I read this book. In the 1940’s, digitally mapping out analytics the way we can in 2018 was inconceivable. Maybe Gannet’s discovery is the “right time” for Vonnegut’s passion project to gain more traction and make an impact.
Consumption, replication, and iteration seem to be the takeaways I can mostly easily apply to my own creative process. As noted, most authors are voracious readers. Even if their style is a marked departure from their predecessors, all writing is made up of some combination of patterns, techniques, words, structures, and lived experiences that are common among a culture. Gathering these materials demands studying patterns and amassing data as Gannet describes.
Timing is also an integral factor in reception. Figuring out at least the right-ish idea at the right time is integral to having a lifestyle that’s amenable to bolder, riskier pursuits. Many posthumously discovered works would never have existed without preceding projects that were driven more by compensation than passion. For example, church-commissioned paintings gave Renaissance artists the financial latitude, materials, time, resources and training to create more subversive works of art that we treasure today.
Dissemination of ideas builds community and generates enjoyable and meaningful experiences that outlive the creator. Sharing experiences is largely the point of creating aesthetic works. Evoking and depicting reliable sensations brings people who consume this material together through a common sense of pleasure, or often the realization that one is less alone in an experience.
Following a balance of familiarity and novelty while adhering to a concrete method is not only a great way to pursue success externally, it’s also an actionable tool to overcome writers block or a lack of inspiration. Ultimately, the biggest obstacle to the creative process is feeling stuck, and thus not beginning. Even if Gannett’s conception of creativity is commercially successful innovations, his book is replete with extremely practical advice to get out of a rut and start producing.
Timing is a key factor in reception. Vonnegut thought of his thesis as his coup de grace, yet as an avid Vonnegut fan I’d never heard of it until I read this book. In the 1940’s, digitally mapping out analytics the way we can in 2018 was inconceivable. Maybe Gannet’s discovery is the “right time” for Vonnegut’s passion project to gain more traction and make an impact.
Consumption, replication, and iteration seem to be the takeaways I can mostly easily apply to my own creative process. As noted, most authors are voracious readers. Even if their style is a marked departure from their predecessors, all writing is made up of some combination of patterns, techniques, words, structures, and lived experiences that are common among a culture. Gathering these materials demands studying patterns and amassing data as Gannet describes.
Timing is also an integral factor in reception. Figuring out at least the right-ish idea at the right time is integral to having a lifestyle that’s amenable to bolder, riskier pursuits. Many posthumously discovered works would never have existed without preceding projects that were driven more by compensation than passion. For example, church-commissioned paintings gave Renaissance artists the financial latitude, materials, time, resources and training to create more subversive works of art that we treasure today.
Dissemination of ideas builds community and generates enjoyable and meaningful experiences that outlive the creator. Sharing experiences is largely the point of creating aesthetic works. Evoking and depicting reliable sensations brings people who consume this material together through a common sense of pleasure, or often the realization that one is less alone in an experience.
Following a balance of familiarity and novelty while adhering to a concrete method is not only a great way to pursue success externally, it’s also an actionable tool to overcome writers block or a lack of inspiration. Ultimately, the biggest obstacle to the creative process is feeling stuck, and thus not beginning. Even if Gannett’s conception of creativity is commercially successful innovations, his book is replete with extremely practical advice to get out of a rut and start producing.
March 11, 2019
The Creative Curve: How to Develop the Right Idea, at the Right Time
by Allen Gannett.
This is a well researched and insightful book and a must read for any entrepreneur.
I’ve had the pleasure to meet Allen a few times as a member of DC high-tech community. When he told me, he was writing a book, I thought it would be another software marketing book on the use of big data.
Boy was I wrong!
The Creative Curve is a well-researched and insightful book. It crisply addresses the process, myths and reasons for successful creative endeavors.
More than just software, it covers a broad range of industries and creative works (songs, movies, books, etc.). Allen complements each with interviews, academic research, and engaging discussions and examples. The breadth and depth of the supporting material is very enjoyable. From Aristotle to Benjamin Franklin, The Beatles and JK Rowling, relatable examples abound.
