Creativity Outline

Obligatory Instructions
Title: Creativity
Subtitle: Owning and Embodying Your Own Creativity
Minimum Word Count: 25.000 Words
● More is even better and preferred - there is no maximum word count.
● The references + disclaimer will be deducted and do not count! If you’re
oriented towards the word count in Microsoft Word, you probably have to aim
for 26.000+ words, since the disclaimer and your references will add up to
around 1000 words.
Short summary about the book
This book serves as a solid and practical guide on the key things to creativity and
understanding the concept of owning and embodying your own creativity to release
your creative side and improve productivity.
Important Note - Read the entire document before

starting on this project
Please include the word „Cake“ in your proposal so we know you had
a look at this document.
Table of Contents
Notes For Our Collaboration On This Project

How To Work Through This Outline
Content Requirements
Content
References
Images, Tables, Diagrams, And Other Graphics
Direct Citations
Proofreading
Formatting
Writing Characteristics
❌ Writing Mistakes
✅ Writing Style
✅ Writing Tone
✅ Writing Principles
Book Structure
Introduction
Following A Specific Formula
When To Write It
Characteristics
The Formula
Conclusion
Chapter Names
Outline
Reader Avatar
Outline Overview
Outline Requirements
Chapter Outline
Notes For Our Collaboration On This Project
● The quality of our books is the foundation and the absolute most important component of
our publishing business.
● We will not accept this book if it’s not at its highest possible quality and “reader ready.”
● A good benchmark to test this is asking yourself Would I be happy and satisfied to
spend not only my money but also my valuable time on this book?
● We live by the mantra of the famous investor and Warren Buffet’s business partner,
Charlie Munger, “Don’t sell anything you wouldn’t buy yourself.”
● For the best results, we should build a healthy relationship and work together through
the writing of this book.
If you can’t tell already, quality is #1 when it comes to our books.
The reason we chose to work with you is that we trust you will complete the job at the highest
standards.
We are very excited to be working on this project with you and creating the best book yet on this
topic. If you have any questions, please reach out to us.
We created a Frequently Asked Question file, to cover some

technicalities about our collaboration
How To Work Through This Outline

As you will see, there’s a lot to cover and take care of for this book. That’s why we want to give
you some further tips on how to approach the creation of the book and how to work through this
document.
● Take your time and have a thorough read of this document to fully understand what you
have to take care of.
● Once you’ve read everything, figure out which areas are relevant for you at this moment
in the process and dive deep into them - ignore the sections that you do not need to
consider at this stage.
For example, do not have any further look at how to name chapters or how to write the
introduction - you will do these things in the end. Not knowing the details of these
sections will not have any negative consequences for you. More likely, you can fully
focus on your current step and get a better outcome.
Here’s a quick overview of when to dive deep into which section during the book creation
process:
Before doing research
● Outline
● Book Structure
● Content Requirements
Before starting to write the book
● Writing Characteristics
After the book is written
● Conclusion
● Naming Chapters
● Introduction
Content Requirements
Content
● In-Depth: Rather than listing several aspects and describing/ explaining them in a few
sentences, pick the most important and relevant aspects (not more than 5) and provide
detailed information about them.
● Original & Interesting: Focus on novel ideas and avoid inserting common knowledge
statements. Information people have heard over and over again will be perceived by the
readers as filler content.
● Practical Advice:
○ The 5W’s: Do not merely describe things and circumstances. Make sure you
answer the 5Ws: who, what, when, where, why (and how, where applicable), on
each section and subsection of the book.
○ Examples: Use relatable examples, formulas, and case studies to illustrate your
points.
● Reader Avatar: Content is written with the reader’s avatar in mind.
References
● Reference List: All references will be listed in the specific references chapter at the end
of the style sheet that we’ll provide and that you have to use for writing the book.
● Scientific Sources: Content needs to be backed up by science. Use scientific studies
from renowned journals to prove your writing. At least 20 studies (primary sources) for
the whole book are required!
● Other Sources: Any other good sources like famous books, besides the previously
mentioned scientific studies, can be provided as well in the references chapter. Keep in
mind that the required total number of sources will be higher than 20 if you use other
sources than scientific studies (primary sources). PsychologyToday, for example, is not
a primary source!
● Referencing System: Use the Harvard OR the APA referencing system. Stick to the
one you prefer and use footnotes in the text for each specific piece of evidence. But do
not use a footer, just link each footnote in the text to the references chapter at the end of
the style sheet that we provided you with for writing the book, where all references will
be numbered. The numbers in the text do not have to be clickable, but please use
hyperlinks for the sources in the references chapter. -> It will look like this:
Images, Tables, Diagrams, And Other Graphics

