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Creativity polymathy: What Benjamin Franklin can teach your kindergartener

James C. Kaufman a,⁎, Ronald A. Beghetto b, John Baer c, Zorana Ivcevic d

a Learning Research Institute, California State University at San Bernardino, 5500 University Parkway, San Bernardino, CA 92407-2318, United States
b University of Oregon, Eugene, OR 97403, United States
c Rider University, 2083 Lawrenceville Road, Lawrenceville, NJ 08648-3099, United States
d Tufts University, 490 Boston Ave, Medford, MA 02155, United States

a b s t r a c ta r t i c l e i n f o

Article history:
Received 4 February 2009
Received in revised form 1 October 2009
Accepted 10 October 2009

Keywords:
Creativity
Polymathy
Creativity enhancement
Giftedness

Creative polymathy at the very highest levels is rare, but this is largely the result of a long period of training
usually necessary to become proficient in any field. We explain why creative polymathy is not ruled out by
arguments for the domain specificity of creativity and argue that consideration of multiple levels of creativity
(Big-C, Pro-c, little-c, and mini-c) leads to the conclusion that creative polymathy may actually be fairly
common. We introduce a hierarchical model of creativity (the APT Model) to help understand some
constraints on and possibilities for creative polymathy, suggest different ways creative polymathy may be
expressed, and offer guidelines for recognizing and nurturing creative polymathy in students.

© 2009 Elsevier Inc. All rights reserved.

Benjamin Franklin may have been the Unites States' first true
contribution to creative polymathy. He was an inventor, creating a
clean-burning stove, bifocals, and the lightning rod. He was a scientist,
charting out the Gulf Stream and discovering new properties of electricity.
He was a literary success, writing and editing Poor Richard's Alamanack;
his autobiography is still a regularly assigned college reading. He was a
civicleader,helpingtocreatetheUniversityofPennsylvania and oneofthe
first public lending libraries. And, of course, he was a political genius, being
a founding father of America and subsequently ambassador to France. His
legacy continues to this day. Whereas many other early founders of the
United States (such as John Hancock or John Adams) are remembered in
name only by most of the general public, Franklin lives on — as a lead
character in two different Broadway musicals (1776 and Ben Franklin in
Paris), as a common source of quotations, as namesake to fictional
characters (“Hawkeye” Pierce on MASH and Lt. Pinkerton in Madame
Butterfly), and immortalized on the hundred dollar bill (Isaacson, 2004).

Creative accomplishment in so many different areas is extremely rare.
Imagine someone alive today with the satiric literary wit of a Jon Stewart,
the political insights of an Orrin Hatch or Ted Kennedy, the civic
mindedness of an Erin Gruwell (the teacher who founded the Freedom
Writers), and the general magnetism and charisma of a Tom Hanks or Will
Smith. Searching for a handful of modern day women and men who can
join the ranks of Leonardo da Vinci, Paul Robeson, Clare Booth Luce,
Bertrand Russell, and Linus Pauling, however, can be an exercise in
frustration. We believe, however, that just because there are so few highly
accomplished multi-creative individuals does not mean that creative

polymathy (i.e., being creative in more than one domain) is impossible.
Rather, as we will discuss, we believe it is possible to both identify and
nurture the multi-creative abilities of gifted students. So the question is
not so much is multi-creative ability possible (it certainly is), but rather
how might educators nurture the multi-creative talent in gifted students?

In tackling the question, we first consider the question in light of the
Four-C model of creativity (Kaufman & Beghetto, 2009). We will then
examine two positions about the nature of creativity itself. Position one
argues that creativity is a general construct (i.e., the skills that lead to
creative performance are the same, or very similar, across all domains).
Position two argues that creativity is a domain-specific construct (i.e., the
skills that help one be creative in one domain would be of little use in
other, unrelated domains). We then describe a more balanced position
by drawing on the Amusement Park Theoretical (APT) Model (Baer &
Kaufman, 2005a,b; Kaufman & Baer, 2004, 2006). We conclude by
presenting a marionette analogy to help illustrate how a gifted student
might be creative in multiple domains, which varies depending on their
level of creative development.

1. The Four-C model of creativity: Big-C and little-c

“If you would not be forgotten as soon as you are dead, either
write something worth reading or do things worth writing.”

– Benjamin Franklin

Prior to understanding how multi-creative ability might be identified
and nurtured in gifted students it is first important to understand what it
meanstobecreative. Twostudies of creativitytypicallyfocus onlegendary
(Big-C) expressions of creativity and everyday (little-c) expressions of

Learning and Individual Differences 20 (2010) 380–387

⁎ Corresponding author. Tel.: +1 909 537 3841.
E-mail address: jkaufman@csusb.edu (J.C. Kaufman).

1041-6080/$ – see front matter © 2009 Elsevier Inc. All rights reserved.
doi:10.1016/j.lindif.2009.10.001

Contents lists available at ScienceDirect

Learning and Individual Differences

journal homepage: www.elsevier.com/locate/lindif



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creativity (Csikszentmihalyi, 1996; Stein, 1953). Studies of Big-C creativity
often have the goal of learning about creative genius and which explore
the types of creative works that may last forever (e.g., Simonton, 1994).
Big-Ccreators typicallyhave devoted many–usually ten or more–years of
intense study developing the requisite domain expertise necessary for
making revolutionary contributions (Ericsson, Roring, & Nandagopal,
2007; Simon, 1981; Simonton, 1997). Big-C creators typically are
remembered years after their death; their life and works may be studied
by subsequent generations — consider Charles Dickens, Albert Einstein,
Oscar Wilde, Jane Austen, or Duke Ellington. Creative greatness may be
studied by analyzing the lives of well-known creators, or interviewing
renowned individuals, or perhaps by studying people who excel at
high levels on creativity measures. Big-C creativity has, traditionally,
been the focus of much research and theorizing in creativity studies
(see Simonton, 2009, for a review of many of these studies).

