4.2.5 Stages of Creativity

The first well‑known attempt to conceptualize the creative process was by Wallas in 1926. Although Wallas did not identify specific processes, he did articulate different stages that reflect different processes. Although Wallas's stages are crude and global, his four‑stage model has helped order our thinking about the creative process. His four‑stage model consists of:

1. Preparation Stage‑information gathering, mastering the knowledge base, identifying the problem. It is in this stage that the basic techniques and knowledge base of a particular domain are mastered. For example, techniques of painting are mastered or the research literature is totally investigated. It is probably in this stage that basic intellectual processes are important in determining the rapidity of learning and the complexity of issues that are tackled.

2. Incubation Stage‑ideas incubate without the individual directly, logically working on the problem. It is in this stage that processes unique to the creative process are so important. It is also in this stage that Wallas and others introduced the concept of the unconscious. Problems are not consciously worked on, but much restruc­turing and free associating occurs outside of conscious awareness. There are several descriptions by creative individuals of the subjective experience of the incubation stage. Thoughts are permitted to roam in a free‑ranging manner. It is here that affective processes may play an especially important role.

3. Illumination Stage‑the solution to the problem occurs or is recognized. The artistic plan develops. This stage is often referred to as the "aha" experience of the creative scientist. In reality, as many have pointed out, reaching a solution is probably a gradual process in most instances. The sudden illumination occurrence is probably the least frequent manner by which a solution occurs.

4. Verification Stage‑the solution must now be evaluated. Is it indeed good? The hypothesis must be tested; the painter must stand back and evaluate and rework the painting. Critical thinking and logical thinking must be dominant in this stage.

In general, the basic cognitive processes of logic, memory, and abstract thinking should be dominant in the first and last stages. Different types of cognitive processes should be dominant in Stages 2 and 3. Stages 2 and 3 are especially important in creative problem solving and creative artistic expression. It is in the incubation stage that affective processes most likely play a major role.

As Gruber correctly pointed out, Wallas's stage model is incomplete. It does not include the early stage of problem finding or the final stage of expansive application of the creative product. However, Wallas' basic stages remain theoretically useful and continue to be the basis for training approaches.

As Vinacke stressed, the stages of this creative process are probably not so ordered as Wallas first proposed. Individuals go back and forth rapidly between the stages, sometimes letting their thoughts roam, sometimes calling on their critical thinking faculties. It is the ability to shift between stages that are important to the creative process, perhaps involving the ability to gain access to or call into play creative cognitive and affective processes (or let them occur). Psychoanalytic theorists refer to this ability as “regression in the service of the ego".