The concluding chapter reflects on the contributions across five parts of the Handbook. We consider the threads connecting specific chapters within the topical sections devoted to the methodology of studying creativity and emotion, creative process, creative person, creative product, and creative contexts. In this reflection, we pay special attention to what is missing and what are key directions for future research. We propose an integrative model describing the role of affective processes across different aspects of creativity. The model discusses the need to specify the nature of creativity being studied (in terms of time, potential vs. actualization, and locus of judgment of creativity), as well as levels in which the role of emotions in creativity manifest itself (individual, dyadic, group, institutional, cultural). The process model of affective influences on creativity describes the role of affective states, emotion-related traits, and emotion abilities at different points from facing or initiating creative problems to creative beliefs and intentions, creative behavior, and creative products or achievements.

In the introductory chapter to the Cambridge Handbook of Creativity and Emotion, we define basic terms in the study of creativity and emotions. We argue about the need for specification of different aspects of creativity under investigation and caution scholars to make conclusions about specific aspects studied, rather than “creativity” in general. This Handbook examined three groups of affective processes: affective states (relatively short-lasting reactions to internal or external stimuli), emotion-related traits (typical ways of feeling), and emotion abilities (capacities to reason about and with emotions, such as in the case of emotional intelligence). Next, we describe the organization of this Handbook into five parts, each addressing a different aspect in the study of creativity, including methodological issues, creative process, creative person, creative product, and creative contexts (school and work). The concluding chapter presents an integrative model of the role of affective processes across aspects of creativity.