Based on personal experiences (successful and not so successful ventures) the insights were spot on. It would not surprise me if this book (and future works from Allen) became a must read for any entrepreneur.
Well done Allen. Keep up the good work.
by Allen Gannett.
This is a well researched and insightful book and a must read for any entrepreneur.
I’ve had the pleasure to meet Allen a few times as a member of DC high-tech community. When he told me, he was writing a book, I thought it would be another software marketing book on the use of big data.
Boy was I wrong!
The Creative Curve is a well-researched and insightful book. It crisply addresses the process, myths and reasons for successful creative endeavors.
More than just software, it covers a broad range of industries and creative works (songs, movies, books, etc.). Allen complements each with interviews, academic research, and engaging discussions and examples. The breadth and depth of the supporting material is very enjoyable. From Aristotle to Benjamin Franklin, The Beatles and JK Rowling, relatable examples abound.
Based on personal experiences (successful and not so successful ventures) the insights were spot on. It would not surprise me if this book (and future works from Allen) became a must read for any entrepreneur.
Well done Allen. Keep up the good work.
March 4, 2019
Allen Gannett has truly unfolded the pages of creativity very creatively. He has not only explained the nuances in the creative process but leaves you instilled with inspiration as he breaks through the myths around magic of creative process right from the first page. His writing style is simple and if you have heard him even once somewhere, you can listen to him talking through the book. The content cuts through the non-required paraphrasing of the same point over and over again; instead it walks you through the most awed creative pieces in the modern and old ages and what was the whole scientific process followed for the same. The ending of the book is just the same as the beginning- breaking the myth of creativity via the unfolding of one of the most revered creative personalities of the modern age. This ensures the consistency of the book. Another consistency of the writing style that can be observed would be an interrogatory statement at the end of each phase that ensures your thinking is constantly guided into the next phase of the book and you cannot put the book down. In this way, the author promises to tell you what you still don't know if you hold on a bit longer. On close observance, you can find a few concepts he discusses that he is practically performing in the book himself.
The importance of the book lies foundational to the fact that it ultimately helps you debunk all the redundant pseudo facts about creative processes.
All in all, a great read and a must read for people willing to embark on creative journeys.
The importance of the book lies foundational to the fact that it ultimately helps you debunk all the redundant pseudo facts about creative processes.
All in all, a great read and a must read for people willing to embark on creative journeys.
March 19, 2019
Basically, without all the examples given, the gist of a good idea is one that is familiar but with enough novelty to capture a following. In addition, one needs to have a mentor or peer group that helps you achieve the skills to get to mastery, and to reach success it needs to not be too far in front of the curve, or too far behind it. The book's concept of the Creative Curve is good, but the story was much longer than needed to convey the relevant points.
July 17, 2020
The Creative Curve is a combination of research, anecdotes, and techniques that explain the science and process of creativity. In this book, author Allen Gannett showcases creativity as a structured process that can be learned and challenges the notion of a “born creative genius". The "curve" in the creative curve depicts the relationship between preference and familiarity, and the main premise of the book is that creative ideas or products are the ones that strike a balance between novelty and familiarity.
The book is divided into 2 main parts each consisting of several chapters. In the first part, the author explores research and stories about the nature of "talent", "genius", and "creative".
The creative curve is thoroughly analysed and compared with the technology adoption cycle. The second part delves into the author’s 4 laws of the creative curve; consumption, imitation, creative communities, and iterations.
All throughout the book, the author features interviews and relevant real-world insights from the music, publishing, and entertainment industries including Disney, Netflix, Mozart, Darwin, Ben & Jerry's, and others. The author also reviews some of Csikszentmihalyi's work on creativity, Anders Ericsson's work on deliberate practice, and Lewis Terman's work on intelligence. My only criticism is the lack of comprehensive research and discussion on the neuroscience of creativity and the extent to which creativity is innate or acquired.
