Have a personal or library account? Click to login
Judging Popular Novels as Creative Products: Which Creative Attributes Contribute to their Success? Cover

Judging Popular Novels as Creative Products: Which Creative Attributes Contribute to their Success?

Open Access
|Jun 2019

References

  1. Acar, S., Burnett, C., & Cabra, J. F. (2017). Ingredients of Creativity: Originality and more. Creativity Research Journal, 29, 133–144. https://doi.org/10.1080/10400419.2017.130277610.1080/10400419.2017.1302776
  2. Agnoli, S., & Corazza, G. E. (2019). Emotions: The Spinal Cord of the Creative Thinking Process. In R. A. Beghetto & G. E. Corazza (Eds.), Dynamic Perspectives on Creativity (pp. 47-65). Cham, Switzerland: Springer.
  3. Albrecht, R. (1977). Buch und Leser in der Bundesrepublik Deutschland [Book and reader in the Federal Republic of Germany] (Unpublished Doctoral thesis, Universität Bremen, Bremen, Germany).
  4. Batey, M., & Furnham, A. (2006). Creativity, intelligence, and personality: A critical review of the scattered literature. Genetic, Social and General Psychology Monographs, 132, 355-429.10.3200/MONO.132.4.355-430
  5. Beck, J. (2006). The sales effect of word of mouth: A model for creative goods and estimates for novels. Journal of Cultural Economics, 31, 5-23.10.1007/s10824-006-9029-0
  6. Besemer, S. P. (1998). Creative Product Analysis Matrix: Testing the model structure and a comparison among products - Three novel chairs. Creativity Research Journal, 11, 333–346. https://doi.org/10.1207/s15326934crj110410.1207/s15326934crj1104
  7. Besemer, S. P. (2000). To buy or not to buy: Predicting the willingness to buy from creative product variables. The International Journal of Creativity & Problem Solving, 10, 5-18.
  8. Besemer, S. P., & O’Quin, K. (1986). Analyzing creative products: Refinement and test of a judging instrument. The Journal of Creative Behavior, 20, 115–126. https://doi.org/10.1002/j.2162-6057.1986.tb00426.x10.1002/j.2162-6057.1986.tb00426.x
  9. Besemer, S. P., & O’Quin, K. (1999). Confirming the three-factor Creative Product Analysis Matrix Model in an American sample. Creativity Research Journal, 12, 287–296. https://doi.org/10.1207/s15326934crj120410.1207/s15326934crj1204
  10. Besemer, S. P., & Treffinger, D. J. (1981). Analysis of creative products: Review and synthesis. The Journal of Creative Behavior, 15, 158–178. https://doi.org/10.1002/j.2162-6057.1981.tb00287.x10.1002/j.2162-6057.1981.tb00287.x
  11. Birney, D. P, Beckmann, J. F., & Seah, Y.-Z. (2016). More than the eye of the beholder: The interplay of person, task, and situation factors in evaluative judgements of creativity. Learning and Individual Differences, 51, 400-408. http://dx.doi.org/10.1016/j.lindif.2015.07.00710.1016/j.lindif.2015.07.007
  12. Blair, C. S., & Mumford, M. D. (2007). Errors in idea evaluation: Preference for the unoriginal? Journal of Creative Behavior, 41, 197–222. https://doi.org/10.1002/j.2162-6057.2007.tb01288.x10.1002/j.2162-6057.2007.tb01288.x
  13. Bransford, J. D., & Franks, J. J. (1971). The abstraction of linguistic ideas. Cognitive Psychology, 2, 331–350. https://doi.org/10.1016/0010-0285(71)90019-310.1016/0010-0285(71)90019-3
  14. Burke, M. (2015). The neuroaesthetics of prose fiction: pitfalls, parameters and prospects. Frontiers in Human Neuroscience, 9, 442. https://doi.org/10.3389/fnhum.2015.0044210.3389/fnhum.2015.00442
  15. Carson, S., Peterson, J. B., & Higgins, D. M. (2005). Reliability, validity, and factor structure of the creative achievement questionnaire. Creativity Research Journal, 17, 37–50.10.1207/s15326934crj1701_4
  16. Chevalier, J., & Mayzlin, D. (2006). The effect of word of mouth on sales: Online book reviews. Journal of Marketing Research, 43, 345–354. https://doi.org/10.1509/jmkr.43.3.34510.1509/jmkr.43.3.345
  17. Clement, M., Proppe, D., & Sambeth, F. (2006). Der Einfluss von Meinungsführern auf den Erfolg von hedonischen Produkten [The impact of opinion leaders on the success of hedonic products]. Journal of Business Economics, 76, 797–824. https://doi.org/10.1007/s11573-006-0038-410.1007/s11573-006-0038-4
  18. Cropley, D., & Cropley, A. (2008). Elements of a universal aesthetic of creativity. Psychology of Aesthetics, Creativity, and the Arts, 2, 155–161. https://doi.org/10.1037/1931-3896.2.3.15510.1037/1931-3896.2.3.155
  19. Cropley, D., & Kaufman, J. C. (2012). Measuring functional creativity: Non-expert raters and the Creative Solution Diagnosis Scale. The Journal of Creative Behavior, 46(2), 119-137.10.1002/jocb.9
  20. Cropley, D., & Cropley, A. (2005). Engineering creativity: A systems concept of functional creativity. In J. Kaufman & J. Baer (Eds.), Faces of the muse: How people think, work and act creatively in diverse domains (pp. 169–185). Hillsdale, NJ: Erlbaum.