Creativity researchers have also focused on more everyday or little-c
experiences of creativity (Richards, 1990). Everyday or little-c creativity
highlights the creativity involved in the daily activities and experiences in
which just about anyone can participate. Examples of little-c creativity
include: making up song lyrics to a favorite song, figuring out new ways
to motivate your roommate to finish cleaning up her mess in the kitchen,
combing leftovers into a tasty new synthesis of flavors, or your toddler
coming up with a new story-line for his or her favorite picture book.

Although it may seem that these two common categories of creativity
(Big-C and little-c) account for just about any expression of creativity, on
closer expression it becomes evident that these two categories do not
sufficiently account for subtle, yet meaningful distinctions in levels of
creativity. Consider, for instance, a musician who has performed at several
major venues, but may never attain the status of an eminent musician
(whose work is featured on radio shows or taught in music classes). This
musician clearly is not a Big-C performer, but to categorize her as a little-c
musician would diminish her professional success (as she would be
lumped in with the occasional musician who plays music for family and
friends and may not be able to perform in a concert hall). The professional
musician, when considered in light of the Big-c/little-c split, is misplaced
or obscured. The same can be said for the much more subjective creativity
of a student learning how to play music. Although the student may have
new and personally meaningful insights about how to combine notes
while playing, such insights may not be sufficiently novel to be considered
creative even at the little-c level. Given these limitations with traditional
Big-C/little-c conceptions of creativity, Kaufman and Beghetto (2009)
proposed the Four-C Model of Creativity; which added the two categories
of “mini-c” creativity (Beghetto & Kaufman, 2007) and “Pro-c” creativity
(Kaufman & Beghetto, 2009).

1.1. What is mini-c?

“Tell me and I forget. Teach me and I remember. Involve me and I
learn.”– Benjamin Franklin

The mini-c category focuses on the novel and personally meaningful
insights and interpretations involved in learning and experience (e.g., a
new insight into how to solve a math problem, a new connection between
what has been learned in science and history class). Mini-c creativity
includes the “personal” (Runco, 1996, 2004), “expressive” (Taylor, 1959),
and “developmental” (Cohen, 1989) aspects of creativity. Examples of
mini-c creativity include a student having a personally meaningful insight
that helps her make a connection between an algebraic equation and the
calculations needed for her science fair project; a youngster making a new
connection between the design of building he saw on summer vacation
and the Lego towers he now makes at home, or a teacher watching a
historical documentary on television and having a new insight about how
to incorporate math into a social studies lesson.

The definition of mini-c creativity (Beghetto & Kaufman, 2007)
stresses the importance of personal (or subjective) judgment of novelty

and meaningfulness. This focus on subjective judgment distinguishes
mini-c creativity from more objective expressions of creativity in which
the novelty and meaningfulness of the outcome requires external
judgment. Consequently, mini-c insights many never go beyond the
individual creator. On the other hand, however, just because mini-c
creativity does not meet the traditional standards used for judging Big-C
or even little-c creativity (the production of a product that is externally
judged to be novel and meaningful) mini-c creativity can and should be
considered a sign of creative potential. As Vygotsky (2004) has argued,
internal creative acts can still be considered creative, even when they only
take the form of “some mental or emotional construct that lives within the
person who created it and is known only to him” (p. 7).

Consider a child learning to finger-paint. His painting may not bring
anything “new” to the domain of art; it may not be entirely within the
typical confines of painting (perhaps it is a painted pinecone), and he may
demonstrate no special talent or aptitude (more paint may end up on his
clothing than on the paper). Yet there is nonetheless a core of internal
creative expression taking place: for instance, he is discovering new and
personally meaningful ways to combine color and how to represent
images on paper. Such mini-c insights and interpretations, while valuable
in their own right, can also serve as building blocks on which further
creative insights and expression might be produced (he may end up
creating personalized holiday cards that his family recognizes as creative,
or make his own comic book that is judged by peers, teachers, or perhaps
even established creators of graphic novels to be creative). In this way,
mini-c creativity can (and often does) serve as the genesis for more
objective levels of creative expression.

The concept of mini-c creativity also underscores the relationship
between creativity and personally meaningful learning. This connection
was recognized more than fifty years ago by J.P. Guilford (1950), who
argued that “a creative act is an instance of learning” and, therefore,
“a comprehensive learning theory must take into account bothinsight and
creativity activity” (p. 446). As such, any time a student has a unique and
personally meaningful insights or interpretation when learning a new
discipline it can be said that the student has engaged in a personally
creative act and an instance of personally meaningful learning. This is true
even if no one else recognizes the insight as unique or particularly
meaningful (indeed there is some distance to travel, which often includes
focused learning of the conventions of a particular domain, before a mini-c
insight can develop into an idea, product or behavior recognized by others
as creative).

Even though we argue that there is a relationship between personally
meaningful learning and mini-c creativity, we also recognize that not all
aspects of learning are creative. Someone learning a series of vocabulary
words by rote, for example, likely would not be experiencing mini-c (as
this may not lead to any new or personally meaningful insights or
interpretations). Mini-c creativity may still occur, however, if the student
learning the series of vocabulary words used his or her imagination to
form mental connections (i.e., “headstrong means being stubborn and
willful; in order to do that, you need a strong head”).

1.2. What is Pro-c?

“Genius without education is like silver in the mine.”
– Benjamin Franklin

Pro-c creativity includes professional-level creators who have not yet
attained legendary status (Kaufman & Beghetto, 2009). Someone who is a
hobbyist and creates point-and-click games using free shareware falls
into the little-c category, whereas Sid Meier (the Civilization games) and
Will Wright (the Sims games) are likely examples of Big-C. The Pro-c
game designer, in contrast, would be someone who has worked as part
of a team on a well-reviewed game, or has perhaps created an iPhone
game that is popular as a paid download. The distinctions between

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these levels of creativity are based purely on the amount of revenue
generated (although that can play some role). Rather, the distinction
pertains more to expertise and level of impact. The game designer
creating highly popular iPhone games is clearly beyond any amateur
status — but is not necessarily close to leaving a permanent mark on the
field. Many professionals in a variety of disciplines (e.g., anthropologists,
business management professors, stage lighting designers, chefs, public
relations consultants) would also be considered examples of Pro-c
creators.

