This study explored how affect relates to creativity at work. Using both quantitative and qualitative longitudinal data from the daily diaries of 222 employees in seven companies, we examined the nature, form, and temporal dynamics of the affect-creativity relationship. The results indicate that positive affect relates positively to creativity in organizations and that the relationship is a simple linear one. Time-lagged analyses identify positive affect as an antecedent of creative thought, with incubation periods of up to two days. Qualitative analyses identify positive affect as a consequence of creative thought events, as well as a concomitant of the creative process. A preliminary theory of the affect-creativity cycle in organizations includes each of these links and proposes mechanisms by which they may operate.

The authors examined how the interaction between perceived unfairness and episodic envy predicts interpersonal counterproductive work behaviors toward the envied other. In 2 studies using different samples and methods to elicit envy, predictions were compared based on the social exchange and attribution models of fairness. The results support the social exchange model of fairness, showing that higher levels of envy and perceived unfairness result in higher levels of interpersonal counterproductive work behavior (Study 1), especially among high self-esteem individuals (Study 2).

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People often reject creative ideas, even when espousing creativity as a desired goal. To explain this paradox, we propose that people can hold a bias against creativity that is not necessarily overt and that is activated when people experience a motivation to reduce uncertainty. In two experiments, we manipulated uncertainty using different methods, including an uncertainty-reduction prime. The results of both experiments demonstrated the existence of a negative bias against creativity (relative to practicality) when participants experienced uncertainty. Furthermore, this bias against creativity interfered with participants' ability to recognize a creative idea. These results reveal a concealed barrier that creative actors may face as they attempt to gain acceptance for their novel ideas.