  21. Das, J. P., Rath, R., & Das, R. S. (1955). Understanding versus suggestion in the judgement of literary passages. Journal of Abnormal Psychology, 51, 624–628. https://doi.org/10.1037/h004934410.1037/h0049344
  22. Diedrich, J., Benedek, M., Jauk, E., & Neubauer, A. C. (2015). Are creative ideas novel and useful? Psychology of Aesthetics, Creativity, and the Arts, 9, 35–40. https://doi.org/10.1037/a003868810.1037/a0038688
  23. Faul, F., Erdfelder, E., Lang, A.-G., & Buchner, A. (2013). G*Power 3.1.7 Software. Retrieved from http://gpower.hhu.de/
  24. Forgeard, M. J. C., Kaufman, S. B., & Kaufman, J. C. (2013). The psychology of creative writing. In G. Harper (Ed.), A companion to creative writing (pp. 320–333). New York, NY: Blackwell Publishing.
  25. Form, S. (2018). Reaching wuthering heights with brave new words: The influence of originality of words on the success of paramount bestsellers. The Journal of Creative Behavior. ŁŁ, 0, pp. 1-11. https://doi.org/10.1002/jocb.23010.1002/jocb.230
  26. Form, S., Schlichting, K., & Kaernbach, C. (2017). Mentoring functions: Interpersonal tensions are associated with mentees’ creative achievement. Psychology of Aesthetics, Creativity, and the Arts, 11, 440-450.10.1037/aca0000103
  27. Funke, C. (2003). Tintenherz [Inkheart]. Hamburg, Germany: Cessilie Dressler.
  28. Fürst, G., Ghisletta, P., & Lubart, T. (2017). An experimental study of the creative process in writing. Psychology of Aesthetics, Creativity, and the Arts, 11, 202–215.10.1037/aca0000106
  29. Hekkert, P., & Van Wieringen, P. C. W. (1996). Beauty in the eye of expert and nonexpert beholders: A study in the appraisal of art. The American Journal of Psychology, 10, 389-407.10.2307/1423013
  30. Hohendahl, P. U. (1973). Promoter, Konsumenten und Kritiker: Zur Rezeption des Bestsellers [Promoters, consumers and critics: To the reception of the bestseller]. In J. Grimm, Reinhold; Hermand (Ed.), 4th Wisconsin Workshop (pp. 169–209). Madison, WI: Athenäum.
  31. Horn, D., & Salvendy, G. (2006a). Consumer-based assessment of product creativity: A review and reappraisal. Human Factors and Ergonomics in Manufacturing, 16, 155-175.10.1002/hfm.20047
  32. Horn, D., & Salvendy, G. (2006b). Product creativity: conceptual model, measurement and characteristics. Theoretical Issues in Ergonomics Science, 7, 395–412. https://doi.org/10.1080/1463922050007819510.1080/14639220500078195
  33. Horn, D., & Salvendy, G. (2009). Measuring consumer perception of product creativity: Impact on satisfaction and purchasability. Human Factors and Ergonomics in Manufacturing, 19, 223–240.10.1002/hfm.20150
  34. Kamphuis, J. (1991). Satisfaction with books: Some empirical findings. Poetics, 20, 471–485.10.1016/0304-422X(91)90021-G
  35. Kaufman, J. C., & Baer, J. (2012). Beyond new and appropriate: Who decides what is creative? Creativity Research Journal, 24, 83–91. https://doi.org/10.1080/10400419.2012.64923710.1080/10400419.2012.649237
  36. Kaufman, J. C., Baer, J., & Cole, J. C. (2009). Expertise, domains, and the Consensual Assessment Technique. The Journal of Creative Behavior, 43, 223–233. https://doi.org/10.1002/j.2162-6057.2009.tb01316.x10.1002/j.2162-6057.2009.tb01316.x
  37. Keuschnigg, M. (2012). Das Bestseller-Phänomen: Die Entstehung von Nachfragekonzentration im Buchmarkt [The bestseller phenomenon: The emergence of demand concentration in the book market]. Wiesbaden: VS Verlag für Sozialwissenschaften. https://doi.org/10.1007/978-3-531-93499-0_210.1007/978-3-531-93499-0_2
  38. Lauterbach, B. R. (1979). Bestseller: Produktions- und Verkaufsstrategien [Bestseller: Production and sales strategies]. Tübingen: Tübinger Vereinigung für Volkskunde.
