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Using Daily Creativity Planning to Promote Creative Behavior

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Title: Using Daily Creativity Planning to Promote Creative Behavior
Language: English
Authors: Liu, Ting, Li, Pin, Zhang, Skylor Zhitian, Liu, Wanlun
Source: Journal of Creative Behavior. Mar 2023 57(1):82-95.
Availability: Wiley. Available from: John Wiley & Sons, Inc. 111 River Street, Hoboken, NJ 07030. Tel: 800-835-6770; e-mail: cs-journals@wiley.com; Web site: https://www.wiley.com/en-us
Peer Reviewed: Y
Page Count: 14
Publication Date: 2023
Document Type: Journal Articles
Reports - Research
Education Level: Junior High Schools
Middle Schools
Secondary Education
Descriptors: Student Motivation, Self Efficacy, Creative Development, Creativity, Middle School Students, Student Behavior
DOI: 10.1002/jocb.563
ISSN: 0022-0175
2162-6057
Abstract: Research has demonstrated that on the path from a creative idea to a creative outcome, high creativity motivation and self-efficacy do not necessarily lead to creative behavior. The present study proposed and examined the notion that daily creativity planning could promote creative behavior and contribute to the cultivation of creativity. A total of 77 middle school students (39 students in the experimental group and 38 in the control group) participated in this study, for which a quasi-experimental design was administered. The experimental group conducted a two-week daily planning for creative activities, while the control group did not conduct any intervention. The results showed that students' creativity motivation and creative self-efficacy were at relatively high levels overall and were positively and moderately correlated with creative behavior. Daily planning could effectively facilitate students' creative behavior. These findings point to a promising and simple creativity enhancement strategy for cultivating students to develop the habit of making creative plans in their daily lives.
Abstractor: As Provided
Entry Date: 2023
Accession Number: EJ1371328
Database: ERIC
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  Value: <anid>AN0162510288;3u701mar.23;2023Mar21.05:10;v2.2.500</anid> <title id="AN0162510288-1">Using Daily Creativity Planning to Promote Creative Behavior </title> <p>Research has demonstrated that on the path from a creative idea to a creative outcome, high creativity motivation and self‐efficacy do not necessarily lead to creative behavior. The present study proposed and examined the notion that daily creativity planning could promote creative behavior and contribute to the cultivation of creativity. A total of 77 middle school students (39 students in the experimental group and 38 in the control group) participated in this study, for which a quasi‐experimental design was administered. The experimental group conducted a two‐week daily planning for creative activities, while the control group did not conduct any intervention. The results showed that students' creativity motivation and creative self‐efficacy were at relatively high levels overall and were positively and moderately correlated with creative behavior. Daily planning could effectively facilitate students' creative behavior. These findings point to a promising and simple creativity enhancement strategy for cultivating students to develop the habit of making creative plans in their daily lives.</p> <p>Keywords: daily creativity planning; creative behavior; creativity motivation; creative self‐efficacy; quasi‐experimental design</p> <hd id="AN0162510288-2">INTRODUCTION</hd> <p>Sternberg and O'Hara ([<reflink idref="bib71" id="ref1">71</reflink>]) believed that creativity is the ability to develop ideas or produce products that are novel and appropriate. This ability is reflected in all aspects of life, from Einstein's theory of relativity to a novel written by a writer, to a new recipe designed by a housewife, or a new game invented by a child. For example, Edison, Beethoven, and Monet had creative breakthroughs with ideas or products, which influenced others or even changed a field (Richards, [<reflink idref="bib58" id="ref2">58</reflink>]). This is commonly referred to as "eminent‐level creativity" (also known as "Big‐C") (Kaufman & Be Ghetto, [<reflink idref="bib40" id="ref3">40</reflink>]). However, this amazing level of creativity is only possessed by a rare few people. In comparison to outstanding creativity, the creativity that happens in everyday setting can be easily accessed by most people, thus is often referred to as everyday creativity (also called "little‐c"). Little‐c is reflected in "human originality at work and leisure across the diverse activities of everyday life" (Richards, [<reflink idref="bib58" id="ref4">58</reflink>], p. 190). Everyday creativity is both universal and necessary for our survival (Richards, Kinney, Lunde, Benet, & Merzel, [<reflink idref="bib59" id="ref5">59</reflink>]). Notably, it allows us to flexibly adjust to ever‐changing living conditions. Everyday creativity plays a necessary role in the daily lives of the general public. Especially for children and adolescents, everyday creativity is the main form of creativity and the basis of their future professional creativity. In school, their creativity manifests and proliferates through play and work. However, the process of creative development is not smooth and continuous. There are sudden drops associated with different stages of childhood and adolescence (Alfonso‐Benlliure & Santos, [<reflink idref="bib2" id="ref6">2</reflink>]; Torrance, [<reflink idref="bib74" id="ref7">74</reflink>]), including the transition from primary to secondary school (He & Wong, [<reflink idref="bib32" id="ref8">32</reflink>]; Kim, [<reflink idref="bib41" id="ref9">41</reflink>]). Thus, considering the importance of daily creativity for teenagers and the fact that students in grade one of middle school are in a stage of creative decline, our research focuses on how to improve the everyday creativity of students who are in the first semester of grade one in junior middle school and experiencing the transition from primary to secondary school.</p> <p>In terms of fostering students' creativity, there seems to be a consensus that motivational factors (e.g., creativity motivation, creative self‐efficacy) are possibly the most crucial components because they serve the role of an engine (Csikszentmihalyi & Wolfe, [<reflink idref="bib21" id="ref10">21</reflink>]). Only when a person's engine is activated can their personal creative potential abilities be applied to produce creative products via the creation process while also undergoing development (Hennessey, [<reflink idref="bib33" id="ref11">33</reflink>]; Kreitler & Casakin, [<reflink idref="bib42" id="ref12">42</reflink>]). However, many studies have suggested that motivational factors are weakly related to creative behaviors. A meta‐analysis of 191 independent samples indicated that the average correlation of creativity and intrinsic motivation (<emph>r</emph> = .28) and that of creativity and creative self‐efficacy (<emph>r</emph> = .35) were weak (Liu, Jiang, Shalley, Keem, & Jing, [<reflink idref="bib44" id="ref13">44</reflink>]). Other researchers also found that college students from different countries had high creativity motivation does not necessarily transform to high creative behaviors (Li et al., [<reflink idref="bib43" id="ref14">43</reflink>]; Zhang et al., [<reflink idref="bib79" id="ref15">79</reflink>]). This phenomenon of "motivation‐ behavior" has also been observed in health behavior areas (Rhodes & Dickau, [<reflink idref="bib57" id="ref16">57</reflink>]), which was defined as the "intention‐behavior gap" (Webb & Sheeran, [<reflink idref="bib76" id="ref17">76</reflink>]). What prevents the motivational factors that are considered prerequisites for behavior from being successfully transformed into action in daily life?