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E Ink is a high-technology start-up attempting to revolutionize print communication through electronic ink displays. The founders and top managers of this two-year-old firm are striving to translate a technological breakthrough into a working prototype, move from prototype to full-scale manufacturing, and maintain market excitement about the company. At the same time, they are dealing with a fundamental organizational concern: How to retain E Ink's creativity, drive, and sense of fun while focusing the company on growth and the demands of a first-product introduction.

The new owner and CEO of Arnold Advertising, a relatively small regional agency, aims to build it into Arnold Communications--a much larger, stronger firm competing successfully for national accounts. As part of this growth strategy, the agency develops a process for identifying the "brand essence" of a client's product and using the essence to guide the development of all creative work on the client's campaign. In most cases, the approach appears to be successful at winning new business. Questions arise, however, about the effectiveness of the process for guiding the ongoing creative development and implementation of advertising campaigns.

Based on 22 years of breakthrough research, this article by Teresa Amabile, MBA Class of 1954 Professor of Business Administration at the Harvard Business School, provides insightful guidelines for any executive who wants to nurture and stimulate one of the most powerful competitive weapons in the realm of business today: creativity. In today's knowledge economy, creativity is more important than ever. But many companies unwittingly employ managerial practices that kill it. How? By crushing their employees' intrinsic motivation--the strong internal desire to do something based on interests and passions. Managers don't kill creativity on purpose. Yet in the pursuit of productivity, efficiency, and control--all worthy business imperatives--they undermine creativity. It doesn't have to be that way. Business imperatives can comfortably coexist with creativity. But managers will have to change their thinking first. Specifically, managers will need to understand that creativity has three parts: expertise, the ability to think flexibly and imaginatively, and motivation. Managers can influence the first two, but doing so is costly and slow. It would be far more effective to increase employees' intrinsic motivation. Take challenge as an example: Intrinsic motivation is high when employees feel challenged but not overwhelmed by their work. The task for managers, therefore, becomes matching people to the right assignments. Managers can make a difference when it comes to employee creativity. The result can be truly innovative companies in which creativity doesn't just survive but actually thrives.

Creativity in all fields, including business, flourishes under intrinsic motivation--the drive to do something because it is interesting, involving, exciting, satisfying, or personally challenging. This article presents the Componential Theory of Organizational Creativity and Innovation, which defines the factors--including intrinsic motivation--that determine a person's creativity. This article also shows how the work environment can influence individual creativity.

This fictitious case study explores the challenges facing CoolBurst, a Miami-based fruit-juice company. For over a decade, CoolBurst had ruled the market in the Southeast. Why, then, are its annual revenues stuck at $30 million, and why have profits been stagnant for four years straight? CoolBurst's new CEO, Luisa Reboredo, knows that the company's survival--and her own--depend on the answers. Reboredo has succeeded former utilitarian CEO Garth LeRoue. While LeRoue had undeniably made CoolBurst into the well-oiled machine it was, he'd also been stubborn in enforcing a culture of tradition, self-discipline, and respect for authority--a culture so staid and polite, it left little room for employees to be creative. LeRoue, for instance, had almost fired two of CoolBurst's most creative employees for inventing four new drinks without his permission. Sam Jenkins, one of those employees, had been so angered by the incident that he left the company to work for CoolBurst's largest competitor. How can Reboredo encourage her employees to start thinking creatively. And how can she nurture any creative individuals who may join the company in the future? In 97511 and 97511Z, commentators Paul Barker, Teresa M. Amabile, Manfred F.R. Kets de Vries, Gareth Jones, and Elspeth McFadzean offer advice on this fictional case study.

This fictitious case study explores the challenges facing CoolBurst, a Miami-based fruit-juice company. For over a decade, CoolBurst had ruled the market in the Southeast. Why, then, are its annual revenues stuck at $30 million, and why have profits been stagnant for four years straight? CoolBurst's new CEO, Luisa Reboredo, knows that the company's survival--and her own--depend on the answers. Reboredo has succeeded former utilitarian CEO Garth LeRoue. While LeRoue had undeniably made CoolBurst into the well-oiled machine it was, he'd also been stubborn in enforcing a culture of tradition, self-discipline, and respect for authority--a culture so staid and polite, it left little room for employees to be creative. LeRoue, for instance, had almost fired two of CoolBurst's most creative employees for inventing four new drinks without his permission. Sam Jenkins, one of those employees, had been so angered by the incident that he left the company to work for CoolBurst's largest competitor. How can Reboredo encourage her employees to start thinking creatively. And how can she nurture any creative individuals who may join the company in the future? In 97511 and 97511Z, commentators Paul Barker, Teresa M. Amabile, Manfred F.R. Kets de Vries, Gareth Jones, and Elspeth McFadzean offer advice on this fictional case study.

Rubbermaid, a consumer-products company widely praised for its innovation, has instituted a company-wide experiment to stimulate innovation even further. The experiment consists of creating small cross-functional business teams within each division, with each team being responsible for the creation, management, and profitability of a particular product line. The staffing, reporting structure, and management of the business teams vary across divisions; and clear differences emerge in the performance of four highlighted teams. Specific topics include: options for staffing, structuring, and managing cross-functional business teams; the difficulty of implementing cross-functional teams in a company with a strong functional structure; the difficulty of balancing accountability and empowerment in "entrepreneurial" teams within established firms; and the impact of different management approaches on the functioning of business teams.

Consumer products giant Procter & Gamble is faced with an urgent need to revitalize new-product innovation, given its recent focus on incremental product improvements and its aggressive growth goals. As part of this effort, the company's top executives form a small, autonomous, cross-functional Corporate New Ventures team led by a young former brand manager. Operating within a conducive work environment, the team invents a systematic approach to gathering information and producing creative ideas for radically new product categories.

Organizational stimulants and obstacles to creativity are summarized. The management tasks of supporting creativity and encouraging innovation are described as a delicate balance between over-control and chaos. A technology used to assess the climate for creativity is presented.

People will be most creative when they feel motivated primarily by the interest, enjoyment, satisfaction, and challenge of the work itself--when they are driven by a deep involvement in their work and a passion for it. This note describes the ways in which creativity can be stimulated by this intrinsic motivation, and by certain forms of extrinsic motivation, such as rewards that signal competence or support future achievement. Managerial implications are discussed.

Creativity, the production of new and useful ideas by individuals or teams, can appear in many forms and many functions within firms of all kinds--from entrepreneurial start-ups to well-established enterprises. This note describes the varieties of creativity in organizations, and dispels common myths about what creativity is. Proposes a method for recognizing creativity, outlines the necessary components for individual creativity, and introduces a model of how organizational influences can affect creativity. Critiques some common methods for enhancing creativity, and discusses how creativity can result in innovation.

Supplements the (A) case.

Cambridge Technology Partners uses a highly innovative product strategy, supported by a human resources strategy, that has been very successful. However, high growth rates jeopardize product quality while tension about relative compensation levels between sales and operations threatens the firm's culture.