The Creativity Choice
The Science of Making Decisions to Turn Ideas Into Action
By Zorana Ivcevic Pringle
Category: Science | Reading Duration: 20 min | Rating: 4.1/5 (22 ratings)
About the Book
The Creativity Choice (2025) dismantles the myth that creativity is a fixed trait and shows that it’s a series of choices anyone can learn to make. Grounded in decades of scientific research, it explains how creativity emerges through motivation, mindset, and deliberate action – and offers practical strategies for turning ideas into real outcomes in every area of your life.
Who Should Read This?
- Anyone looking to boost creativity in their daily work
- Leaders aiming to foster innovation on their teams
- Creatives feeling stuck or uninspired
What’s in it for me? Unlock the mindset and tools to enact what you imagine.
You’ve probably had a great idea in the shower, while out for a walk, or in a late-night brainstorming session. Maybe it was a new business concept, a book you wanted to write, or a smarter way to do something at work. And yet – days, weeks, even years go by, and the idea stays just that: an idea. If that sounds like you, know you’re not alone.
The world is full of people with creative thoughts they never act on. Why? Because turning an idea into something real takes more than inspiration. It takes deliberate, repeated action, especially in the face of uncertainty, risk, and resistance. That’s the space where most creative efforts stall – and where the real work of choosing to be creative begins. This Blink dives into the science-backed strategies behind making creativity a consistent part of your life – not just a rare spark, but a repeatable process.
Whether you’re launching a project, leading a team, building a brand, or simply trying to bring more originality to everyday tasks, you’ll find tools to help you start, sustain, and finish creative work. You’ll explore what actually fuels creativity, why mindset matters more than talent, how to manage risk, and what to do when you hit a block. And most importantly, you’ll learn that creativity isn’t something you either have or don’t. It’s a decision you make – and keep making. This is your chance to learn how to choose it.
Chapter 1: Original work begins with intentional action
Creativity isn’t a talent. It’s a decision. Every creative act – whether you’re drafting a pitch, coding a new feature, or sketching a design – begins when you choose to engage with uncertainty and do something original. That first decision is the most important: to show up and start, even when you don’t feel ready.
You don’t need a grand idea to begin, just a commitment to the process. You need to decide what to focus on, what to ignore, when to push forward, when to change direction. These decisions aren’t always conscious, but they’re all-important. A painter selects one sketch over another; a founder decides which feature makes the first cut; a researcher frames a question no one else is asking. These aren’t bursts of brilliance – they’re results of structured thinking, emotional stamina, and accumulated experience. To make better creative choices, start by feeding your mind well.
Read outside your field. Gather examples. Talk to people who think differently. Original ideas come from unusual combinations, and you can’t make those if your inputs are narrow. This isn’t optional – it’s foundational. A wider lens leads to better questions, stronger connections, and more useful ideas.
Creative work also demands emotional management. You’ll doubt yourself. You’ll get stuck. And sometimes, you’ll fail. These aren’t signs to stop – they’re part of the process. Learn to tolerate ambiguity.
Notice when perfectionism is slowing you down. Instead of waiting for confidence, take action. Confidence tends to follow movement, not precede it. One of the most overlooked parts of creativity is editing. Knowing what to leave out is as important as knowing what to put in. This requires stepping back and making tough calls.
Is this idea solving the right problem? Is it too safe? Is it original enough to matter? These are practical, creative decisions – not abstract questions. Answering them well requires space, feedback, and objectivity. You’ll also need to deal with external pressure: deadlines, expectations, norms.
Don’t let them define your decisions. Recognize when your environment is limiting your thinking and adjust accordingly. Sometimes that means seeking solitude. Sometimes it means switching collaborators. Sometimes it means pushing back. Above all, don’t romanticize creativity.
It’s not mystical. It’s practical. It’s a repeated, deliberate engagement with problems worth solving. And it starts with one question: Are you willing to choose it today?
Chapter 2: Creativity means choosing risk over comfort
Creative ideas come with risk. Not just financial or technical risk, but psychological risk. The kind that triggers hesitation, second-guessing, or the quiet urge to play it safe. This isn’t a personal flaw – it’s how human brains are wired.
When uncertainty shows up, even in small ways, we become more likely to value what’s predictable over what’s original. That tendency matters, especially if you’re trying to innovate, lead, or build something new. When you’re in a situation that feels unstable – tight deadlines, shifting priorities, unclear feedback – your unconscious mind starts steering toward safer choices. You might tell yourself you value creativity, but when it’s time to make a decision, you pick the familiar option. It happens fast and often unnoticed. Awareness is the first lever.