</p> <p>Many internal and external factors can influence the successful performance of an intended behavior (Ajzen, [<reflink idref="bib1" id="ref18">1</reflink>]). Internal factors include willpower (i.e., resisting temptations), state or action orientation (i.e., focusing on one's action or only thinking and feeling), emotions and compulsions, and required skills or abilities. External factors include unforeseen events, time and opportunities, and dependence on others. Since many factors exist to obstruct the intention‐behavior relationship, what can help people bridge the intention‐behavior gap in their life and work? According to research in the field of health behavior (Ajzen, [<reflink idref="bib1" id="ref19">1</reflink>]; Conner, Sandberg, & Norman, [<reflink idref="bib20" id="ref20">20</reflink>]; Schwarzer, [<reflink idref="bib64" id="ref21">64</reflink>]; Sniehotta, [<reflink idref="bib70" id="ref22">70</reflink>]; Webb & Sheeran, [<reflink idref="bib76" id="ref23">76</reflink>]), the development of an adequate plan will enable the performance of a behavior because it is tied up with an individual's control for internal and external influence factors. In the area of creativity research, planning is regarded as a type of cognitive ability that is responsible for generating creative thoughts (Marco, Massimiliano, Laura, & Simonetta, [<reflink idref="bib47" id="ref24">47</reflink>]). This ability is characterized by mental simulations of possible future actions (Ajzen, [<reflink idref="bib1" id="ref25">1</reflink>]; Hammond, [<reflink idref="bib31" id="ref26">31</reflink>]). Osburn and Mumford ([<reflink idref="bib53" id="ref27">53</reflink>]) proved that planning skills positively affect performance on creative problem‐solving tasks. Moreover, planning is considered a form of strategic thinking within the self‐regulated learning framework that benefits creativity (e.g., creative problem‐solving tasks) (Callan, Rubenstein, Ridgley, & Mccall, [<reflink idref="bib15" id="ref28">15</reflink>]; Callan, Rubenstein, Ridgley, Neumeister, & Finch, [<reflink idref="bib16" id="ref29">16</reflink>]; Rubenstein, Callan, & Ridgley, [<reflink idref="bib62" id="ref30">62</reflink>]). These studies suggested that planning benefits creative performance. However, there has not yet been direct evidence that planning promotes creative behavior in daily life.</p> <p>A great amount of research on planning often involves factors such as time, place, and detailed planning strategies, and concentrates on adults (Conner et al., [<reflink idref="bib20" id="ref31">20</reflink>]; Gollwitzer & Sheeran, [<reflink idref="bib29" id="ref32">29</reflink>]; Müller & Gellert, [<reflink idref="bib50" id="ref33">50</reflink>]; Osburn & Mumford, [<reflink idref="bib53" id="ref34">53</reflink>]). This type of planning is often detailed and complex, and demands many cognitive resources (Mumford, Schultz, & Doorn, [<reflink idref="bib51" id="ref35">51</reflink>]). However, adolescents are at the developmental stage of self‐regulation, and thus may lack enough self‐control and cognitive resources to accomplish a large and detailed planning task. Thereby, some researchers utilized a brief planning method (i.e., simply asking students to make a list of things that plan to be done) to promote student learning behaviors successfully (Davis et al., [<reflink idref="bib24" id="ref36">24</reflink>]; Stevenson, [<reflink idref="bib72" id="ref37">72</reflink>]). For instance, Stevenson ([<reflink idref="bib72" id="ref38">72</reflink>]) conducted a behavioral intervention with middle school students who struggled with reading and demonstrated an immediately reduced latency in engagement with a reading task. During the planning intervention, participants only need to write down what they are going to do next, and what materials they will need. Similarly, in the study by Davis et al., students who actually participated in the planning intervention were more actively engaged in the online MOOC by simply writing down what they are going to do next week, for example, "I plan to watch all of the lecture videos. I will write down questions I have about the videos or assignments and discuss them in the forum". These findings indicate that brief planning intervention instead of a detailed and complex one is suitable and effective for middle school students. In light of this line of behavioral intervention, it is promising that brief planning, such as asking students to write down what they are going to create, could also be used to facilitate creative behavior in adolescents.</p> <p>Taken together, as evidenced by previous research, planning is effective to bridge the intention‐behavior gap, and it also benefits creative performance. Based on the aforementioned studies, the aim of this study was to explore whether making brief planning as an easy way could foster teenager's everyday creativity given the same creative potential and motivational factors for creativity.</p> <hd id="AN0162510288-3">THEORETICAL BACKGROUND AND LITERATURE REVIEW</hd> <p></p> <hd id="AN0162510288-4">CREATIVE POTENTIAL: CREATIVE THINKING</hd> <p>Karwowski and Beghetto ([<reflink idref="bib38" id="ref39">38</reflink>]) proposed the creative behavior as agent subjective action (CBAA). According to this model, creative potential is defined as an antecedent of creative activity (achievement) that is based on factors that are stable and relevant, such as thinking and cognitive ability. Creative thinking is a kind of advanced cognitive process in which individuals produce novel and unique products with social value through multi‐angle thinking based on their existing experience. The core concept of its measurement is divergent thinking, which refers to the ability to develop as many different solutions as possible to an open question or problem (Russ & Fiorelli, [<reflink idref="bib63" id="ref40">63</reflink>]). This is commonly measured by a painting test or unusual usage test (Kim, [<reflink idref="bib41" id="ref41">41</reflink>]; Nemeržitski & Heinla, [<reflink idref="bib52" id="ref42">52</reflink>]). Existing studies have proven that students' creative thinking or creative thinking skills are positively correlated with their creative behavior (Chan & Zhao, [<reflink idref="bib18" id="ref43">18</reflink>]; Rostan, Pariser, & Gruber, [<reflink idref="bib60" id="ref44">60</reflink>]). Students with high levels of creative thinking were more actively involved in creative hobbies/activities (e.g., art, writing, music, acting, dancing) (Nemeržitski & Heinla, [<reflink idref="bib52" id="ref45">52</reflink>]). In the present study, we used creative thinking as an appropriate indicator of creative potential since it serves as a prerequisite for the realization of creative behavior. We sought to examine whether planning leads to different creative outcomes given the same creative thinking level.