  39. Lu, C.-C., & Luh, D.-B. (2012). A comparison of assessment methods and raters in product creativity. Creativity Research Journal, 24, 331–337. https://doi.org/10.1080/10400419.2012.73032710.1080/10400419.2012.730327
  40. MacCallum, R. C., Widaman, K. F., Zhang, S., & Hong, S. (1999). Sample size in factor analysis. Psychological Methods, 4, 84–99.10.1037/1082-989X.4.1.84
  41. Mandler, J. M., & Ritchey, G. H. (1977). Long-term memory for pictures. Journal of Experimental Psychology: Human Learning & Memory, 3, 386–396. https://doi.org/10.1037/0278-7393.3.4.38610.1037/0278-7393.3.4.386
  42. Martindale, C. (1990). The clockwork muse: The predictability of artistic change. New York, NY: Basic Books.
  43. Martindale, C. (1995). Fame more fickle than fortune: On the distribution of literary eminence. Poetics, 23, 219–234. https://doi.org/10.1016/0304-422X(94)00026-310.1016/0304-422X(94)00026-3
  44. Martindale, C. (2007). Creativity, primordial cognition, and personality. Personality and Individual Differences, 43, 1777–1785.10.1016/j.paid.2007.05.014
  45. Martindale, C., Brewer, W. F., Helson, R., Rosenberg, S., Simonton, D. K., Keeley, A., Leigh, J., & Ohtsuka, K. (1988). Structure, theme, style, and reader response in Hungarian and American short stories. In C. Martindale (Ed.), Psychological approaches to the study of literary narratives (pp. 267–289). Hamburg: Helmut Buske Verlag.
  46. Meyer, S. (2005). Twilight. New York, NY: Little, Brown.
  47. Michael, W. B., Rosenthal, B. G., & De Camp, M. A. (1949). An experimental investigation of prestige-suggestion for two types of literary material. The Journal of Psychology, 28, 303–323. https://doi.org/10.1080/00223980.1949.991601210.1080/00223980.1949.9916012
  48. Nell, V. (1988). The psychology of reading for pleasure: Needs and gratifications. Reading Research Quarterly, 23, 6–50. https://doi.org/10.2307/74790310.2307/747903
  49. O’Quin, K., & Besemer, S. P. (1989). The development, reliability, and validity of the revised Creative Product Semantic Scale. Creativity Research Journal, 2, 267–278. https://doi.org/10.1080/1040041890953432310.1080/10400418909534323
  50. O’Quin, K., & Besemer, S. P. (2006). Using the Creative Product Semantic Scale as a metric for results-oriented business. Creativity and Innovation Management, 15, 34–44. https://doi.org/10.1111/j.1467-8691.2006.00367.x10.1111/j.1467-8691.2006.00367.x
  51. Paton, E. (2012). “When the book takes over”: Creativity, the writing process and flow in Australian fiction writing. The International Journal of Creativity & Problem Solving, 22, 61–76.
  52. Plucker, J. A., Kaufman, J. C., & Temple, J. S. (2009). Do experts and novices evaluate movies the same way? Psychology & Marketing, 26, 470–478.10.1002/mar.20283
  53. Rietzschel, E., Nijstad, B. A., & Stroebe, W. (2010). The selection of creative ideas after individual idea generation: Choosing between creativity and impact. British Journal of Psychology, 101, 47–68. https://doi.org/10.1348/000712609X41420410.1348/000712609X414204
  54. Rollka, B. (1975). Vom Elend der Literaturkritik: Buchwerbung und Buchbesprechungen in der Welt am Sonntag [About the misery of literary criticism: book advertising and book reviews in the Welt am Sonntag]. Berlin: Volker Spiess.