This book is an inspirational and informative guide that breaks down the creativity process in a scientific yet accessible manner, where ideas are well-connected and flow logically. The book is worth reading by artists, marketers, entrepreneurs, engineers, writers, scientists, and anyone who would like to understand creativity.
The book is divided into 2 main parts each consisting of several chapters. In the first part, the author explores research and stories about the nature of "talent", "genius", and "creative".
The creative curve is thoroughly analysed and compared with the technology adoption cycle. The second part delves into the author’s 4 laws of the creative curve; consumption, imitation, creative communities, and iterations.
All throughout the book, the author features interviews and relevant real-world insights from the music, publishing, and entertainment industries including Disney, Netflix, Mozart, Darwin, Ben & Jerry's, and others. The author also reviews some of Csikszentmihalyi's work on creativity, Anders Ericsson's work on deliberate practice, and Lewis Terman's work on intelligence. My only criticism is the lack of comprehensive research and discussion on the neuroscience of creativity and the extent to which creativity is innate or acquired.
This book is an inspirational and informative guide that breaks down the creativity process in a scientific yet accessible manner, where ideas are well-connected and flow logically. The book is worth reading by artists, marketers, entrepreneurs, engineers, writers, scientists, and anyone who would like to understand creativity.
June 24, 2018
Video review here: https://youtu.be/M8FRufyrFSg
August 27, 2018
I really liked this book because it's one of the only things I've read recently that accounts for the racism/sexism involved in being able to make it as a creative (if you read the book or understand the concept of gatekeepers, you'll understand why) so that was a pleasant surprise, because I'm used to people just ignoring it and saying "if you come up with the right idea and work hard you'll make it!" because that's not true. Anyway...
This is a good look at how our brains work and how societies work, so it's cool to see why we respond to certain things a certain way and how to "manipulate" what people want. This is less of a "how to make it" book and more of a study of people and the breakdown behind the supposedly creative process. Some, or the core of this book, isn't new, since I think it's fairly known that the more you're exposed to things the more likely your brain is to make connections between those things and give you ideas. A good read, though. Would recommend if you're obsessed with learning more about the creative process and seeing how people work. I really enjoyed some of the anecdotes in this book.
This is a good look at how our brains work and how societies work, so it's cool to see why we respond to certain things a certain way and how to "manipulate" what people want. This is less of a "how to make it" book and more of a study of people and the breakdown behind the supposedly creative process. Some, or the core of this book, isn't new, since I think it's fairly known that the more you're exposed to things the more likely your brain is to make connections between those things and give you ideas. A good read, though. Would recommend if you're obsessed with learning more about the creative process and seeing how people work. I really enjoyed some of the anecdotes in this book.
January 22, 2019
Listening to the audiobook version, narrated by Allen Gannett himself, was an absolute pleasure. Particularly having had the opportunity to meet him in person last year prior to the launch of his book.
The practicality of his insights into a notoriously 'elusive' trait to conceptualise - creativity - are nothing short of amazing. Many elements in his modelling of the 'Creative Curve' resonated with me a great deal and led to some instant changes/actions on my part to put these into practice in my own life.
The book takes a bit of time to get into the meat of the subject, but once it does Allen flows through a wide range of examples in an impressive variety of industries, packed with content from some first-rate interview choices. In the latter half of the book, Allen builds upon his strong base of evidence a set of practical steps that any mortal soul can implement to make the most of their creative potential.
Good news - anyone can be a creative genius.
Bad news - that doesn't mean it isn't going to be hard work.
The practicality of his insights into a notoriously 'elusive' trait to conceptualise - creativity - are nothing short of amazing. Many elements in his modelling of the 'Creative Curve' resonated with me a great deal and led to some instant changes/actions on my part to put these into practice in my own life.
The book takes a bit of time to get into the meat of the subject, but once it does Allen flows through a wide range of examples in an impressive variety of industries, packed with content from some first-rate interview choices. In the latter half of the book, Allen builds upon his strong base of evidence a set of practical steps that any mortal soul can implement to make the most of their creative potential.
Good news - anyone can be a creative genius.
Bad news - that doesn't mean it isn't going to be hard work.
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