Whatever model of creativity one uses, perception is nearly always the first step. Perception is one’s unique way of seeing the world. If problem solving is the issue, perception also means perceiving the problem correctly.
LO 10-4 List the steps in the creative process. The process begins with perception and preparation, and is followed by incubation, inspi- ration, and verification. Whatever one is creating, these steps will be covered in some way.
LO 10-5 Describe creativity in the workplace. The typical workplace of today is not set up to handle creative ideas. More often than not, creativity is stifled by companies of all sizes. The challenge is to transform the workplace into a place where creativity is encour- aged and rewarded.
LO 10-6 Compare and contrast creative methods for groups. The major methods of creativity in groups are brainstorming and the nomi- nal group method. Both use techniques to stimulate original thought and to discourage negativity and low self-esteem.
LO 10-7 Give examples of ways to solve problems creatively. Get into the
“open mode.” Also, learn to think of yourself as a creative person and to see problems as opportunities. Learning to look for more than one possible solution to a problem will also help. In addition, try to avoid creativity traps, such as the either/or fallacy. “Learn to play the violin,” which is a figurative way of saying that one must be willing to go beyond the company’s job description. Turn your ideas into action, and don’t be afraid to break some rules or to make some mistakes. Spend time with creative people, and cap- ture creative ideas when they happen.
Dr. Spencer Silver, a scientist for the 3M technology corpo- ration, invented an adhesive in 1968 that was considered a failure for the purpose he wanted. Nearly 10 years later, Dr. Art Fry, another 3M scientist, had an idea for Silver’s
“failed” adhesive: to keep his bookmark from falling out of his church hymnal. From this simple idea the Post-it note was created, now used internationally and one of 3M’s more popular office products. 37
1. Is creativity the same as intelligence? How are they related? In what ways are they different?
2. Explain the differences among the four steps of the creative process described by Wallas, using examples from your own experience of a problem you have solved.
3. Why do workplaces so often lack creativity? What steps can managers take to increase the quality and quantity of their employees’ creative output?
review questions
Aslan phenomenon 250 brainstorming 245 collective habits of
thought 238 creative process 241 creativity 234 either/or fallacy 249 extrinsic motivator 240
key terms
flow 235
intrinsic motivators 240 intuition 236
nine-dot puzzle 240 nominal group
method 246 open mode 248
optimal experience 235
perception 238 SCAMPER 252 second right
answer 249 self-perception 248 ten “mental
locks” 251
4. What does it mean to be in the open mode? What does this feel like?
How can the open mode allow for greater creativity?
5. Explain the difference between brainstorming and the nominal group method. How can both help produce more creative group results?
6. How many right answers are there to any one problem? What is meant by the second right answer? How many right answers should you look for in solving a problem before deciding on a solution to implement?
7. How does the phrase playing the violin relate to an increase in creativity?
What skill or talent would you like to explore? How would a new skill increase your creativity?
8. Which better promotes creativity: positive reinforcement or intrinsic motivation? Explain.
9. Do you think creative geniuses are more likely born or made? Do you think you could become more creative if you were to work at it?
10. Which type of talent do you think has greater worth to society, creativ- ity or academic intelligence? Why? Do you think one of these is more important than the other?
11. Some of our nation’s most creative minds, including Bill Gates, Steve Jobs, Frank Lloyd Wright, Buckminster Fuller, James Cameron, and Mark Zuckerberg, did not finish college. Do you believe this ultimately hurt, or helped, their creative endeavors? Explain your response, apply- ing strategies for creativity discussed in this chapter into your response.
critical thinking questions
HOW CREATIVE ARE YOU?
School-to-Work Connection: Interpersonal Skills
Instructions: Have you ever wondered how creative you are? Here is a simple quiz you can take to find out. The results may give you some indication as to your CQ—your creativity quotient. Circle the letter that corresponds with your feelings.
1. Planning your activity for the day:
a. appeals to you b. cramps your style 2. Do you get ideas just before you fall asleep?
a. frequently b. seldom, if at all
working it out 10.1
3. Do you often spend more time on puzzles, riddles, or trick questions than the average person?
a. yes b. no
4. Do you sometimes worry about the success of your efforts?
a. yes b. no
5. Do you like to engage in activities in which you might influence others?
a. yes b. no 6. Are you basically happy?
a. yes b. no
7. Do you like to daydream at work, as well as at home?
a. yes b. no 8. Do you enjoy remembering trivia?
a. yes b. no
9. Do you worry about getting behind in your work?
a. yes b. no
10. Which would you rather be considered?
a. sensible b. resourceful
The answers below are for those who are highly creative:
Answers: 1 5 b, 2 5 a, 3 5 a, 4 5 a, 5 5 b, 6 5 a, 7 5 a, 8 5 b, 9 5 b, 10 5 b.
