Create on a Schedule

1. Gather new material directly related to your task as well as learning general material by becoming fascinated with a wide range of concepts.
2. Thoroughly work over the materials in your mind.  Examine what you have learned by looking at the facts from different angles and experimenting with fitting various ideas together.
3. Step away from the problem. Next, you put the problem completely out of your mind and go do something else that excites you and energizes you.
4. Let your idea return to you. After you have stopped thinking about it, your idea will come back to you with a flash of insight and renewed energy.
5. Shape and develop your idea based on feedback. For any idea to succeed, you must release it out into the world, submit it to criticism, and adapt it as needed.

Some people are primed to be more creative than others.

However, nearly every person is born with some level of creative skill and the majority of our creative thinking abilities are trainable.

It means producing something novel or original, evaluating, solving problems, whether on paper, on stage, in a laboratory or even in the shower.

Geniuses know “how” to think, instead of “what” to think.

People who are more creative can simultaneously engage brain networks that don’t typically work together.

Prodigies like Picasso, who created a masterpiece at age twenty, tend to be "conceptual" in the sense that they start with a clear idea of where they want to go, and then accomplish it. Picasso once said that he could hardly understand the importance given to the word 'research.'

But late bloomers tend to work the other way around. Their goals are imprecise and their procedure experimental. They build their skills gradually throughout their careers, improving slowly over long periods.

Experimental artists are perfectionists and are typically plagued by frustration in their inability to reach their goal. Their creativity proceeds through trial and error and takes a long time to come to fruition.

• When Cézanne was painting a portrait of the critic Gustave Geffroy, he made him endure eighty sittings before he declared the project a failure. He was notorious for slashing his canvases to pieces in fits of frustration.
• Mark Twain was the same. He fiddled and despaired and revised and gave up on "Huckleberry Finn" so many times that the book took him nearly a decade to complete.