The ideas presented in this book have been incubating for over 25 years. I was in the first grade, I believe, when the ideas that eventually developed into this social psychology of creativity first began to germinate. The occasion was art class, a weekly Friday afternoon event during which we were given small reproductions of the great masterworks and asked to copy them on notepaper using the standard set of eight Crayola (R) crayons. I had left kindergarten the year before with encour agement from the teacher about developing my potential for artistic creativity. During these Friday afternoon exercises, however, I developed nothing but frus tration. Somehow, Da Vinci's Adoration of the Magi looked wrong after I'd fin ished with it. I wondered where that promised creativity had gone. I began to believe then that the restrictions placed on my artistic endeavors contributed to my loss of interest and spontaneity in art. When, as a social psy chologist, I began to study intrinsic motivation, it seemed to me that this moti vation to do something for its own sake was the ingredient that had been missing in those strictly regimented art classes. It seemed that intrinsic motivation, as defined by social psychologists, might be essential to creativity. My research pro gram since then has given considerable support to that notion. As a result, the social psychology of creativity presented in this book gives prominence to social variables that affect motivational orientation.