</p> <hd id="AN0162510288-5">MOTIVATIONAL FACTORS FOR CREATIVITY: CREATIVITY MOTIVATION AND CREATIVE SELF‐EFFICACY</hd> <p>Notably, creative potential alone does not necessarily translate into creative results. Motivational factors play the role of "engine" in the translation process. Without sufficient motivation, individuals are less likely to set adequate goals or execute their plans (Zimmerman, [<reflink idref="bib83" id="ref46">83</reflink>]). Motivation theory usually focuses on the distinction between intrinsic motivation and extrinsic motivation to explain why people exhibit creative behaviors or not (Hennessey, [<reflink idref="bib33" id="ref47">33</reflink>]). Intrinsic motivation means people engaging in activities primarily for their own sake, such as positive emotion, whereas extrinsic motivation means that individuals participate in activities for external reasons, such as winning a prize (Amabile, [<reflink idref="bib3" id="ref48">3</reflink>]; Hennessey, [<reflink idref="bib33" id="ref49">33</reflink>]). In a recent study, researchers proposed a theory of creativity motivation that combines both internal and external motivation (Zhang et al., [<reflink idref="bib80" id="ref50">80</reflink>]). The creativity motivation theory aimed to better elucidate the driving forces behind creativity‐related behaviors (Zhang et al., [<reflink idref="bib80" id="ref51">80</reflink>]). According to this theory, creative behavior has three dimensions, which refer to the disposition of learning, doing, and accomplishing new things. Creative behaviors are motivated by three main sources: high‐quality experiences (i.e., pure pleasure and enjoyment experienced while approaching an activity or problem, as the core intrinsic motivation), instrumental purpose (i.e., external rewards and usefulness in participating in certain activities as the core of extrinsic motivation), and value (i.e., the degree of importance which individuals accredit creativity and desirability). Thus, creativity motivation can be defined as the tendency to perform creativity‐related behaviors (i.e., to do, to learn, and to accomplish new things) as a result of high‐quality experiences, instrumental purpose, and value (Zhang et al., [<reflink idref="bib80" id="ref52">80</reflink>]). Several studies have successfully applied this creativity motivation theory to examine the relationship between motivation and creative behavior (Li et al., [<reflink idref="bib43" id="ref53">43</reflink>]; Zhang et al., [<reflink idref="bib80" id="ref54">80</reflink>], [<reflink idref="bib79" id="ref55">79</reflink>]; Zhang, Li, Zhang, Zhang, & Shi, [<reflink idref="bib78" id="ref56">78</reflink>]).</p> <p>Furthermore, in recent decades, self‐efficacy has also been considered a motivational factor that acts as a stimulant for behavior (Karwowski & Beghetto, [<reflink idref="bib38" id="ref57">38</reflink>]; Zimmerman, [<reflink idref="bib83" id="ref58">83</reflink>]). Creative self‐efficacy refers to personal beliefs about a person's ability to think or act creatively (Farmer & Tierney, [<reflink idref="bib26" id="ref59">26</reflink>]; Karwowski & Lebuda, [<reflink idref="bib39" id="ref60">39</reflink>]). According to the creative behavior agent action model (Karwowski & Beghetto, [<reflink idref="bib38" id="ref61">38</reflink>]), creative self‐efficacy may have motivational roles and could be critical in converting creative potential into creative behavior (Karwowski & Beghetto, [<reflink idref="bib38" id="ref62">38</reflink>]). In other words, without sufficient creative self‐efficacy, a person has low confidence in being involved in creative activities and producing creative outcomes (Bandura, Freeman, & Lightsey, [<reflink idref="bib6" id="ref63">6</reflink>]; Farmer & Tierney, [<reflink idref="bib26" id="ref64">26</reflink>]), despite the person having creative potential. Other researchers directly found that creative self‐efficacy was positively associated with a variety of motivational factors (Farmer & Tierney, [<reflink idref="bib27" id="ref65">27</reflink>]), including intrinsic motivation (Malik, Butt, & Choi, [<reflink idref="bib46" id="ref66">46</reflink>]) and task interests (Beghetto, [<reflink idref="bib12" id="ref67">12</reflink>]). Moreover, Rubenstein, Callan, and Ridgley ([<reflink idref="bib61" id="ref68">61</reflink>]) incorporated the creative process into the self‐regulated learning model, in which self‐efficacy – as a type of motivational belief – could significantly predict creativity problem‐solving (i.e., the generation of ideas). Some empirical literature has also indicated a positive relationship between creativity and creative self‐efficacy (e.g., Gong, Huang, & Farh, [<reflink idref="bib30" id="ref69">30</reflink>]; Tierney & Farmer, [<reflink idref="bib73" id="ref70">73</reflink>]).</p> <p>Thus, based on the aforementioned theories and studies, creativity motivation and self‐efficacy both can be regarded as motivational factors for creativity. A cross‐cultural seven‐nation study that included creativity motivation and creative self‐efficacy as personal motivation factors has demonstrated that personal motivation factors might be determinants of creative accomplishment (Zhang et al., [<reflink idref="bib79" id="ref71">79</reflink>]). In the present study, we also took creativity motivation and self‐efficacy as motivational factors and explored whether planning could promote creative behavior when students have the same prerequisites for creativity.</p> <hd id="AN0162510288-6">PLANNING AND CREATIVITY</hd> <p>Planning is often defined as "determining the behavioral path that a person can pursue to achieve their goals" (Austin & Vancouver, [<reflink idref="bib5" id="ref72">5</reflink>]). With planning, people can prepare for what to do next and thus remain on track to achieve their goals and other desired outcomes (Baumeister, Vohs, & Oettingen, [<reflink idref="bib9" id="ref73">9</reflink>]; Seligman, Railton, Baumeister, & Sripada, [<reflink idref="bib65" id="ref74">65</reflink>]). Thus, planning is often considered an important stage in achieving a goal and an essential factor for transforming ideas and intentions into actions (Michael, Stefanie, Nina, Susanne, & Rafal., [<reflink idref="bib49" id="ref75">49</reflink>]). Meanwhile, planning is often traditionally defined within a behavioral framework (Merrifield, Guilford, Christensen, & Frick, [<reflink idref="bib48" id="ref76">48</reflink>]), where it involves the selection, organization, and execution of action scripts to facilitate the achievement of certain goals (Osburn & Mumford, [<reflink idref="bib53" id="ref77">53</reflink>]).