164 • Creative, Ecient, and Eective Project Management
one to scream, oentimes guratively but sometimes literally, “Eureka!”
or Aha!” A sort of euphoric feeling consumes the creator.
20
Verication and production is the nal phase. Now the test of an idea
occurs from a practicality standpoint. Technical complications and
organizational resistance are just two examples where reality can make or
break a creative idea, that is, get it accepted and implemented orrejected.
21
CONCLUSION
Creativity requires some discipline if it is to contribute to the success
of a project. Unfortunately, the perception is oen that creativity is
something that must lack discipline (e.g., no processes or rules) to enable
it to blossom. Nothing could be further from the truth. While occasion-
ally undisciplined, creative people must direct their eorts in a focused
and disciplined manner to deliver something that is not only creative, but
innovative.
Preparation
Ve
rification
and
Production
Concentration
Illumination
Incubation
FIGURE 7.3
Traditional creative life cycle.
Creativity Life Cycle Models • 165
e traditional model of creativity is preferred by the author simply
because it has been used extensively in dierent industries, is the most
familiar to people, and has proven to be most eective. e following
chapters discuss how the traditional model can be applied with each of the
project management processes of dening, organizing, planning, execut-
ing, monitoring and controlling, and closing.
Getting Started Checklist
Question Yes No
1. Have you decided to follow one or a combination of the following
creative processes?
Creative problem-solving process as described by Arthur VanGundy
Imagination, illumination, and stage gates as described by James
Higgins
Six behaviors of creativity as described by Dave Allen et al.
Traditional model as described by David Campbell
Other(s):
2. Whichever process is chosen, list some ways to apply the processes on
your project (e.g., training):
Way(s):
ENDNOTES
1. Daniel Goleman, Paul Kaufman, and Michael Ray, e Creative Spirit (New York:
Dutton, 1992), pp. 19–22.
2. James M. Higgins, Innovate or Evaporate (Winter Park, FL: e New Management
Publishing Co., 1995), p. 214.
3. Arthur B. VanGundy, Creative Problem Solving (Westport, CT: Greenwood Press,
Inc., 1987), pp. 61–65.
4. VanGundy, Creative Problem Solving, pp. 61–65.
5. VanGundy, Creative Problem Solving, pp. 61–65.
6. VanGundy, Creative Problem Solving, pp. 61–65.
7. VanGundy, Creative Problem Solving, pp. 61–65.
8. VanGundy, Creative Problem Solving, pp. 61–65.
9. VanGundy, Creative Problem Solving, pp. 61–65.
10. VanGundy, Creative Problem Solving, pp. 61–65.
11. Dave Allan et al., What If? (Oxford: Capstone Publishing Limited, 1999), pp. 7–17.
12. Allan et al., What If? pp. 54–93.
13. Allan et al., What If? pp. 95–123.
14. Allan et al., What If? pp. 127–169.
15. Allan et al., What If? pp. 171–205.
16. Allan et al., What If? pp. 208–237.
166 • Creative, Ecient, and Eective Project Management
17. David Campbell, Take the Road to Creativity and Get O Your Dead End (Niles, IL:
Argus Communications, 1977), pp. 30–33.
18. Campbell, Take the Road to Creativity and Get O Your Dead End, pp. 33–36.
19. Campbell, Take the Road to Creativity and Get O Your Dead End, pp. 36–38.
20. Campbell, Take the Road to Creativity and Get O Your Dead End, pp. 39–40.
21. Campbell, Take the Road to Creativity and Get O Your Dead End, pp. 40–41.
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