The Four-C model's specific categories are described in Table 1.

2. The Four-C model and multi-creative potential

As we have discussed, the Four-C model helps broaden conceptions of
creativity to include everything from the more subjective, mini-c creative
insights and potential to the more objective and clear cut examples of Big-
C creative eminence. But how might this model be helpful in identifying
and nurturing the multi-creative potential of gifted students? One
important way that it is helpful is that it allows researchers to consider
the likelihood of expressing multi-creative potential across the various
levels of creative magnitude (Beghetto & Kaufman, 2009).

If one begins at the Big-C level, for instance, the likelihood of a teacher
identifying a legendary creator in his or her classroom is near impossible.
As discussed earlier, Big-C creativity requires recognition by critics,
historians, or other relevant gatekeepers of a domain — not to mention the
many years of intensive study to develop the expertise necessary for
eminent creative achievement. This makes it extremely difficult to predict
whether a particular youngster will be capable of a Big-C contribution in
one domain, let along across multiple domains. Multi-creative ability,
spanning more disparate fields, seems more likely when you consider
creative achievement at lower levels of creative expression. Indeed, Root-
Bernstein (1989) has documented 400 cases of famous scientists who
were also highly skilled in the arts. Galileo is best known for his legendary
work in science; however, he was also a skilled artist and musician.

When it comes to individuals who have multi-creative talent at a
professional-level, it isn't difficult to list several examples. Consider, for
instance, Byron “Whizzer” White (athlete and Supreme Court justice),
Arnold Schwarzenegger (actor and politician), Rachel Ray (cook, writer,
talk show host, entrepreneur), Sofia “Sonya” Kovalevskayas (mathema-

tician, writer and political activist), and Omar Sharif (actor and bridge
player). The list quickly expands when Pro-c and little-c levels are
combined. Thinking of anyone at the Pro-c level who also is creative at an
everyday level in a different domain is quite easy (e.g., accomplished
academics that also have vocations in areas such as cooking, poetry, art,
music, theatre, photography).

At the little-c and mini-c level, it probably is more likelyto find creative
polymathy than not. Many people have multiple everyday creative
avocations (cooking, gardening, photography, story-telling), and mini-c
polymathy can occur anytime someone combines new and personally
meaningful insights and interpretations across different disciplines or
domains. For instance, a student might have a mini-c insight about how to
incorporate design principles that she is learning in her art class into the
poster-presentation of her science experiment for her school science fair.

3. The domain specificity v. domain generality paradox

Even though we have just argued that multi-creative ability–
particularly at the little-c and mini-c level–is relatively common, research
on creativity across multiple domains (at the little-c level) suggests that
creativity may be very domain-specific. This seems to present a paradox.
The research on domain specificity does seem to rule out polymathy,
because if the skills that underlie creativity are completely different in
different domains, then the skills a person has that lead to creativity in one
area would be of no value at all in other domains. How then could one
person be creative in multiple domains? In order to resolve this seemingly
paradoxical situation, we must first try to understand what research does
in fact say about domain specificity.

If creativity is domain general, it would be expected that different
creative behaviors would be highly correlated each other and with a
common set of psychological descriptors for those behaviors. If creativity
is domain specific, it would be expected that different creative behaviors
would be poorly correlated or uncorrelated among each other, and that
there would be a diverging set of psychological descriptors of those
behaviors (Ivcevic, 2007).

Baer, for example, has explored this issue in samples of students
ranging from second graders to college. He had these students produce
creative work through writing poetry, writing short stories, telling stories
out loud, creating mathematical equations, creating mathematical word
problems, and making collages. Baer consistently found low and usually
non-significant correlations between ratings of creative performance in
these different areas (Baer, 1991, 1993, 1994, 1996). In other words, a
student who wrote a creative poem was not more likely to also tell a
creative story, make a creative collage, or write a creative mathematical
equation (a creative algebraic equation might use numbers in a playful or
unusual way). Several other studies (e.g., Han, 2003; Runco, 1989) have
found similar results. And if you remove variations due to IQ, the small
correlations get even smaller.

Other researchers, for example, Conti, Coon, and Amabile (1996)
analyzed data from studies in which subjects had both written stories
and engaged in art activities. The intercorrelations among the creativity
ratings of the stories were high, confirming the prediction that
“creativity measures within the same domain are substantially inter-
correlated” (p. 387). Intercorrelations of creativity ratings among the art
tasks, which were more unlike one another than were the story-writing
tasks, were positive but somewhat lower. But within-domain correla-
tions tell us nothing about the domain specificity/generality question.
Cross-domain correlations, on the other hand, speak directly to the
generality-specificity question. None of the 13 cross-domain correla-
tions that Conti, Coon, and Amabile reported–the crucial tests for
domain generality–was statistically significant, and the mean of these
13 correlations was just 0.109, accounting for just a little more than one
percent of the variance.

Not everyone, of course, is convinced by the evidence favoring domain
specificity (see, e.g., Plucker, 1998, 2005; Plucker & Beghetto, 2004).
Research that looks at actual creative products tends to yield results like

Table 1
The Four-C model.

Brief definition Example Types of measures

mini-c Novel and personally
meaningful
interpretation of
experiences, actions
and events.

Student's new and
meaningful insight
about how to use a
strategy learned in
math class to analyze
data in her science fair
project.

Self-assessment, micro
genetic methods.

little-c Everyday expressions
of novel and task
appropriate behaviors,
ideas or products.

Combing left over
Italian and Thai food
into a new and tasty
fusion of flavors that
your family enjoys.