</p> <p>Similarly, in the field of creativity, scholars regarded time management as a planned behavior, arguing that people with high creativity plan their daily schedules more rationally and found a positive correlation between self‐perceived creativity and daily planning (Zampetakis, Bouranta, & Moustakis, [<reflink idref="bib77" id="ref78">77</reflink>]). Although studies focusing on the link between planning and creativity seem to be scattered and sparse, several theories and empirical studies have convincingly shown the vital role of planning on creativity. Specifically, planning is seen as an intrinsically generative activity involving the mental simulation of future actions (Ajzen, [<reflink idref="bib1" id="ref79">1</reflink>]; Hammond, [<reflink idref="bib31" id="ref80">31</reflink>]). It can contribute to creative thinking – and thus to creativity – by refining and reshaping ideas to stimulate the generation of ideas, the timely identification of problems, and the development of backup plans (Caughron & Mumford, [<reflink idref="bib17" id="ref81">17</reflink>]; Osburn & Mumford, [<reflink idref="bib53" id="ref82">53</reflink>]). Additionally, creativity requires incubation periods that include spontaneous processes (e.g., insight) and a series of controlled mental processes (Benedek & Jauk, [<reflink idref="bib13" id="ref83">13</reflink>]). During the mental processes, developing a plan can increase the probability of success (Gollwitzer, [<reflink idref="bib28" id="ref84">28</reflink>]). In particular, Benedek and Jauk ([<reflink idref="bib13" id="ref85">13</reflink>]) mentioned that for some ill‐defined and ambiguous tasks such as creativity‐related behaviors (e.g., inventing a toy), individuals can address challenges with a useful cognitive strategy. For example, making a plan could purposefully manage individual behavior and help individuals overcome obstacles. This finding is also consistent with the findings of a new study that demonstrated planning to be associated with creativity, with affinity personality acting as a moderating component (Marco et al., [<reflink idref="bib47" id="ref86">47</reflink>]).</p> <p>Additionally, self‐regulation research established a crucial conceptual relationship between creativity and planning. Baumeister and Vohs ([<reflink idref="bib10" id="ref87">10</reflink>]) defined self‐regulation as a control process that actively regulates behavior to conform to established goals and norms. This generally involves conscious processes as individuals intentionally initiate, regulate, and evaluate behaviors. Therefore, it is a critical ability when it comes to new behaviors that require a high degree of control (Baumeister & Vohs, [<reflink idref="bib10" id="ref88">10</reflink>]). A recent study suggested that adolescents who developed more creative projects could self‐regulated their creative activity more effectively and were evaluated as more creative than their peers (Zielińska, Lebuda, Ivcevic, & Karwowski, [<reflink idref="bib81" id="ref89">81</reflink>], Zielińska, Lebuda, & Karwowski, [<reflink idref="bib82" id="ref90">82</reflink>]). Planning is an important component of self‐regulation (Sitzmann & Johnson, [<reflink idref="bib68" id="ref91">68</reflink>]) since individuals will make plans and strategies to reach desired goals and monitor their behavior to achieve them (Müller & Gellert, [<reflink idref="bib50" id="ref92">50</reflink>]). For creative outcomes goals, a person could plan each step with a goal‐oriented strategy and track their efforts to achieve a creative outcome. Furthermore, Ivcevic and Nusbaum ([<reflink idref="bib34" id="ref93">34</reflink>]) argued that self‐regulation for creativity consists of two groups of processes: (a) revise and restrategize the process from ideation to completing the creative product; and (b) maintain and sustain motivation in the creative process while facing difficulties and obstacles. They stressed the role of planning in freeing cognitive resources in the second group of processes. Meanwhile, some scholars incorporate creative problem‐solving into a self‐regulated learning framework (Callan et al., [<reflink idref="bib16" id="ref94">16</reflink>]; Rubenstein et al., [<reflink idref="bib61" id="ref95">61</reflink>]). Specifically, Rubenstein et al. ([<reflink idref="bib62" id="ref96">62</reflink>]) used microanalysis to explore the relationship between self‐regulated learning (e.g., self‐efficacy, strategy planning, etc.) and creativity in a creative problem‐solving task and found that planning how to complete the task predicted fluency and flexibility, whereas planning how to respond to challenges predicted fluency and originality, thereby implying a correlation between strategic planning and creativity. The research demonstrated that in the cultivation of the creativity domain, learners also seem to accomplish creative achievement by building plans, developing strategies, and monitoring and controlling their motivation, metacognition, and behavior.</p> <hd id="AN0162510288-7">DAILY CREATIVITY PLANNING</hd> <p>The majority of contemporary planning research has focused on adults' implementation intention or action planning (Claudia & Wendy, [<reflink idref="bib19" id="ref97">19</reflink>]; Conner et al., [<reflink idref="bib20" id="ref98">20</reflink>]; Gollwitzer & Sheeran, [<reflink idref="bib29" id="ref99">29</reflink>]; Müller & Gellert, [<reflink idref="bib50" id="ref100">50</reflink>]), which encompasses what will be done at a certain time and location. Notably, this is a specific and complex type of planning. In this study, however, we focused on middle school students and adopted simple daily planning. This was due to several factors. First, in comparison to adults, junior high school students cannot fully grasp the plan regarding their future time and place (Ben‐Eliyahu & Linnenbrink‐Garcia, [<reflink idref="bib14" id="ref101">14</reflink>]), which results in them being unable to develop special planning involving place and time. Second, many of the cognitive abilities associated with effective self‐regulation (e.g., long‐term planning, goal setting) are not fully developed among children (Raffaelli et al., [<reflink idref="bib56" id="ref102">56</reflink>]). Middle school students are weaker than college students in terms of reappraisal, environmental regulation, planning, deep processing, and organization (Ben‐Eliyahu & Linnenbrink‐Garcia, [<reflink idref="bib14" id="ref103">14</reflink>]). Third, regarding planning as a mental simulation for future behavior, constructing these mental simulations is likely to be a demanding and psychologically resource‐intensive activity (Mumford et al., [<reflink idref="bib51" id="ref104">51</reflink>]). Overly detailed plans can deplete one's general resources for self‐regulation, and can subsequently be detrimental to the creative behaviors that require self‐control that follow (Sjstad & Baumeister, [<reflink idref="bib69" id="ref105">69</reflink>]). Last, specific implementation plans concentrate on the methods specified in the plan, decreasing attempts at other methods that are not included in the plan (Claudia & Wendy, [<reflink idref="bib19" id="ref106">19</reflink>]). Therefore, a simpler plan may be more beneficial for middle school students. In the present study, we used a daily creativity plan (i.e., students wrote their plans for creative actions for the next 24 h) to promote their creative behavior.</p> <hd id="AN0162510288-8">THE PRESENT STUDY</hd> <p>In this study, we conducted a study using a quasi‐experimental design for 2 weeks to explore whether students' daily planning could promote creative behavior. The experimental group conducted a two‐week plan for creative activities, while the control group did not conduct any intervention. By ensuring that the two groups were homogeneous (i.e., with the same average level of creative thinking, creativity motivation, creative self‐efficacy, and creative behavior), we attempted to explore whether students who planned for creative behavior were able to actively engage in more creative activities. From the theoretical and empirical work reviewed in the previous section, we hypothesized that after a two‐week daily creativity planning intervention, creative behavior in the experimental group would be promoted.