The bias against creativity under uncertainty has been proven in experiments – and knowing this gives you power. You can start catching those moments when your discomfort is really about risk, not quality. That’s when it’s time to pause and ask, Am I avoiding this idea because it won’t work – or because it might? Everyone has a different tolerance for creative risk. But it’s a skill, not a fixed trait. You can increase your tolerance by doing three things.
First, normalize discomfort. If you’re not feeling some tension, your idea might not be pushing far enough. Second, reframe risk as investment. Risk doesn’t mean recklessness. It means trading comfort for the possibility of breakthrough. Third, build feedback into your process early.
The more quickly you expose an idea to others – even in draft form – the easier it is to reduce fear and improve your work. This matters not only for individuals, but also for organizations. When leaders face decisions about which projects to support, the same bias applies. Safe ideas feel easier to back. They come with clearer expectations and fewer variables. But those choices tend to produce incremental results, not big leaps.
Leaders who want innovation need to be conscious of this bias, and learn to ask different questions – like, What’s original here? What’s uncertain? And what makes this risk worth taking? The key takeaway is this: uncertainty isn’t a sign to back off. It’s a natural part of creativity. The challenge is to notice the internal resistance and act anyway.
Take smaller risks more often. Share early. Challenge assumptions. Let discomfort be a signal, not a stop sign.
Creativity doesn’t require fearlessness – it requires willingness. The risk is real. But so is the reward.
Chapter 3: Creativity grows when you believe it’s learnable
Creativity isn’t an exclusive club for the naturally gifted. It’s a skill anyone can develop – and how you think about creativity plays a major role in whether or not you do. The first step is letting go of the myth that creativity only lives in brilliant inventions, iconic art, or breakthrough discoveries. Yes, those are creative, but they’re only one part of the picture.
Everyday creativity – solving a tricky problem at work, inventing a new family recipe, redesigning your workspace – is just as real. When people focus on this kind of creativity, they’re more likely to believe it’s something that can be improved with effort. That belief is critical. It fuels action, and it turns hesitation into momentum. If you think creativity is fixed – that it’s something you either have or don’t – you’re far less likely to try new things, take creative risks, or stay with a challenging idea. But when you see creativity as something you can learn, you become more likely to engage with it, experiment, and build real creative confidence.
That confidence, in turn, leads to better ideas and bolder execution. This is called creative self-efficacy – the belief that you can be creative in a specific situation. It’s not about being the next Steve Jobs. It’s about knowing that with time and practice, you can come up with valuable, original solutions in your own work and life. So how do you strengthen that belief? Start by changing what you pay attention to.
Instead of comparing yourself to world-famous creatives, look at people around you who solve problems in original ways. Watch how they experiment, adapt, and keep moving forward. Then, do the same in your own projects: test small ideas, keep what works, and treat mistakes as part of the process. Also, be careful with the stories you absorb. When you hear tales of sudden genius or overnight success, remember: those are rarely accurate. Most creative achievements are built through trial and error, slow progress, and deliberate practice.
Normalize that in your environment. Whether you’re leading a team or teaching a class, celebrate creativity as something built – not gifted. In short, don’t wait for talent to show up. Focus on the mindset.
Frame creativity as a skill, not a trait. Start small. Choose growth. The more you believe you can become creative, the more you will.
Chapter 4: Creative work thrives when curiosity drives the process
Creativity can’t survive on pressure. It flourishes when you’re genuinely interested in what you’re doing – when the work itself feels worth it, even before results show up. That’s the power of intrinsic motivation. It’s what makes someone stay late sketching a new design just because they can’t stop thinking about it, or keep revising a story because they love the challenge of getting the tone just right.
There are two main reasons intrinsic motivation fuels creative work. The first is enjoyment. People are more likely to stick with difficult, open-ended problems when the process feels rewarding in itself. Second, there’s challenge. When the task is complex but personally meaningful, it keeps attention sharp and thinking flexible – both essential for generating new ideas. This applies across industries and experience levels.
Creative professionals, students, and team leads alike tend to be more innovative when they’re driven by curiosity and purpose, not just outcomes. That’s not to say extrinsic motivation – like recognition, bonuses, or promotions – has no role. It does. But its effectiveness depends on how it’s used. External rewards work best when they reinforce the value of creative contributions. A raise tied to measurable innovation, or a performance review that highlights originality, can boost motivation without undermining it.