Ratings (teachers,
peers, parents);
psychometric tests
(e.g., Torrance tests);
Consensual
assessment.

Pro-c Expert expressions of
novel and meaningful
behaviors, ideas or
products (that exceed
everyday but have not
attained legendary
status).

A professor's
psychological study
that receives an award
from a professional
psychological
association.

Consensual
assessment; peer
review; prizes/honors.

Big-C Legendary novel and
meaningful
accomplishments,
which often redirect an
entire field of study or
domain.

The scientific theories
of Isaac Newton.

Major prizes/honors;
historiometric
measures.The innovative social

justice work of Martin
Luther King, Jr.

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those just cited favoring domain specificity, but whereas personality-
based studies or traditional psychometric methods tend to find that
creativity is domain-general (Plucker, 1998). One common psychometric
method is to use a divergent-thinking test, such as the Torrance Tests of
Creative Thinking. The Torrance Tests assume domain generality and
therefore offer no way to evaluate the possibility of domain specificity.
Self-report scales sometimes support a combination of domain-general
and domain-specific viewpoints. For example, Hocevar (1976) found “low
to moderate” (p. 869) correlations among self-report indexes of creativity
in various domains among college students. In a study in which several
thousand subjects self-reported their own creativity in 56 domains,
Kaufman, Cole, and Baer (2009) found both an over-arching general factor
and seven more specific areas of creative performance.

The issue of domain specificity/generality remains an open question in
creativity research. Because domain specificity would seem to argue
against the likelihood of finding polymaths, however, we need to explain
why even if the domain specificity theorists are right, this would still not
rule out the possibility (or even likelihood) of creative polymathy. With
that concern out of the way, we can then present our model, a model that
includes features of both the domain-general and domain-specific
approaches, and explain how polymathy fits into this wider conception
of creativity.

4 . Why domain specificity does not rule out creative polymathy

Proponents of domain specificity don't claim that no one has a multi-
tude of creative abilities (just as they don't claim that everyone is creative
in one domain or another). Their argument simply says that (a) the skills
that underlie creativity vary by domain and (b) the presence or absence of
any particular skill or set of skills (or the degree to which these skills exist,
because they are not dichotomous, either/or kinds of abilities) in any one
individual involves a degree of randomness (e.g., chance encounters,
experiences, or opportunities that support–or undermine–the develop-
ment creativity-relevant skills in a domain). Based on this argument, a
small fraction of people would be expected to have severely underdevel-
oped creativity-relevant skills in just about any domain; many people will
have developed modest amounts of skills in several domains; some will
have a developed a great deal of skill in one or more domains; and a few
will have developed great quantities of such skills in many domains.
Here's an analogy: If there were a thousand each of red, blue, green, and
orange flags that were randomly distributed among one hundred people,
a few people might end up with no flags at all and a few other people
might end up with several dozen flags of every color. Most people would
get some mix, whichmight be a modest numberof flags of all colors or lots
of flags of some colors and few of other colors. That's how randomness
works. Of course, just because the development of creativity-relevant
skills involve some degree of randomness does not mean that
underdeveloped creativity in a particular domain can never be developed.
Rather, understanding the role that chance plays in the development of
creativity-relevant skills helps explain the distribution of peoplewho have
(or have not) developed the skills requisite for creative expression within
or across domains.

Benjamin Franklin, from a domain-general interpretation, would be
thought to have a great deal of creativity, which he simply applied to
all the different fields that interested him. From a domain-specific
interpretation, however, Franklin's multi-creative talent would be
explained by claiming that he happened to have a great deal of
creativity-relevant abilities in many domains. The talents that led to his
success as a politician need not be the same as (or even overlap at all with)
the skills that helped him be a great inventor, and neither set of skills
might have had anything to do with his success as a politician or writer.
There may have been overlap, but there need not have been. Someone can
be talented in math and also be a good tennis player, and yet these may be
entirely distinct domains that are based on completely different
underlying abilities. Being creative in two seemingly unrelated areas
doesn't show that creativity is domain-general anymore than the

existence of a mathematically talented tennis expert would prove that
tennis and math are rooted in the same set of skills. Domain specificity,
even in its most extreme form, doesn't argue that people can be creative in
only a single domain. It simply argues that because the abilities that make
creativity possibleindifferent domains aredifferent,creativeperformance
in one domain doesn't predict creativity in other areas. If domain-based
talents are randomly distributed, then one should find a few people who
have a great deal of creativity-relevant skills in many domains, some
people who have talents (of varying degrees) in several domains, and
some who have little talent in any domain. This is what a normal distri-
bution of unrelated skills would predict. So the presence of a few poly-
mathic Renaissance people wouldn't contradict domain specificity. In fact,
it is precisely what domain specificity predicts.

One of the most important aspects to keep in mind when considering
the rarity of legendary creative polymaths is that it simply takes a great
dealoftimetodeveloptheskillsnecessarytoproducecreativeworkinany
one particularly domain (Gruber & Davis, 1988). According to the “ten-
year rule” (Hayes, 1989) it takes, on average, at least ten years of prepa-
ration in a given domain prior to reaching the highest levels of creative
accomplishment in that domain, (Weisberg, 1999). It, therefore, should
come as little surprise that few people manage to reach those highest
levels in more than one (or perhaps two or three at most) fields in a single
lifetime.

Importantly, neither the domain general nor domain specific models
of creativity rule out the possibility of there being many people who might
be Big-C creative in one domain and also Pro-c creative in several others,
or simply Pro-c creative in many fields (under the assumption that the
ten-year rule limits Big-C creativity far more than Pro-c creativity). And
domain specificity certainly does not lead one to expect a scarcity of
polymaths at the little-c or mini-c levels (Domaingeneralitywould lead us
to expect polymathy to be even more widespread than would domain
specificity, but neither theory makes specific predictions.). In the next
section we present a model that can provide a framework for the many
kinds (and degrees) of creativity that we see in the world, a model that we
believe can help us understand both single talents and polymathy. It can
also help us in identifying promising approaches for identifying the multi-
creative potential of students.