  55. Rowling, J. K. (1997). Harry Potter and the Philosopher’s Stone. London, UK: Bloomsbury.
  56. Runco, M. A., & Acar, S. (2012). Divergent thinking as an indicator of creative potential. Creativity Research Journal, 24, 66–75.10.1080/10400419.2012.652929
  57. Runco, M. A., & Jaeger, G. J. (2012). The standard definition of creativity. Creativity Research Journal, 24, 92–96.10.1080/10400419.2012.650092
  58. Runco, M. A., Plucker, J. A., & Lim, W. (2001). Development and psychometric integrity of a measure of ideational behavior. Creativity Research Journal, 13, 393–400. https://doi.org/10.1207/S15326934CRJ1334_1610.1207/S15326934CRJ1334_16
  59. Sachs, J. S. (1974). Memory in reading and listening to discourse. Memory & Cognition, 2, 95–100. https://doi.org/10.3758/BF0319749810.3758/BF03197498
  60. Scherer, M. R. (1994). The influences of the relationship between primary and secondary process content on aesthetic success in novels. Empirical Studies of the Arts, 12, 159–172. https://doi.org/10.2190/D156-0C3R-F5KG-RBQE10.2190/156-03-5-RBQE
  61. Schmidt-Stölting, C., Blömeke, E., & Clement, M. (2011). Success drivers of fiction books: An empirical analysis of hardcover and paperback editions in Germany. Journal of Media Economics, 24, 24–47. https://doi.org/10.1080/08997764.2011.54942810.1080/08997764.2011.549428
  62. Simonton, D. K. (1986). Popularity, content, and context in 37 Shakespeare plays. Poetics, 15, 493–510. https://doi.org/10.1016/0304-422X(86)90008-210.1016/0304-422X(86)90008-2
  63. Simonton, D. K. (1988). Aesthetic success in 36 Hungarian and American short stories. In C. Martindale (Ed.), Psychological approaches to the study of literary narratives (pp. 66–73). Hamburg: Helmut Buske Verlag.
  64. Simonton, D. K. (1990). Lexical choices and aesthetic success: A computer content analysis of 154 Shakespeare sonnets. Computers and the Humanities, 24, 251–264. https://doi.org/10.1007/BF0012341210.1007/BF00123412
  65. Simonton, D. K. (2012). Taking the U.S. patent office criteria seriously: A quantitative three-criterion creativity definition and its implications. Creativity Research Journal, 24, 97–106.10.1080/10400419.2012.676974
  66. Smith, B. L. (1993). Interpersonal behaviors that damage the productivity of creative problem solving groups. Journal of Creative Behavior, 27, 171–187. https://doi.org/10.1002/j.2162-6057.1993.tb00705.x10.1002/j.2162-6057.1993.tb00705.x
  67. Sorensen, A. T. (2007). Bestseller lists and product variety. The Journal of Industrial Economics, 55, 715–738. https://doi.org/10.1111/j.1467-6451.2007.00327.x10.1111/j.1467-6451.2007.00327.x
  68. Staw, B. M. (1995). Why no one really wants creativity. In C. M. Ford & D. Gioia (Eds.), Creative action in organizations (pp. 161–166). Thousand Oaks, CA: Sage Publications.
  69. Stokmans, M. J. W. (1999). Reading attitude and its effect on leisure time reading. Poetics, 26, 245–261. https://doi.org/10.1016/S0304-422X(99)00005-410.1016/S0304-422X(99)00005-4
  70. Sutherland, J. (1981). Bestsellers: Popular Fiction of the 1970s. Routledge & Kegan Paul.
  71. Tolkien, J. R. R. (1937). The Hobbit. George Allen & Unwin.
  72. Torrance, E. P. (2008). Torrance Tests of Creative Thinking: Norms-technical manual, verbal forms A and B. Bensenville, IL: Scholastic Testing Service.
  73. Van Rees, C. J. (1983). How a literacy work becomes a masterpiece: On the threefold selection practised by literary criticism. Poetics, 12, 397–417. https://doi.org/10.1016/0304-422X(83)90015-310.1016/0304-422X(83)90015-3
  74. Van Rees, C. J. (1987). How reviewers reach consensus on the value of literary works. Poetics, 16, 275–294. https://doi.org/10.1016/0304-422X(87)90008-810.1016/0304-422X(87)90008-8
  75. Verdaasdonk, H. (1983). Social and economic factors in the attribution of literary quality. Poetics, 12, 383–395. https://doi.org/10.1016/0304-422X(83)90014-110.1016/0304-422X(83)90014-1
  76. White, A., Shen, F., & Smith, B. L. (2002). Judging advertising creativity using the creative product semantic scale. Journal of Creative Behavior, 36, 241–253. https://doi.org/10.1002/j.2162-6057.2002.tb01067.x10.1002/j.2162-6057.2002.tb01067.x
Language: English
Page range: 20 - 41
Submitted on: Aug 22, 2018
|
Accepted on: May 10, 2019
|
Published on: Jun 28, 2019
In partnership with: Paradigm Publishing Services
Publication frequency: 2 issues per year

© 2019 Sven Form, Judith Aue, Christian Kaernbach, published by University of Białystok
This work is licensed under the Creative Commons Attribution-NonCommercial-NoDerivatives 3.0 License.