● Visual elements are not a must but are highly appreciated. They can greatly increase the
quality of our book.
● If you use them, do not use elements that infringe any copyright, personal or proprietary
rights of others. Only use copyright-free elements that are allowed for commercial use.
● Creating your own visual elements is fine. Canva is a great free tool you can use.
Direct Citations
● Keep direct citations at a minimum. If you use them, make sure to only use short ones.
Proofreading
● Proofread the book manually + electronically in the end. You can use Grammarly or
similar software.
Formatting
In addition to this template, we provide you with a style sheet. This should be your only file for
writing the text of this book.
As much as one tries, copying text from one source to paste it in another will always result in
more work than simply writing in the recommended sheet. So please type your content
DIRECTLY in the style sheet.
Writing Characteristics
❌ Writing Mistakes
● Repetitions
● Wordiness, Unspecificity, Filler Information & Fluff
● Passive Voice - for example
○ ❌Passive Voice: The squirrel was chased by the dog.
○ ✅ Active Voice: The dog chased the squirrel.
● Complex & Long Sentence Structure - for example
● Sentences And Words Like:

○ “Thank you for purchasing this book”
○ “We hope you will like it”
○ “Please do not hesitate to read on”
○ “The reader”, “in this book”, “this book” (Several times)
✅ Writing Style
● Popular Scientific
● Clear & Specific
● Informative
● Actionable
● Easy To Understand And Follow
● Entertaining
● Engaging
● “Good Flow”
✅ Writing Tone
Voice Frame #1: Conversation with a friend
● Common mental frame to use. Envision yourself talking to a friend.
Voice Frame #2: Help a stranger heal the same pain you had
● This is very similar to the “conversation with a friend” frame. Envision yourself helping a
stranger solve a stringent problem.
➡ Combine the two. If you envision yourself talking to a friend AND helping them through something
difficult that you’ve already done, it will result in the best approach.
- Both of these methods allow you to get out of your way and let your voice come through
naturally.
- Why? Because you aren’t actually thinking about your voice. You are focused on the
reader. Focusing on the reader, rather than on yourself, is a superpowerful technique
you can use at every stage to create an effective, successful book.
- Don’t worry about being a writer. Just help people, and your voice will shine through.
✅ Writing Principles
1. Short (this is the most important one!)
● Keep your writing short on all levels.
○ Short chapters, usually no more than 4k words. Short paragraphs, of 2-3
sentences.
○ Short sentences, between 5 and 20 words.
○ Even shorter words, less than 12 characters.
How many times have you seen someone use big words to mask their lack of
true understanding? Hey professor, throwing in “obsequiousness” doesn’t make
you sound smart, it just tunes people out.
● Make it as short as possible, without leaving anything out. Short does not mean
missing essential content!
2. Simple
● Simple words and sentences force you to write in plain English. Even difficult and
complex ideas can be broken down into small words and short sentences.
● If you cannot explain your idea simply, it probably means you don’t fully
understand it.
● Simple words and sentences also help more readers understand your writing.
● Any word that’s not absolutely necessary to convey your point must go.
3. Direct
❌ Passive voice, jargon, multiple clauses, heavy use of adjectives and adverbs.
✅ Make each sentence a single, clear statement. Connect it to the sentence before,
and the sentence after. Don’t put multiple thoughts in one sentence.
Book Structure
● Chapter Hook
○ What: This should be a personal story, an anecdote, a question to the reader, a
shocking statement, or anything that draws in the attention and sets up what is
about to come in the chapter.
○ The main thing, before you get into the content, is to show why it matters.
○ How: Do not be intimidated by this—all you really need to do here is tell a good
short story, or anecdote, or introduce a fact that is engaging. It might not even be
longer than a great tweet.
○ The best chapter hooks tend to be emotionally intense, or some sort of mistake
(which is, usually, emotionally intense).
○ The best way to start a chapter is by “coming in late.” Begin with a scene or a
quote or something that jumps right into the point you are making.
○ Some other things to think about when finding your hook:
■ Is counterintuitive and it violates expectations or reverses them
■ It’s not going to be the first story you think of
■ It’s the story people always ask you about
■ It is never the story that makes you look the best
● Thesis of chapter
○ Once you’ve written the chapter hook, then you plainly state what you will
discuss in this chapter.
○ Essentially, you tell them what you’re going to tell them.
○ This should be the same or similar to the key takeaway in the Table of Contents.
● Supporting content
○ This is the bulk of each chapter and the main content.
○ Subchapters: You’ll notice that we haven’t included any subchapters. This will
give you more flexibility in your writing process. Figure out subchapters as you
write. If you come up with a subchapter, make sure it has at least 500 words -
otherwise, there’s probably no need to delimitate it.
○ Requirements: The aspects mentioned here are the minimum requirements - so
make sure you integrate all aspects listed here.
○ Use these questions to fill out this section even further:
■ What is it/What is it not? The second part is important when there are
similar words that most people use interchangeably, even if they have a
different meaning; for example, efficient and effective mean different
things.
■ The science behind it
■ Where? Where does it apply?
■ Who? Who is this for or who is involved?
■ When? Is there a concept of time involved?
■ Why? Why does this matter?
■ Examples. Mention examples where the concept or idea applies.
■ How? Describe step by step and in detail how to make use of this or how
it works.
■ What Not To Do? If you can easily make something wrong or you have
to take care of tiny details to make it right, mention it as well.
● Stories & Examples