5. The Amusement Park Theoretical model of creativity

A theory that can yield (along with the Four-C model) new insights
about creative domains is the Amusement Park Theoretical (APT) model
of creativity. The details of the model are presented elsewhere (Baer &
Kaufman, 2005a, 2005b; Kaufman & Baer, 2004,2005, 2006), so we will
simply summarize the key features of this theory to demonstrate how this
theory might allow for more “ intelligent” creativity testing by highlight
the related constructs that could be considered in such an assessment
(such as personality)1. The APT model is based (perhaps somewhat
whimsically, as some of our reviewers have noted) on the metaphor of
a large amusement park. (The APT model=the Amusement Park
Theoretical model.) In an amusement park there are initial requirements
that apply to all areas of the park. For example you will not be admitted
with a ticket. You must be wearing proper attire (Disney has yet to
sponsor a nudist day), and you must be able to ride on public
transportation or have a car to take you to the park. Similarly, there are
initial requirements that, to varying degrees, are necessary to creative
performance in all domains. For example, in order to be creative at
something, you must have a certain base amount of intelligence. You also
need to be motivated to be creative, regardless of what factors motivate
you. Finally, you should be in an environmental that allows (and, ideally,
nurtures) creative expression. All three of these initial requirements are
needed for any attempt at creativity to succeed.

1 The APT model is not the only one to address domain specificity and generality;
see Plucker and Beghetto's (2004) Hybrid model.

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Amusement parks also have general thematic areas (e.g., at Disney
World one might select among EPCOT, the Magic Kingdom, the Animal
Kingdom, and Disney–MGM Studios), just as there are several different
general areas in which someone could be creative (e.g., the arts, science,
business). Once in one type of park, there are sections (e.g., Discovery
Island Station, Dinoland, and Rifiki's Planet Watch are all found in the
Animal Kingdom), just as there are domains of creativity within larger
general thematic areas (e.g., painting and poetry are domains in the
general thematic area of the arts). These domains in turn can be
subdivided into micro-domains (e.g., the Conservation Station and
Wildlife Express Train are both part of Rifiki's Plant Watch; in the domain
of poetry, one might specialize in haikus or free verse). Although the initial
requirementsareonlyspelledoutforthebeginningofthemodel,thereare
clearly requirements for every descending level. Lubinski and Benbow
(2006) argue that personal attributes (abilities and interests) and the
environment are of equal importance in determining success and
satisfaction. The more that one's abilities and interests match the require-
ments of the environment, the better.

As an example, if one were interested in assessing the creative abilities
of a subject in terms of creativityinpsychological research, one might start
by assessing such initial requirements as a certain minimal level of
intelligence and appropriate motivation and environment, as well as skill
in the general thematic areas of language and mathematics. Next one
might assess skills in certain domains especially relevant to psychological
research (such as statistical acumen, analytic thinking, domain-specific
knowledge). Finally, if one was interested only in the ability to (for
example) be a neuropsychologist, as opposed to social or clinical psycho-
logist, one might evaluate skills in specific micro-domains specifically
related to neuropsychology.

If, on the other hand, one were interested in a student's creative
potential in the area of painting, the hierarchy of skills that one would
evaluate would be quite different. The initial requirements might be
similar (such as motivation), but skills from very different general
thematic areas would be of interest (e.g., verbal skills would be less
important, whereas spatial ability and aesthetic style would be of much
greater interest). The differences would become even greater as one
moved down the hierarchy to domains and micro-domains.

Motivation could also be assessed at different levels of such a
hierarchy. For example, a student might have strong intrinsic motivation
at the level of the general thematic area of science, and this would indicate
a tendency toward creative productivity in the sciences in general.
Another student may have extremely high intrinsic motivation only in the
domain of marine science, however, which predicts a greater likelihood of
creativity in that domain but not in other sciences. Or a student's interest
at a given point in time might be even more narrowly focused on a micro-
domain (for example, a student may have great interest in the
reproductive success of certain kinds of mollusks in different environ-
ments but show little interest in other areas of marine science).

Ability would certainly be a key determinant of creative success (as
opposed to creative motivation or interest). Although actual domain-
related ability would be less essential for mini-c insights or even little-c
enjoyment, a genuine pursuit of Pro-c (or, of course, Big-C) would
require the appropriate ability. As Park, Lubinski, and Benbow (2007)
found, math and verbal SAT scores given at age 13 predicted people's
accomplishments 25 years later. A person's specific strengths (in this
case, math vs. verbal) predicted both patents (math) and literary
publications (verbal). Similarly, Wai, Lubinski, and Benbow (2005)
found in the same population that math and verbal SAT scores predicted
success by occupation — math SAT scores predicted success in science-
related fields, and verbal SAT scores predicted success in Humanities-
related fields. People who attempt to advance to Pro-c in a domain
poorly suited to their abilities may be metaphorically kicked off the
ride2.

6. Surprising connections

Even within the fairly structured confines of the APT model, there will
also always be surprising connections that make sense only upon closer
examination. Someone may decide to pick their amusement parks based
only on how good the popcorn is at the food court. Someone else may only
go to cheap amusement parks (Big Alan's Generic Roadside Attraction).
In a similar way, micro-domains or domains may be selected for reasons
that are less obvious. Maybe Phil does not have a lot of money. He
therefore pursues creative domains that do not require funds to pursue,
such as poetry, stand-up comedy, and geology (he finds interesting rocks
and looks for patterns in their shapes).