But when rewards are vague or disconnected from creativity, people play it safe. They start optimizing for what they believe gets noticed – speed, volume, efficiency – rather than what makes a real difference. In some phases of creative work, intrinsic motivation may dip. Not every part of a project is exciting. Administrative hurdles, repeated drafts, delayed approvals: these can feel tedious. That’s where small, well-timed extrinsic rewards help.
You can use them to push through low-energy phases. Whether it’s treating yourself to something you enjoy or celebrating minor milestones, these boosts keep momentum going. If you want to create more – and better – work, the key is to manage both types of motivation. Start by focusing your attention on projects that genuinely interest you. Make space for autonomy, experimentation, and self-directed problem-solving. Then, when recognition or rewards come into play, tie them clearly to creativity.
Show yourself, and others, that original thinking matters. Creative flow doesn’t begin with pressure or the promise of reward. It begins with purpose. When you care about what you’re making, everything else becomes easier to navigate.
Curiosity pulls you in. Challenge keeps you going. Recognition is a bonus – not the reason you started.
Chapter 5: Solve creative blocks by shifting your perspective, not forcing solutions
Getting stuck creatively isn’t just frustrating – it’s draining. One minute you’re excited about an idea, the next you’re staring at a wall, feeling like you’ve hit the limit of what you can do. That feeling is normal. But staying stuck doesn’t have to be.
There are strategies that help – not by powering through, but by approaching the problem from a different angle. Start with self-compassion. A creative block often comes with a flood of negative emotions: frustration, doubt, even shame. You might start questioning your ability or comparing yourself to others. None of that helps. What does help is pausing and acknowledging what you’re feeling – without judgment.
That emotional space gives you room to move again. You don’t need to feel inspired to get unstuck. You just need enough clarity to try something new. One powerful next step is to broaden your thinking. Creative ruts usually involve a kind of mental tunnel vision. You’ve become overly focused on one angle or one solution.
To reset, seek input from outside the problem. Read something unrelated. Visit a museum. Talk to someone in a different field. The goal is to break the loop and start seeing the problem through a wider lens. Sometimes, adding constraints helps too.
Limiting your options might sound counterintuitive, but it gives you structure to push against. For example, a composer might decide to use a fixed set of notes. A writer might commit to a story told entirely in dialogue. Boundaries like these can redirect energy and focus your thinking. If you’re more hands-on, engage with materials. Move away from screens and start sketching, prototyping, or rearranging objects.
This kind of physical interaction can shift your thinking. That’s why artists fill their studios with unfinished work, found objects, and references. It’s not clutter – it’s stimulus. You can do the same by creating an environment that encourages visual and tactile exploration. Finally, reframe the problem. When your ideas stop working, the issue often lies in how you’re defining the challenge.
Step back. Ask yourself what you’re really trying to solve. Designers do this by testing, tinkering, and rethinking how a problem is structured. You can too. Creative work is rarely a straight line. The real skill is being able to reorient yourself when things stall.
So when you’re stuck, don’t tighten your grip. Instead, zoom out, shift your environment, and ask better questions. Blocks are temporary. With the right strategies, your momentum will return.
Final summary
In this Blink to The Creativity Choice by Zorana Ivcevic Pringle, you’ve learned that creativity begins with action and grows through deliberate choices. It requires taking risks, tolerating uncertainty, and learning to think differently. Creative ability isn’t fixed – it improves with effort, curiosity, and a mindset that’s open to growth. Motivation matters, so set yourself up for success: when you’re driven by genuine interest, your ideas tend to be better – and the right rewards can help keep things moving.
And when you hit a block? Sometimes all it takes is a shift in perspective and a little self-compassion to move forward. In the end, creative work isn’t magic. It’s a process anyone can learn, refine, and sustain.
Okay, that’s it for this Blink. We hope you enjoyed it. If you can, please take the time to leave us a rating – we always appreciate your feedback. See you soon!
About the Author
Zorana Ivcevic Pringle is a senior research scientist at the Yale Center for Emotional Intelligence, where she explores how creativity unfolds – from the choice to pursue an idea to the steps that bring it to life. A Fellow of the American Psychological Association, her research bridges psychology, education, and the arts, and has been featured in outlets such as Psychology Today, Harvard Business Review, US News, and ArtNet.