</p> <hd id="AN0162510288-9">METHOD</hd> <p></p> <hd id="AN0162510288-10">PARTICIPANTS AND PROCESSES</hd> <p>A total of 83 first‐grade students from a middle school in Chengdu city, China, participated in this study. Forty‐one students were included in the experimental group, while the remaining forty‐two students were included in the control group. The samples included fewer females (<emph>n</emph> = 38; 45.78%) than males (<emph>n</emph> = 45; 54.22%). In the experimental group, there were 20 females and 21 males. In the control group, there were 18 females and 24 males. The average age was 14.25 years old (range 14–15 years; <emph>SD</emph> = 0.53).</p> <p>We administered the quasi‐experimental design, by conducting a pre−/post‐test in both experimental and control groups to assess the effects of planning on creative behavior. Table 1 provides the quasi‐experimental design of this study in a graphical format.</p> <p>1 Table Pre‐ and –Post‐ Test Control Group Design</p> <p> <ephtml> <table><thead valign="bottom"><tr><th align="left">Group</th><th>Pre‐test</th><th>Treatment</th><th>Post‐test</th></tr></thead><tbody valign="top"><tr><td>The experimental group</td><td>Creative behaviorCreative thinkingCreativity motivationCreative self‐efficacy</td><td>Planning</td><td>Creative behavior</td></tr><tr><td>The control group</td><td>Creative behaviorCreative thinkingCreativity motivationCreative self‐efficacy</td><td>/</td><td>Creative behavior</td></tr></tbody></table> </ephtml> </p> <p>The procedure for the present study included three steps. (a) On the first day, a pre‐test of creative behavior, creative thinking, creativity motivation, and creative self‐efficacy was conducted on both the experimental and control groups. The demographic characteristics (gender, age, grade, and class) of these groups were collected simultaneously. (b) Over the 14 consecutive days that followed, participants in the experimental group listed their plans for creative behaviors over the next 24 h on a piece of paper before school ended (around 5 p.m.). The following text appeared at the top of the paper: "Dear students, what creative things do you plan to do in the next 24 h? Please list below. Creative things include coming up with new or original ideas, expressing yourself in a new and useful way, or spending time on artistic activities such as drawing, making jokes, making stories, giving speeches, inventing games, writing poems, choreographing, transforming objects, arranging flowers, organizing activities, and so on. Of course, activities are not limited to these examples. As long as what you think you are going to do is creative, it can be listed below." Over the weekends, students in the experimental group completed these self‐reports at home. In contrast, the control group was not involved in any intervention. (c) On the last day, a post‐test of students' creative behavior was conducted on both experimental and control groups.</p> <hd id="AN0162510288-11">MEASURES</hd> <p></p> <hd id="AN0162510288-12">Creative behavior</hd> <p>We used the Biographical Inventory of Creative Behavior (Batey, [<reflink idref="bib7" id="ref107">7</reflink>]) to measure creative behavior. This scale includes 34 items with two options ("yes" and "no") that cover the common domains of everyday creativity, such as arts, crafts, and creative writing, as well as social aspects such as leadership, coaching, and mentoring. Students were asked the following question: "Which of the following things have you done in the last twelve months?" (answer "yes" (1 score) or "no" (0 score) to each item). The scale produces a "creative behavior" score, which is simply the sum of the "yes" responses. Past studies have reported Cronbach's αs of.78 (Batey et al., [<reflink idref="bib8" id="ref108">8</reflink>]) and.89 (Silvia et al., [<reflink idref="bib67" id="ref109">67</reflink>]) as evidence of reliability. In the present study, Cronbach's α coefficient was.90.</p> <hd id="AN0162510288-13">Creative thinking</hd> <p>To measure participants' creative thinking, we used the test for creative thinking‐drawing production (TCT‐DP) (Jellen & Urban, [<reflink idref="bib36" id="ref110">36</reflink>]). This scale applies a holistic and gestalt‐oriented approach to the diagnostics of creativity. The TCT‐DP incorporates culture‐fairness, culture‐sensitivity, gender‐fairness, and gender‐sensitivity (Jellen & Urban, [<reflink idref="bib36" id="ref111">36</reflink>]). It applies to individuals ranging from 5 to 95 years of age (Davis, [<reflink idref="bib23" id="ref112">23</reflink>]). Moreover, some studies have proved that it has good reliability and validity (Dollinger et al., [<reflink idref="bib25" id="ref113">25</reflink>]; Urban, [<reflink idref="bib75" id="ref114">75</reflink>]). The TCT‐DP consists of a single page of A4 paper with a 6.25‐inch square frame drawn on it. The frame contains five figural fragments: (a) a 90‐degree angle; (b) a short broken line; (c) a semicircle; (d) a squiggly line; (e) a dot. On the outside of the square frame, there is a sixth "fragment": a small square with one open side. Students had to draw on the unfinished pictures in the way they liked, with no concerns about correctness. They were asked to complete their drawing within 12 min. The drawing productions were evaluated by trained evaluator following scoring criteria. The scoring involves 14 dimensions, which indicates different aspects of creativity such as perspective and humor. The scores for each dimension were added to produce an overall creativity score. The total possible score is 0 to 72. In the present study, the TCT‐DP's Cronbach's alpha coefficient was.77.</p> <hd id="AN0162510288-14">Creativity motivation</hd> <p>Creativity motivation was measured via the Creativity Motivation Scale (Zhang et al., [<reflink idref="bib80" id="ref115">80</reflink>]). This is a nine‐item self‐report questionnaire based on the conceptualization that motivational sources refer to high‐quality experiences, instrumental purpose, and value. These forces drive individuals to create by doing, learning, and accomplishing new things. Each item combines one of three types of forces (i.e., value, high‐quality experience, and instrumental purpose) and one of three types of creativity‐related behaviors (i.e., do, learn, and accomplish new things). For example, an item can be categorized as both a high‐quality experience and an attempt to do new things: "I feel good when I am totally immersed in creating new things." This instrument uses a 6‐point Likert scale ranging from 1 (strongly disagree) to 6 (strongly agree). In the present study, Cronbach's α coefficient was.80.</p> <hd id="AN0162510288-15">Creative self‐efficacy</hd> <p>The creative confidence scale, involving 12 items consisting of a one‐factor structure (Sherry & Angela, [<reflink idref="bib66" id="ref116">66</reflink>]), was used to measure creativity self‐efficacy. The following are two examples: "My expectations for success are normally very high," and "I feel confident in my ability to choose the best alternative." This instrument uses a 6‐point Likert scale ranging from 1 (strongly disagree) to 6 (strongly agree). In this study, Cronbach's α value was.87.</p> <hd id="AN0162510288-16">DATA ANALYSIS</hd> <p>Before analysis, we checked the data and excluded six students due to the following two reasons: missing data (<emph>n</emph> = 1)or creative behavior z‐score >3 (<emph>n</emph> = 5). As a result, there were 39 students in the experimental group and 38 students in the control group. We then conducted the following data analysis process using SPSS 20.0.