We believe that many interesting creative polymaths can be
uncovered within these strange connections. Certainly, in examining
people who are creative in two micro-domains, these areas are typically
within the same overall general domain. Examples can be found easily;
consider the late Jim Carroll. He was a memoirist (The Basketball Diaries), a
poet, and a punk rock singer (“People Who Died”) known for his
provocative lyrics. His micro-domains are distinct, but they all center on
his possession of a strong narrative voice. Those rare people who are
creative in dissimilar areas–like Franklin's accomplishment in politics,
science, inventing, journalism, and literature–represent the pinnacle
of creative polymathy.

It is the same phenomenon behind the strange bedfellows concept in
the APT model that brings us to the distinction between being creative
across multiple domains vs. creative polymathy. Most studies that have
examined the domain-specific vs. domain-general question have picked
their domains — so, for example, Baer (1993) has given students such
tasks as story-writing, story-telling, poetry-writing, mathematical
equation-creating, mathematical word problem-creating, and collage-
making. He found consistently low and usually non-significant correla-
tions between creative ability in these different areas. In other words, a
student who wrote a creative poem was not more likely to also tell a
creative story or write a creative mathematical equation. As a result,
most of these studies supported the idea that creativity is not a general
construct that will manifest itself across all areas.

The domain-specific point of view suggests that the underlying
components of creativity are probably different from one domain to
another. Let's say that Jacob is creative at computer programming and
acting. If we believed that creativity was one general thing, we would
say that the elements that enable Jacob to be creative in both of the
areas are the same. The domain-specific approach would consider
such double proficiency the equivalent of being able to both bench
press three hundred pounds and recite pi to two hundred places —
both neat things to be able to do, but ones that are based on quite
different abilities!

Imagine, however, a puppeteer manipulating two marionettes. She is
making the first marionette play the piano, and the second marionette is
juggling. Both marionettes are engaged in activities and they certainly
share a commonality — the same person is pulling the strings for both. But
the strings themselves are completely different. We believe that this same
marionette analogy can hold for creative polymaths. Whatever compo-
nents enabled Benjamin Franklin to be a creative writer (such as his sense
of humor, his ability to construct pithy quotations, and his facility with
language) may have been different than those components that enabled
him tobea creativescientist(suchashispersistence,his ingenuity, andhis
ability to craft experiments). And yet he (Benjamin Franklin) was himself
the puppeteer who was responsible for his creative marionettes in those
different domains (Kaufman, Beghetto, & Baer, in press).

Like the APT Model, the puppeteer/marionette analogy allows us to
consider multiple levels of creative talent or skill. There may be some
general abilities (the APT model's initial requirements) that influence
creativity in many areas, just as the skill and dexterity of the puppeteer
makes it possible for him to manipulate many different kinds of
marionettes. But that general puppeteering skill gets one nowhere
without specific marionettes, each of which has its own strings to pull and2 Thank you to an anonymous reviewer for suggesting this idea and phrase.

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its own possible range of performances. In the same way, an initial
requirement like general intelligence may be important for creativity in
many areas, but general intelligence alone is not enough. One also needs
more specific skills and motivations in particular general thematic areas,
and in specific domains, if one is to evidence creativity. And this is true
whether one is thinking about genius-level Big-C creativity, high-level
Pro-c creativity, or more everyday little-c or even mini-c creativity
(although of course the necessary degree of domain-specific talent is far
greater at the higher levels of creativity).

How do creative polymaths differ from individuals who are creative in
a single domain? Some abilities and traits are helpful for creativity
expressed in any (or close to any) domain. For instance, Openness to
Experience has been proposed as a personality disposition for creativity
(McCrae, 1987). People who are open to experiences will be interested in
new ideas and approaches in their work and flexible in examining their
ideas. They will question and re-examine commonly held assumptions
and imagine new possibilities. These personal attributes similarly help an
artist explore and employ new techniques and materials and a scientist
see and address gaps in existing knowledge. Openness is also related to
wide interests, suggesting another way how this personality disposition
can be related to creative polymathy. It is plausible that creative
polymaths have more pronounced certain facets of Openness, such as
Openness to Ideas.

Another personal attribute related to creativity in most or all domains
is intrinsic motivation or a personal disposition to find enjoyment and
challenge in work (Amabile, 1983, 1996). Many people are intrinsically
motivated for a narrow range of subject matter. A social psychologist
might be intrinsically motivated to study interracial relations and implicit
prejudice and an oceanographer might be only interested in studying
centimeter-scale turbulence in the open ocean. Other people are
intrinsically motivated for a wider range of subjects in one domain (e.g.,
a physical oceanographer interested in both coastal ocean circulation and
biological productivity), across related domains (e.g., a psychologist
interested in social policy and educational applications of her work), or
across very different domains (e.g., a scientist interested in music
performance and evolution of music). Intrinsic motivation for a variety
of subject matter and multiple domains become an essential personal
attribute in creative polymathy. Other such attributes might include social
non-conformity (in order to avoid the traps of domain-specific conven-
tions) and a global, broad-ranging thinking style.

In addition to the personal attributes, there are social and cultural
factors that either support or discourage creative polymathy. Certain
historical periods and associated Zeitgeist can encourage attitudes or
interests that facilitate polymathy. The European Renaissance is one
such period when religious dogmas were starting to be challenged
and new ideas developed in philosophy, science, and the arts. Leonardo da
Vinci is the world's most famous creative polymath, having made
contributions to in the domains of art, science, and engineering. Another
time and place facilitating creative polymathy in the Western world was
Victorian England. The Victorian era coincided with the major technolog-
ical changes of the industrial revolution, an interest in change and
innovation, and a mindset of great self-confidence. For instance, Sir
Thomas Raffles was the founder of Singapore, a major contributor to the
expansion of the British Empire, and the author of a monumental History
of Java (which includes detailed accounts of diverse topics such as
customs, religion, military, and natural history).

