The concluding chapter reflects on the contributions across five parts of the Handbook. We consider the threads connecting specific chapters within the topical sections devoted to the methodology of studying creativity and emotion, creative process, creative person, creative product, and creative contexts. In this reflection, we pay special attention to what is missing and what are key directions for future research. We propose an integrative model describing the role of affective processes across different aspects of creativity. The model discusses the need to specify the nature of creativity being studied (in terms of time, potential vs. actualization, and locus of judgment of creativity), as well as levels in which the role of emotions in creativity manifest itself (individual, dyadic, group, institutional, cultural). The process model of affective influences on creativity describes the role of affective states, emotion-related traits, and emotion abilities at different points from facing or initiating creative problems to creative beliefs and intentions, creative behavior, and creative products or achievements.

In the introductory chapter to the Cambridge Handbook of Creativity and Emotion, we define basic terms in the study of creativity and emotions. We argue about the need for specification of different aspects of creativity under investigation and caution scholars to make conclusions about specific aspects studied, rather than “creativity” in general. This Handbook examined three groups of affective processes: affective states (relatively short-lasting reactions to internal or external stimuli), emotion-related traits (typical ways of feeling), and emotion abilities (capacities to reason about and with emotions, such as in the case of emotional intelligence). Next, we describe the organization of this Handbook into five parts, each addressing a different aspect in the study of creativity, including methodological issues, creative process, creative person, creative product, and creative contexts (school and work). The concluding chapter presents an integrative model of the role of affective processes across aspects of creativity.

This chapter examines the role of emotion traits in creativity. Here, creativity is defined as a syndrome that involves attitudinal, cognitive, and behavioral components. Emotion traits most centrally affect aspects of the creativity syndrome that are manifested across situations and time. Specifically, the chapter reviews evidence of emotion traits influencing the creative decision, creative process engagement, domain-specific performance, and frequency of creative activities and achievement. The function of emotion traits is to direct attention, energize, and lower the threshold for behavior. The chapter suggests future directions in the study of emotion traits and creativity.

Emotions are fuel for creativity: from inspiration to do something creative, to determination for follow-through, and enjoyment of the finished product. Moreover, if emotions are fuel for creativity, we will demonstrate how certain personality traits, such as openness to experience, are akin to turbocharging the engine, lowering the threshold for creative thought and creative behavior. Emotion-related personality traits – tolerance of ambiguities and risks inherent in doing something new – are at the core of one’s willingness to make the decision to do something creative. Steve Jobs, for example, was famously willing to go on with plans for the iPad in spite of popular wisdom that people would not be interested in the device (Buchanan, 2013). Finally, we will propose that people need not be at the mercy of their personality nor emotional state, but rather can channel their personal experience into creativity through their ability to recognize, understand, and regulate emotions effectively.