</p> <p>First, we used descriptive information to assess the correlations between creativity motivation, creative self‐efficacy, creative thinking, and creative behavior. Second, to examine whether the two groups were homogeneous, we used independent‐sample t‐tests to compare their creativity motivation, creative self‐efficacy, creative thinking, and creative behavior. Then, we conducted a mixed ANOVA (Analysis of Variance) to verify the hypothesis.</p> <hd id="AN0162510288-17">RESULTS</hd> <p>The descriptive information of all variables measured, as well as the intercorrelations between variables, are presented in Table 2. The descriptive statistics showed that participants had relatively high creativity motivation (<emph>M</emph> = 4.79, Max = 6) and creative self‐efficacy (<emph>M</emph> = 4.06, Max = 6) when considering these two scales out of six points. Meanwhile, creative behavior was positively and moderately correlated to creativity motivation (<emph>r</emph> = .31, <emph>p</emph> < .01) and creativity self‐efficacy (<emph>r</emph> = .35, <emph>p</emph> < .01).</p> <p>2 Table Summary of Intercorrelations, Means, and Standard Deviations for Scores on All Variables</p> <p> <ephtml> <table><thead valign="bottom"><tr><th align="left">Variable</th><th align="left">1</th><th>2</th><th>3</th><th>4</th><th align="left"><italic>M</italic></th><th align="left"><italic>SD</italic></th></tr></thead><tbody valign="top"><tr><td>1. Creativity motivation</td><td align="left" /><td /><td /><td /><td>4.79</td><td>0.84</td></tr><tr><td>2. Creative self‐efficacy</td><td>.80<xref ref-type="fn" rid="tfn1" /></td><td /><td /><td /><td>4.06</td><td>0.93</td></tr><tr><td>3. Creative thinking</td><td>.05</td><td align="char" char=".">.07</td><td /><td /><td>22.42</td><td>10.45</td></tr><tr><td>4. Creative behavior</td><td>.31<xref ref-type="fn" rid="tfn1" /></td><td align="char" char=".">.35<xref ref-type="fn" rid="tfn1" /></td><td align="char" char=".">.01</td><td /><td>10.14</td><td>6.15</td></tr></tbody></table> </ephtml> </p> <p>1 ** <emph>p</emph> < .01.</p> <p>Table 3 presents the results of independent‐sample t‐tests comparing the means of creativity motivation, creative self‐efficacy, creative thinking, and creative behaviors at pre‐test between experimental and control groups. The pre‐test values of these four variables of the experimental group did not differ from those of the control group, which showed that the four factors of the two groups were homogeneous.</p> <p>3 Table Independent‐Sample T‐test Comparing Means of All Variables of Pre‐test between Experimental and Control Groups</p> <p> <ephtml> <table><thead valign="bottom"><tr><th align="left" /><th align="left">Group</th><th align="left"><italic>t</italic></th><th align="left"><italic>p</italic></th></tr><tr><th align="left">Experimental group (<italic>N</italic> = 39)</th><th align="left">Control group (<italic>N</italic> = 38)</th></tr></thead><tbody valign="top"><tr><td>Creativity motivation</td><td align="left">4.78 ± 0.89</td><td align="left">4.81 ± 0.80</td><td align="char" char=".">−0.14</td><td>.891</td></tr><tr><td>Creative self‐efficacy</td><td align="left">4.03 ± 1.05</td><td align="left">4.10 ± 0.80</td><td align="char" char=".">−0.29</td><td>.771</td></tr><tr><td>Creative thinking</td><td align="left">22.33 ± 9.44</td><td align="left">22.50 ± 11.52</td><td align="char" char=".">−0.07</td><td>.945</td></tr><tr><td>Creative behavior</td><td align="left">10.18 ± 5.83</td><td align="left">10.11 ± 6.84</td><td align="char" char=".">0.05</td><td>.958</td></tr></tbody></table> </ephtml> </p> <p>Table 4 and Figure 1 present the ANOVA results of the experimental and control groups. An interaction effect between group and time was identified for creative behavior [<emph>F</emph>(<reflink idref="bib1" id="ref117">1</reflink>, 75) = 8.81, <emph>p</emph> = .004, <ephtml> <math altimg="urn:x-wiley:00220175:media:jocb563:jocb563-math-0001" display="inline" overflow="scroll" xmlns="http://www.w3.org/1998/Math/MathML"><mrow><msubsup><mi>η</mi><mi>p</mi><mn>2</mn></msubsup></mrow></math> </ephtml>  = .11] (see Table 4). A simple main effects analysis showed that creative behavior was significantly enhanced in the experimental group; however, there was no difference in the control group. While no significant main effect for the group was found, a significant main effect for time [<emph>F</emph>(<reflink idref="bib1" id="ref118">1</reflink>, 75) = 13.81, <emph>p</emph> = .000] was observed.</p> <p>4 Table The 2 × 2 Mixed ANOVA Analyses Comparing the Experimental and Control Groups</p> <p> <ephtml> <table><thead valign="bottom"><tr><th align="left" /><th>Experimental group <italic>N</italic> = 39</th><th>Control group <italic>N</italic> = 38</th><th>Time</th><th>Group</th><th>Time × Group</th></tr><tr><th align="left" /><th>Pre‐test</th><th>Post‐test</th><th>Pre‐test</th><th>Post‐test</th></tr><tr><th align="left" /><th><italic>M</italic> (<italic>SD</italic>)</th><th><italic>M</italic> (<italic>SD</italic>)</th><th><italic>M</italic> (<italic>SD</italic>)</th><th><italic>M</italic> (<italic>SD</italic>)</th><th>F</th><th>p</th><th>F</th><th>p</th><th>F</th><th>p</th><th><p><math altimg="urn:x-wiley:00220175:media:jocb563:jocb563-math-0002" display="inline" overflow="scroll" xmlns="http://www.w3.org/1998/Math/MathML"><mrow xmlns=""><msubsup><mi>η</mi><mi>p</mi><mn>2</mn></msubsup></mrow></math></p></th></tr></thead><tbody valign="top"><tr><td>Creative behavior</td><td align="char" char="(">10.18 (5.83)</td><td align="char" char="(">14.18 (6.72)</td><td align="char" char="(">10.11 (6.54)</td><td align="char" char="(">10.55 (7.43)</td><td align="char" char=".">13.81</td><td align="char" char=".">.000</td><td align="char" char=".">1.77</td><td align="char" char=".">.188</td><td align="char" char=".">8.81</td><td align="char" char=".">.004</td><td align="char" char=".">.11</td></tr></tbody></table> </ephtml> </p> <p> <img src="https://imageserver.ebscohost.com/img/embimages/rdk/3U7/01mar23/jocb563-fig-0001.jpg?ephost1=dGJyMMvl7ESepq84yOvsOLCmsE6epq5Srqa4SK6WxWXS" alt="jocb563-fig-0001.jpg" title="1 bcstripThe 2 × 2 mixed ANOVA result of creative behavior. **p < .01." /> </p> <p></p> <hd id="AN0162510288-19">DISCUSSION</hd> <p>The results of the present study indicate that the creativity motivation and creative self‐efficacy of middle school students were generally high and had a moderate positive correlation with creative behaviors, which is similar to previous results (Li et al., [<reflink idref="bib43" id="ref119">43</reflink>]; Zhang et al., [<reflink idref="bib79" id="ref120">79</reflink>]). Adolescents are in the second crucial period of self‐awareness development, believing that they are unique, have potential, and can accomplish tasks independently. Moreover, they are enthusiastic about creativity, full of aspirations for creating novel things, and defy all obstacles with a desire and drive to pursue new goals (Liu & Tian, [<reflink idref="bib45" id="ref121">45</reflink>]). Their thinking tends to be more open, agile, and flexible than adults who have formed a rather fixed perception of various problems. With these traits, adolescents present an overall positive creativity motivation and creativity self‐efficacy. Simultaneously, the job market and education system are increasingly paying a great deal of attention to creativity (Davies et al., [<reflink idref="bib22" id="ref122">22</reflink>]). This environment sends a signal to students that creativity is extremely essential for personal development, which also promotes their creativity motivation to a certain extent.