How supportive of creative polymathy is our contemporary society?
What do parents and educators mean when they attempt to instill in
children that they “can be whatever they want to be”? Are they saying
(implicitly or even explicitly) that one can become any one thing (e.g., an
engineer or a scientist, a lawyer or a doctor, a senator or even president) or
that they could pursue their multiple interests in the arts, biology, and
computer science? The point of decision about specialization in education
and profession varies greatly across cultures, from educational systems
where separationinto collegeandnon-collegetracksoccurs as earlyas 5th
grade to those that largely postpone this decision until high school or

college and allow flexibility for change even after graduation. Postponing
these decisions can provide more opportunity for individuals to develop,
explore, and pursue interests across multiple domains. Entrance require-
ments into certain activities, such as music or art programs, also vary
across cultures, from (generally) widely available music programs in
public schools (e.g., in the United States) to highly selective specialized
music schools available only to students with early talent (e.g., in Eastern
Europe). A person who does not gain entrance to these programs loses an
opportunitytolearnhowtoplayamusicalinstrument.Similarly,astudent
who is stifled by a strict formal approach to music instruction might lose
intrinsic motivation for music and abandon it as a meaningful area of
expression.

Specific organizations can also be more or less enabling or
supportive of creative polymathy. The Media Lab at the Massachusetts
Institute of Technology presents itself as a place where “the future is
lived, not imagined” and “where traditional disciplines get checked at
the door”. This philosophy is reflected in the wide range of domains in
which the Media Lab's members are engaged, from behavioral
economics to nanotechnology, data visualization, and music. Many
lab members clearly cross domain boundaries. Some specific
examples include Chris Csikszentmihalyi, who developed new
technologies aimed at strengthening geographic communities and
exhibited his art installations in both North America and Europe;
Judith Donath, who created computing interfaces for online commu-
nities and exhibited her art at the Institute for Contemporary Art in
Boston and several galleries in New York; and Barry Vercoe, who is a
renowned composer and a pioneer in computer sound manipulation
and audio technology development. Polymathy-supportive environ-
ments have sufficiently broad missions to be able to benefit from
creativity in multiple domains. Furthermore, they develop a reward
structure that provides incentives valued by its members. Note that
incentives can be external rewards, such as compensation packages,
but they are also flexible supports for continuation of work projects,
such as project funding and appreciation for diverse interests.

Given favorable macro-level social or cultural and micro-level
organizational supports, what form is creative polymathy most likely
to take? In the Renaissance era, it was possible for an individual to
master the existing (and comparatively sparse) knowledge on the
arts, sciences, and engineering. Today, when the knowledge base in
each of these domains is vast, specialization happens out of necessity.
The demands of obtaining higher education degrees necessary as a
basis for creativity in engineering are such that they do not allow a
person much time to pursue other interests in the same time,
especially if these interests are not similar in theme or method. As a
result, creative polymathy in the information and knowledge ages will
most likely take a form of artists becoming interested in new
technologies that can further their art, musicians interested in
developing improved ways to deliver music to listeners, or scientists
and engineers using technology as themes in creating art installations.
These individuals create new work at the intersection of multiple
domains by seeing connections and synergies where none existed.
Similar skills and ideas can contribute to creation in multiple domains.

Another pathway to creative polymathy is one of successive con-
tributions to different domains. In this case, an individual takes
several relatively traditional routes to creativity. One can first study
computer science and become a creative software developer after
multiple years of training and work. At a later time this person can
develop a new interest or start pursuing ongoing interests in another
domain, again spending long time on training, skill development, and
persistent work. In this case, there may be little similarity between the
two domains of creation and many employed skills may be domain-
specific. Such successive polymathy can have an indirect effect on
enhancing creative output in older age. The overall developmental
trend indicates that creative output declines in old age (Simonton,
1991). However, for individuals who change their area of work, this
trend can be eliminated or reversed (Simonton, 1998).

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7. Discovering and supporting talent

There are several important things to keep in mind when considering
how use these models to help identify the multi-creative talents of
students. First, it is essential to reiterate that we should not expect to find
legendary or professional levels of creativity in young students. Their
mini-c and little-c creativity may someday grow into larger forms of
creative expression, but not all professional or even legendary creators
display the extraordinary precocity of Mozart, who at five could read,
write, and play music proficiently. There is not a one-to-one correspon-
dence between precocity and later outstanding achievement.

We are not suggesting that educators overlook any young Mozarts in
our classes (something almost impossible to do), but rather to emphasize
that it is the less extreme (and less obvious) little-c and mini-c talents and
interests that we should be working hard to identify. The APT model does
not claim that there are no general creativity-relevant skills, just as a good
identification program for gifted/talented students should not ignore IQ
test scores, but it reminds us that there are many far less general abilities
and motivations that are just as important. Young students who show an
extraordinary joy in playing with words; children who find delight in
making sketches of scenes from the books they love (and who may have
what Winner called a “rage to draw” (Winner, 1996, p. 87), in her des-
cription of one talented your artist); students who devour books about
stars, or architecture, or some other area of special interest: these are all
potentiallycreativelytalentedchildren. Anyspecialskillorinterestmaybe
evidence of creativity in a given domain or micro-domain. Our search for
giftedness and talent should not be limited to those who have high IQs
(although those with high IQs should certainly be included as well), and
our efforts to nurture talent should, to the extent possible, harmonize with
the specific talents that our students exhibit.

Can we expect to find students who exhibit multi-creative ability? Yes
and no. Like Benjamin Franklin, our students may exhibit their talents at
different times rather than all at once. Franklin's talents as a politician
were not apparent early in his newspaper career. But many of his
achievements in diverse fields did overlap (his sage-like wisdom certainly
informed both his politics and his writing), and so they sometimes will in
our students. To the extent possible, we are wise to follow our students'
creative muses, which may have their own calendars and schedules. If a
student's interests include both music and science, we would do well to
nurture both, but if only one talent or special interest is apparent at a given
time, then that is the area on which we should focus.

Once identified, what can we do to nurture budding talents and special
interests? There are at least two kinds of things that the psychology of
creativity tells us are helpful: (1) show interest, but get out of the way, and
(2) help students develop domain-relevant skills and knowledge. Here's
what we mean.

