by Sorcha Ni Dhomhnaill

Created on: February 03, 2009

When psychologists study creativity, one factor that invariably comes up is intrinsic motivation. That means an inner-focused drive rather than an outer (extrinsic) one. In a word, they're talking about fun.

To elaborate: is there anything you love doing? Do you get a nearly perverse enjoyment from something that others consider strange, boring, or frivolous? Is there any small part of the day that gets you out of bed because you can't wait to find out what happens next? Is there any part of something you hate doing that you absolutely relish, because it gives you the chance to innovate a more bearable solution? Any passion, no matter how small, is a chance to develop your creativity.

Developing your passions in a fun way is called play. But "play" in this context does not mean the half-hearted, lazy, noncommital activity our culture seems to insist on as the only definition of the word. What do writers do when they invent a world? What do scientists do when they design experiments to satisfy their curiosity? Is there any part of human innovation that doesn't involve play?

There are many anecdotes about the odd behavior and extremes of people who are considered to be creative geniuses, alleging that they are somehow different from us, or that in order to be like them we need to affect strange behaviors. Whoever writes this stuff doesn't get it. Creativity is about having fun interacting with the world on your own terms and for its own sake.

But that doesn't mean pursuing your passion is always solitary, or that having fun is somehow selfish, as many of us are conditioned to think. After all, aren't rigid thinking and lack of committment more selfish than their alternatives? As John Ruskin said, "an uncreative person can be neither reverent nor kind." Besides, creative work requires a willingness to make sacrifices and cooperate: if you have a passion, you have an instant community of people who are willing to help you just because they share your intensity and interest, and you will often find yourself humbled by the others, no matter who you are.

Rather than scrutinize the actions of figures like Einstein, Shakespeare, Mozart and the like, anyone whose flaws and unremarkable qualities are often understated, we should try to see the creative accomplishments for what they are. One of my favorite examples for this exercise is Robert Altman. How did he get to be such a critically acclaimed (and infamous) director, who was so sought after by countless A-list stars

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