</p> <p>Furthermore, the present research demonstrated that making plans effectively promotes students' creative behaviors, which confirmed our hypothesis. Similar results have been found in previous studies, which have shown that having a plan has a significant effect on promoting health behaviors when compared to not having a plan (Conner et al., [<reflink idref="bib20" id="ref123">20</reflink>]; Prestwich et al., [<reflink idref="bib55" id="ref124">55</reflink>]). Moreover, planning for online tasks helped to foster college students' learning behaviors (Anthonysamy, [<reflink idref="bib4" id="ref125">4</reflink>]; Pons, [<reflink idref="bib54" id="ref126">54</reflink>]). Regarding creativity, creative tasks are composed of different stages and subtasks that rely on spontaneous and controlled processes (Beaty et al., [<reflink idref="bib11" id="ref127">11</reflink>]). A spontaneous process is described as automatic, rapid, effortless, unconscious, and associative, whereas the controlled process is described as analytical, sluggish, conscious, effortful, and linked to working memory processing (Kahneman, [<reflink idref="bib37" id="ref128">37</reflink>]). When it comes to creative tasks, the spontaneous process is usually based on existing experiences that generate rapid associations and the emergence of original ideas, while the controlled process suppresses irrelevant factors while examining and refining potentially relevant initial ideas with goal orientation (Benedek & Jauk, [<reflink idref="bib13" id="ref129">13</reflink>]). In this view, planning could be viewed as a controlled mental process that invokes creativity and goal‐directedness (Jaarsveld & Lachmann, [<reflink idref="bib35" id="ref130">35</reflink>]) while increasing the likelihood of translating an idea into a behavior. For participants, planning for the next day's behavior begins with the activation of goals and the mental simulation of potential future actions. Planning not only allows people to establish backup plans and track progress (Mumford et al., [<reflink idref="bib51" id="ref131">51</reflink>]), but it may also spark idea generation since people look for methods to deal with looming problems (Osburn & Mumford, [<reflink idref="bib53" id="ref132">53</reflink>]), thereby facilitating the achievement of creative accomplishments.</p> <p>Moreover, Bandura et al. ([<reflink idref="bib6" id="ref133">6</reflink>]) suggested that the relationship between self‐efficacy and mastery experience is thought to be reciprocal. The experience of performing desired behaviors is the strongest determinant of self‐efficacy. Notably, it could also increase self‐efficacy and motivate people to challenge similar tasks. From this perspective, the successful implementation of planned behavior may facilitate internal attribution processes that lead to an increase in self‐efficacy, thereby promoting the confidence to engage in more creative activities.</p> <hd id="AN0162510288-20">LIMITATIONS AND FUTURE RESEARCH</hd> <p>This research has certain limitations that should be recognized. Firstly, since our study collected data within 2 weeks, it cannot answer whether the planning of creative behaviors could have a longer‐lasting effect. Future studies could consider collecting data again after 1 month to observe whether there remain significant differences in the creative behaviors of the two groups. Secondly, in the pre‐test and post‐test, participants were asked the question "which of the following things have you done in the last twelve months" twice, so it's difficult to reliably distinguish between these pre‐and during‐intervention periods. We were also unable to ascertain exactly what activities the students engaged in during the two‐week intervention. Future research could measure the intervention period directly (e.g., by asking participants what activities they engaged in during the 2 weeks in post‐test) and use a dynamic evaluation (e.g., daily diary measure) to track daily changes in participants' creative behaviors. Thirdly, the experimental group was asked "what creative things do you plan to do in the next 24 hours" every day for 2 weeks, so they may have felt obliged to respond according to the experimenter's expectations. This makes it impossible to rule out that social expectation bias may influence the results of the experiment. In the follow‐up study, we will add a placebo group, asking them to list their daily activities for the next day. Lastly, the number of participants just met the large sample requirement. As a result, the data was not sufficient to perform further analyses, such as those targeting gender differences. In the future, we could consider expanding the sample size to explore whether the effect of planning on creative behavior differs by gender. Furthermore, we could examine the impact of planning on professional – rather than everyday – creativity by studying adults in an occupational context.</p> <hd id="AN0162510288-21">IMPLICATIONS</hd> <p>In the field of creativity, researchers have been trying to explore using simple external interventions to facilitate students' creativity. For example, Zielińska, Lebuda, Ivcevic, and Karwowski ([<reflink idref="bib81" id="ref134">81</reflink>]), Zielińska, Lebuda, and Karwowski ([<reflink idref="bib82" id="ref135">82</reflink>]) used the way of creativity prompting and found that students declared behaving more creatively overall on the days they were prompted and reported being more enthusiastic about diverse everyday creative activities. The present study also provided a simple but effective intervention that can be easily integrated into students' daily routines to improve their creative behavior. It is a fresh perspective on promoting students' creativity, to the best of our knowledge, in the empirical study of planning, this research is the first to use planning to improve creative behavior.</p> <p>Also, our study allowed students to independently plan creative activities that they were prepared to do, which indicates that middle school students already have the potential for self‐monitoring and planning. They can choose appropriate creative activities according to their actual situations, which helps them promote their creative behaviors and constantly tap into their creative potential. In summary, our findings highlight the setting of a simple daily plan as a promising strategy that can complement current approaches for teachers and parents to foster student creativity.</p> <hd id="AN0162510288-22">CONFLICT OF INTEREST</hd> <p>No potential conflict of interest was reported by the authors.</p> <hd id="AN0162510288-23">DATA AVAILABILITY STATEMENT</hd> <p>The raw data supporting the conclusions of this article will be made available by the authors, without undue reservation.</p> <ref id="AN0162510288-24"> <title> Footnotes </title> <blist> <bibl id="bib1" idref="ref18" type="bt">1</bibl> <bibtext> We are grateful to Qipeng Li, a student of Chengdu Normal University, who has helped with our data collection and data entry, and to anonymous reviewers who have given many valuable suggestions to our manuscript. 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  Data: <searchLink fieldCode="SO" term="%22Journal+of+Creative+Behavior%22"><i>Journal of Creative Behavior</i></searchLink>. Mar 2023 57(1):82-95.