(1) Show interest but get out of the way:

Expressing interest in children's ideas, projects, activities, perfor-
mances, and passions is helpful. Talking with them (and especially
listening to them talk) about their interests, and providing resources
they might need (materials, books, tools, instruments, contacts, etc.)
are also important. Providing access to academic acceleration (such as
AP classes) is also a wonderful chance to challenge children to push
their limits and achieve more.

But then we often need to get out of their way. Intrinsic motivation is a
wonderful thing. Unfortunately, when extrinsic motivation is added, the
net result may be temporarily higher total motivation, but in the long-
term it often leads to lower intrinsic motivation. Bribing children (or
adults) to do things they already like to do seems to turn fun into work,
and extrinsic motivation more generally (e.g., rewards, anticipated
evaluation) has this unfortunate long-term effect, while at the same
time often decreasing creativity (Amabile, 1996; Baer, 1997b, 1998a,b;
Hennessey & Amabile, 1988; Lepper & Greene, 1975, 1978). This effect is
not a simple one, and there is dispute in the creativity research
community about its generality. There is evidence that rewards that are

more clearly targeted or tied to specific behaviors can either have no
negative effect or sometimes even enhance creativity (Eisenberger,
Pierce, & Cameron, 1999; Eisenberger & Shanock, 2003). But the
evidence that extrinsic motivators can decrease both intrinsic motiva-
tion and creativity is far too strong to ignore, and the last thing a teacher
wants to do, even inadvertently, is to take away a student's joy or
passion for being creative.

Perhapsthemost commonkindofreward/bribethat teachersusewith
talented students is extra credit. The teacher's motivation is often a
positive one–e.g., after noticing that a student has a real passion for
creative writing, the teacher may offer extra credit for writing an extra
short story or poem–but the likely longer-term effect is not to increase the
student's interest, but (somewhat counter-intuitively) to reduce it. We all
like getting rewards, so what could seem better getting extra credit for
doing someone one already likes to do? The problem is that such well-
intentioned bribes tend to have very negative long-term consequences.
What was originally something the student did because of genuine
interest has become something she does to get points from her teacher,
who has (entirely inadvertently) taken over part of the source of
motivation and the direction of the student's once entirely self-directed
pursuit. If the student who loved creative writing had wanted to write a
short story, she would have done so anyway without the extra credit.
Instead of pursuing her interest in creative writing in her own way, she
writes her poem or story for the external benefits. Perhaps the student
would have otherwise spent her writing energies on something of even
more interest (such as keeping her blog up to date or collaborating with a
friend on a comic strip, her teacher has, quite unintentionally, converted
fun into work.

This is not to say that all extrinsic motivation is bad. Students need to
learn skills; in order to learn these skills, they need feedback on their
performance. Learning to anticipate evaluation is an essential skill.
Teachers need to give their students–including their most creative and
talented ones–the kinds of feedback they need to develop their skills. Such
feedback should focus on providing information that will support
improvement–letting students know what they have done well–pointing
out how students might continue to improve their understanding of
domain conventions and constraints, and helping students modify,
develop new, and even abandon ideas, insights, and interpretations in
light of the particular domain and task constraints (Beghetto, 2007).
Whenprovidingsuchfeedback,teachersshouldalsotrytominimizesocial
comparison and evaluative pressures and, instead, stress the informative
aspects of their evaluative feedback and acknowledge intellectual risk
taking of their students (Beghetto, 2005).

It is worth bearing in mind that it is generally far easier to kill intrinsic
motivation than to instill it, and teachers should be careful not to use
rewards, or evaluations, as tools to motivate students in areas where they
already have significant levels of intrinsic motivation. It is often wiser just
to get out of the way of such highly motivated students as they pursue
their passions than to try to promote or encourage interests that need no
promotion (Baer, 1997a).

(2) Help students develop domain-relevant skills and knowledge:

Ittakes many years to learneverythingthat one might need to know to
become an expert (and possibly a Big-C creator) in any field, as noted
above. Students therefore need opportunities to learn about the domains
that are of particular interest to them, and they cannot wait until those
things happen to appear (or fail to appear) in the regular curriculum. If
students have special interests and/or talents, we can nurture those
interests by providing opportunities for students to learn more, far more
than the curriculum generally expects, in their areas of special interest.

Thisassistancemighttaketheform ofarrangingforthem toparticipate
in special programs (e.g., summer science camps or spelling bees) or
simply providing books and other resources. It might involve special
training (e.g., voice lessons), curriculum acceleration (as mentioned
earlier), or connecting students with others (both peers with similar
interests and abilities and adults who might become mentors) who share

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their passions. Opportunities to learn about the lives (both professional
and personal) of Big-C creators in a student's field of interest can also be
helpful.

For students who have many special interests and talents–little-c
polymaths–teachers might also provide help with time management.
A student with many special interests can never have enough time for
all that she wants to do, not to mention those pesky things that the
world seems to think she has to do (e.g., those other subjects, the ones
that might not–at least yet–excite her).

Multi-creative individuals, like Benjamin Franklin, are rare and we are
unlikely to encounter many (or any) in our teaching careers. But legen-
dary creators often have many professional or everyday creative talents
and interests (Root-Bernstein & Root-Bernstein, 2004), and many
students exhibit vary degrees of everyday and, certainly, mini-c creativity
when learning various academic domains. One can never know which
talents willbecomethemost important to apolymath atanypoint inone's
life. Joni Mitchell thought music would remain a hobby, playing second
fiddle to her serious work as a painter (DiMartino, 1998; Weller, 2008);
Alan Greenspan pursued being a saxophone player before “falling back”
on economics. Benjamin Franklin surely could not have known which of
his many talents would become most important to him later in life. So it is
with our students. What we can offer them is the chance to develop any,
and all, of their creative talents.

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