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 explores the broader topic of creativity and positive outcomes, of which positive emotions are one. The other positive outcomes we focus on include socialization, personal growth, meaning/legacy, and flow. We first describe the various models of well-being that feature these outcomes, such as subjective well-being (SWB; Diener, 1984), psychological well-being (Ryff, 1995), flourishing (Seligman, 2011), and self-determination theory (Ryan & Deci, 2017). In the bulk of this chapter, we discuss the existing research in the creativity field related to each of these five outcomes. Major progress on this topic has been made in recent years, offering much to discuss.

In this chapter, we examine how creativity, intelligence, and wisdom are related in theoretical frameworks and empirical studies. First, definitions of the three constructs are discussed. Although all of them are complex and multifaceted, the relationship between creativity and intelligence has been extensively studied based on their working definitions and models. However, wisdom research remains sparse, and there is a gap between people’s common beliefs and explicit theories of how wisdom is related to intelligence and creativity. Regardless, some common elements of wisdom have been distilled. These include self-awareness, knowledge, and strategies to cope with uncertainty, which can lead to contributions to social goodness. Second, several empirical studies are reviewed. They show some relationships among the three constructs, but the results have been inconsistent. Third, the WICS model, as a cognitive framework, is used to understand the relationships among the three constructs. The model integrated intelligence, creativity, and wisdom, and has also been tested in some fields. Finally, we argue that wisdom, as a distinguishable component of ability, can help determine whether our intelligence and creativity will be harnessed toward benevolence or malevolence.