– Name: Avail
  Label: Availability
  Group: Avail
  Data: Wiley. Available from: John Wiley & Sons, Inc. 111 River Street, Hoboken, NJ 07030. Tel: 800-835-6770; e-mail: cs-journals@wiley.com; Web site: https://www.wiley.com/en-us
– Name: PeerReviewed
  Label: Peer Reviewed
  Group: SrcInfo
  Data: Y
– Name: Pages
  Label: Page Count
  Group: Src
  Data: 14
– Name: DatePubCY
  Label: Publication Date
  Group: Date
  Data: 2023
– Name: TypeDocument
  Label: Document Type
  Group: TypDoc
  Data: Journal Articles<br />Reports - Research
– Name: Audience
  Label: Education Level
  Group: Audnce
  Data: <searchLink fieldCode="EL" term="%22Junior+High+Schools%22">Junior High Schools</searchLink><br /><searchLink fieldCode="EL" term="%22Middle+Schools%22">Middle Schools</searchLink><br /><searchLink fieldCode="EL" term="%22Secondary+Education%22">Secondary Education</searchLink>
– Name: Subject
  Label: Descriptors
  Group: Su
  Data: <searchLink fieldCode="DE" term="%22Student+Motivation%22">Student Motivation</searchLink><br /><searchLink fieldCode="DE" term="%22Self+Efficacy%22">Self Efficacy</searchLink><br /><searchLink fieldCode="DE" term="%22Creative+Development%22">Creative Development</searchLink><br /><searchLink fieldCode="DE" term="%22Creativity%22">Creativity</searchLink><br /><searchLink fieldCode="DE" term="%22Middle+School+Students%22">Middle School Students</searchLink><br /><searchLink fieldCode="DE" term="%22Student+Behavior%22">Student Behavior</searchLink>
– Name: DOI
  Label: DOI
  Group: ID
  Data: 10.1002/jocb.563
– Name: ISSN
  Label: ISSN
  Group: ISSN
  Data: 0022-0175<br />2162-6057
– Name: Abstract
  Label: Abstract
  Group: Ab
  Data: Research has demonstrated that on the path from a creative idea to a creative outcome, high creativity motivation and self-efficacy do not necessarily lead to creative behavior. The present study proposed and examined the notion that daily creativity planning could promote creative behavior and contribute to the cultivation of creativity. A total of 77 middle school students (39 students in the experimental group and 38 in the control group) participated in this study, for which a quasi-experimental design was administered. The experimental group conducted a two-week daily planning for creative activities, while the control group did not conduct any intervention. The results showed that students' creativity motivation and creative self-efficacy were at relatively high levels overall and were positively and moderately correlated with creative behavior. Daily planning could effectively facilitate students' creative behavior. These findings point to a promising and simple creativity enhancement strategy for cultivating students to develop the habit of making creative plans in their daily lives.
– Name: AbstractInfo
  Label: Abstractor
  Group: Ab
  Data: As Provided
– Name: DateEntry
  Label: Entry Date
  Group: Date
  Data: 2023
– Name: AN
  Label: Accession Number
  Group: ID
  Data: EJ1371328
PLink https://search.ebscohost.com/login.aspx?direct=true&site=eds-live&db=eric&AN=EJ1371328
RecordInfo BibRecord:
  BibEntity:
    Identifiers:
      – Type: doi
        Value: 10.1002/jocb.563
    Languages:
      – Text: English
    PhysicalDescription:
      Pagination:
        PageCount: 14
        StartPage: 82
    Subjects:
      – SubjectFull: Student Motivation
        Type: general
      – SubjectFull: Self Efficacy
        Type: general
      – SubjectFull: Creative Development
        Type: general
      – SubjectFull: Creativity
        Type: general
      – SubjectFull: Middle School Students
        Type: general
      – SubjectFull: Student Behavior
        Type: general
    Titles:
      – TitleFull: Using Daily Creativity Planning to Promote Creative Behavior
        Type: main
  BibRelationships:
    HasContributorRelationships:
      – PersonEntity:
          Name:
            NameFull: Liu, Ting
      – PersonEntity:
          Name:
            NameFull: Li, Pin
      – PersonEntity:
          Name:
            NameFull: Zhang, Skylor Zhitian
      – PersonEntity:
          Name:
            NameFull: Liu, Wanlun
    IsPartOfRelationships:
      – BibEntity:
          Dates:
            – D: 01
              M: 03
              Type: published
              Y: 2023
          Identifiers:
            – Type: issn-print
              Value: 0022-0175
            – Type: issn-electronic
              Value: 2162-6057
          Numbering:
            – Type: volume
              Value: 57
            – Type: issue
              Value: 1
          Titles:
            – TitleFull: Journal of Creative Behavior
              Type: main
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