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When faculty of a major Chinese university asked Plucker to identify trends in American education, he described our focus on standardized curriculum, rote memorization, and nationalized testing. “After my answer was translated, they just started laughing out loud,” Plucker says. “They said, ‘You’re racing toward our old model. But we’re racing toward your model, as fast as we can.’ ”

The argument that we can’t teach creativity because kids already have too much to learn is a false trade-off. Creativity isn’t about freedom from concrete facts. Rather, fact-finding and deep research are vital stages in the creative process.

When you try to solve a problem, you begin by concentrating on obvious facts and familiar solutions, to see if the answer lies there. This is a mostly left-brain stage of attack. If the answer doesn’t come, the right and left hemispheres of the brain activate together. Neural networks on the right side scan remote memories that could be vaguely relevant. A wide range of distant information that is normally tuned out becomes available to the left hemisphere, which searches for unseen patterns, alternative meanings, and high-level abstractions. Having glimpsed such a connection, the left brain must quickly lock in on it before it escapes. The attention system must radically reverse gears, going from defocused attention to extremely focused attention. In a flash, the brain pulls together these disparate shreds of thought and binds them into a new single idea that enters consciousness. This is the “aha!” moment of insight, often followed by a spark of pleasure as the brain recognizes the novelty of what it’s come up with. Now the brain must evaluate the idea it just generated. Is it worth pursuing? Creativity requires constant shifting, blender pulses of both divergent thinking and convergent thinking, to combine new information with old and forgotten ideas. Highly creative people are very good at marshaling their brains into bilateral mode, and the more creative they are, the more they dual-activate.

those who diligently practice creative activities learn to recruit their brains’ creative networks quicker and better

Creativity has always been prized in American society, but it’s never really been understood. While our creativity scores decline unchecked, the current national strategy for creativity consists of little more than praying for a Greek muse to drop by our houses. The problems we face now, and in the future, simply demand that we do more than just hope for inspiration to strike. Fortunately, the science can help: we know the steps to lead that elusive muse right to our doors.

What’s common about successful programs is they alternate maximum divergent thinking with bouts of intense convergent thinking, through several stages. Real improvement doesn’t happen in a weekend workshop. But when applied to the everyday process of work or school, brain function improves.

kids demonstrated the very definition of creativity: alternating between divergent and convergent thinking, they arrived at original and useful ideas. And they’d unwittingly mastered Ohio’s required fifth-grade curriculum—from understanding sound waves to per-unit cost calculations to the art of persuasive writing. “You never see our kids saying, ‘I’ll never use this so I don’t need to learn it,’ ” says school administrator Maryann Wolowiec. “Instead, kids ask, ‘Do we have to leave school now?’ ” Two weeks ago, when the school received its results on the state’s achievement test, principal Traci Buckner was moved to tears. The raw scores indicate that, in its first year, the school has already become one of the top three schools in Akron, despite having open enrollment by lottery and 42 percent of its students living in poverty.

project-based learning

highly creative adults frequently grew up with hardship. Hardship by itself doesn’t lead to creativity, but it does force kids to become more flexible—and flexibility helps with creativity.

When creative children have a supportive teacher—someone tolerant of unconventional answers, occasional disruptions, or detours of curiosity—they tend to excel. When they don’t, they tend to underperform and drop out of high school or don’t finish college at high rates. They’re quitting because they’re discouraged and bored, not because they’re dark, depressed, anxious, or neurotic. It’s a myth that creative people have these traits. (Those traits actually shut down creativity; they make people less open to experience and less interested in novelty.) Rather, creative people, for the most part, exhibit active moods and positive affect. They’re not particularly happy—contentment is a kind of complacency creative people rarely have. But they’re engaged, motivated, and open to the world.

solutions emerge from a healthy marketplace of ideas, sustained by a populace constantly contributing original ideas and receptive to the ideas of others

The age-old belief that the arts have a special claim to creativity is unfounded.

When scholars gave creativity tasks to both engineering majors and music majors, their scores laid down on an identical spectrum, with the same high averages and standard deviations. Inside their brains, the same thing was happening—ideas were being generated and evaluated on the fly.

those who diligently practice creative activities learn to recruit their brains’ creative networks quicker and better. A lifetime of consistent habits gradually changes the neurological pattern.

The home-game version of this means no longer encouraging kids to spring straight ahead to the right answer

The new view is that creativity is part of normal brain function.

“As a child, I never had an identity as a ‘creative person,’ ” Schwarzrock recalls. “But now that I know, it helps explain a lot of what I felt and went through.”

In China there has been widespread education reform to extinguish the drill-and-kill teaching style. Instead, Chinese schools are also adopting a problem-based learning approach.

fact-finding

problem-finding

Next, idea-finding

there is one crucial difference between IQ and CQ scores. With intelligence, there is a phenomenon called the Flynn effect—each generation, scores go up about 10 points. Enriched environments are making kids smarter. With creativity, a reverse trend has just been identified and is being reported for the first time here: American creativity scores are falling.

“My contention is that status is on everybody’s mind all of the time, whether they’re conscious of it or not,”

“new journalism” combined the emotional impact of a novel, the analysis of the best essays, and the factual foundation of hard reporting. He mingled it all in an over-the-top style that made life itself seem like one spectacular headline.

pointed look at fund-raising for the Black Panther Party by Leonard Bernstein and other wealthy whites.

And no one more memorably captured the beauty-and-the-beast divide between the Beatles and the Rolling Stones: “The Beatles want to hold your hand,” he wrote, “but the Rolling Stones want to burn down your town!”

s a child, he did rewrites of the Authurian legends and penned biographies of his heroes.

unsuccessful pitching tryout with the New York Giants before

The Washington Post, where he won Washington Newspaper Guild awards in 1960 for his coverage of U.S.-Cuban affairs and a satiric account of that year’s Senate civil rights filibuster.

The next year, Wolfe was assigned to cover a “Hot Rod & Custom Car” show. He completed a story, the kind “any of the somnambulistic totem newspapers in America would have come up with.” But he knew there was a much richer, and longer story to tell, one about a thriving subculture that captured the post-World War II economic boom and the new freedom to “build monuments” to one’s own style. No newspaper could contain what Wolfe had in mind, so he turned to Esquire magazine, wrote up 49 pages and helped give birth to a new kind of reporter. “For the who-what-where-when-why of traditional journalism, he has substituted what he calls ‘the wowie!'” according to a 1965 Newsweek story.

“A Man in Full” turned Wolfe’s smirk to Atlanta society. His 2004 novel, “I Am Charlotte Simmons,” looked at life on a fictional elite college campus rife with drinking, status obsession and sex.