The more of these answers you gave, the more you are inclined to be cre- ative. Five of the high creativity answers is average. However, if you only had three of them, this does not mean that you are not creative. And remember one of the most important points of this chapter: creativity is a skill that can be increased—it’s not a matter of “either you have it or you don’t.”
Source: Jack Halloran, Applied Human Relations: An Organizational Approach Activity Guide (Englewood Cliffs, NJ: Prentice Hall, 1978, pp. 84–85).
case study 10.1
Inland’s Widget Woes
G arth Peters was alarmed. He managed the
production line for Inland Widgets, a manu- facturing company specializing in making small electronic parts used in flat panel televisions.
Because of one very small typing error, he now had one very large problem. Instead of the 10,000 widgets that should have been produced for one of his customers this month, his crew had produced 100,000! Now he had to come up with an immedi- ate plan to market the remaining 90,000 widgets.
His job was on the line, and he knew it.
As Garth sat thinking in his office late one night, he turned the situation over and over in his mind. “We could try to sell them to our custom- er’s competitors, even though we agreed not to do that. We could hold them in storage and hope another order comes through. We could lay off all 51 employees in the plant until this thing blows over . . . or we could . . . I don’t know!”
Just then, Garth’s assistant manager, Lynn Sen, walked in. “Lynn,” Garth said hopefully,
“I need some new ideas. This company needs as many new ideas as possible for getting these extra widgets off the plant floor if we’re going to sur- vive. I sure hope you’re feeling creative.”
“That’s ironic,” countered Sen, “I just came in here to see if you were ready to join me and a few others for a brainstorming session in the confer- ence room.”
Case Study Questions
1. Imagine you are Garth or Lynn, and come up with 20 new possible uses for these widgets.
2. How should Garth and Lynn use the tal- ents of their 51 employees in solving this problem?
3. Explain how Garth and Lynn could use first the nominal group method, and then brain- storming, to come up with ideas for marketing the widgets. Which would work better in this case? Why?
“Actually, you’re both wrong. I was just coming to check on that proposal, Carlos, and I’m glad I did. You both need to hear this: creativity is a skill that can be practiced and improved on.
It’s not luck, and it doesn’t take a genius. It’s a strategy you both would benefit from.” She then said thoughtfully, “You know, maybe we should schedule a full office meeting to talk about this creativity thing. We all seem to be in a little slump lately.”
Case Study Questions
1. Who’s right about the definition of creativity:
Carlos, Debi, or Susan? Is there more than one right answer to this question?
2. Suppose you are Susan. What kinds of infor- mation would you bring to a meeting on creativity?
3. Do you see a link between Carlos’s creativity slump and his self-esteem? Explain.
C arlos Mendez sat slumped at his desk, gently
banging his head against a blank computer screen. The cursor seemed to blink accusingly at him, “Write something! Get busy!” but he just couldn’t seem to get started on his piece of the city planning proposal, due later that afternoon.
His co-worker, Debi Desmond, walked by his office waving a greeting, stopped, backed up, and walked into his office. “What’s wrong, Carlos? You don’t look like the usual happy camper I see in this office!”
“I just can’t do this job, Debi. I’m not smart enough to come up with something creative and original for every different project, week after week after week. I can’t do it any more!”
“Wait a minute! What are you saying? You think that smart and creative are the same thing?
No way! You don’t have to be smart, you just have to be lucky! Creative ideas pop into people’s heads out of nowhere! Right, Susie?”
They both turned to the vice president, Susan McKee, who had just walked into Carlos’s office.
Smarts, Luck, or Skill?
case study 10.2
SOLUTIONS TO THE “NINE-DOT” PUZZLE (This is the “standard” solution):
The solution below also works if you don’t go through the middle of each dot. Also, it uses only 3 straight lines:
Creative people have come up with several other possible solutions. One is with the edge of a long crayon, connecting all dots using only one line!
11
L E A R N I N G O B J E C T I V E S
After studying this chapter, you will be able to:
LO 11-1 Identify the types of conflict.
LO 11-2 List sources of conflict.
LO 11-3 Define conflict analysis.
LO 11-4 Give examples of potential solutions to a conflict.
LO 11-5 Compare and contrast styles of conflict management.
LO 11-6 Explain how to deal with special conflict cases.
S T R A T E G I E S F O R S U C C E S S
Strategy 11.1 Negotiate Win-Win Solutions Strategy 11.2 Make Collaboration Work Strategy 11.3 Stop Conflicts before They Start