○ Why: Effective stories are crucial to the success of a book. They are a great way
to make the book and its specific takeaway points more memorable. Many
readers forget facts after they read a book, but anecdotes and stories stay with
them. They’re often more “sticky.”
○ How: Make sure your stories are specific and highly relevant. You are not
looking for a generic story in these points; rather, the story that fits precisely in
the chapter content and demonstrates the message you want to convey.
○ Where: You will integrate stories and supporting content. It’s not that you only
have a story in the hook section and then later on you purely work through all the
supporting content aspects.
○ Framework: Good stories contain certain elements and phases. Below, you’ll
find the specific elements and phases. Make sure to include all of these aspects
when telling stories.
○ Organization Tip: We recommend collecting them in one place, simply because
it’s not always clear which stories you want to use and where. Listing these
separately allows you to figure this out as you go. This gets you writing faster.
Essential elements of a story

● Identifiable characters: use one or several separate characters we can identify
with, care about, and connect to. Include a few details about the character such
as age, a personality trait, a physical characteristic, etc. This helps build out the
image of the character in the minds of the audience. The more clearly they can
imagine this character, the more they will connect with the content.
● Authentic emotion: it doesn’t have to be overly dramatic. It can be as simple or
common as frustration, wonder, or curiosity. This is something the character feels
and not what the story receiver experiences.
● Significant moment: A specific point in time, circumstance, or space that sets
the story aside from the rest of our existence. Zoom in tight to give the audience
a better view.
● Specific details: The use of specific, descriptive, sometimes unexpected details
and imagery that are relevant to the intended audience in an effort to create and
draw the readers into a world that sounds familiar to their own. The finer the
detail, the better. The strongest, stickiest stories are those that master this final
component. If, for example, you‘re telling a story to a 1980s audience, one detail
could be a boombox. This builds a strong connection between the audience and
the teller of the message.
Essential phases of a story

● Beginning - Normal: Start off strategically by establishing the normal, the way
things were before something changed. Introduce key characters and emotions
and create a sense of familiarity for the audience. Take a happening and make it
matter so the audience cares.
● Middle - Explosion/Happening: The moment things change. It could be a big
thing or a small thing, a good thing or a bad thing. It could be a realization,
decision, or an actual event. It’s a good idea to start with this phase once you
come up with your story. We don’t notice a story is happening until we get to the
explosion and until we’re in the middle of it.
● End - New Normal: Share what life is like now, after the explosion. Tell them
what the character knows now, why the character is wiser or stronger or how he
improved (or is still trying to improve) as a result.
Normal: Things are how they are

Explosion: Something happens
New Normal: Things are different
● Callback to/ wrap-up of opening chapter hook and segue to next chapter
○ This is an optional section, but most books benefit from tying the end of the
chapter to the hook and then giving some sort of segue to the next chapter.
● Chapter Summary
○ This should be the summary at the end of the chapter. It clearly lays out what the
reader needs to know from this chapter.
○ Essentially, you tell them what you just told them.
○ Use 3-6 bullet points to summarize the chapter.
Important note to the structure explained above
● The structure above gives you a general framework we work with. It shows elements
that should be included in most chapters. It’s possible that for certain chapters this
structure won’t fit perfectly, that you have to leave out certain elements or also adjust the
order of the elements within the chapter.
● Example: for certain chapters, it will make more sense to only work through the
supporting content section. For other chapters, it might be better to integrate stories in
the supporting content section.
Book Structure Examples
I tried to collect examples for all these chapter sections from one famous non-fiction book:
Atomic Habits. Hopefully, it will give you a better idea of how these sections can look and how to
transition from one to another. This book does not have a specific action steps section, so I got
an example from another book.
Probably, the Chapter Hook & Story part will be the hardest for you to come up with. That’s why
I collected here a bunch of other examples.
Chapter Hook:
Transition From Hook To Thesis:
Thesis of Chapter
Supporting Content
…
Action steps:
Callback to Hook & segue to next chapter:
Chapter summary:
Introduction
IMPORTANT: The introduction is arguably the most important section in our book. If
people have a look inside our book on Amazon, they’re able to read the whole
introduction and decide if they’ll buy the book or not. The job of the introduction is to
convince the reader and answer their question “Why should I spend my valuable time
and money to read this book?” That’s why I included a lot of information here. Do not
rush with this section. Instead, study the material here and carefully craft your
introduction.
Following A Specific Formula

● There is a formula for effective introductions, and you should follow it.
● If you don’t stick to it, then our readers will feel it and prematurely dislike the book—even
if they don’t know why.
● You can be very creative within the boundaries of the formula, but follow the formula and
your introduction will work well.
When To Write It
● The introduction needs to be written last, only after the book is completed.
● You can’t effectively tease something if you don’t fully understand how it’s going to play
out in practice.
Characteristics
● The introduction is essentially a sales pitch for the rest of our book, so treat it that way
— it must be engaging and make the reader want to read more.
● Do not make it dry and boring like a book report. That is not going to convince anyone to
continue reading.
● Introductions are built from these elements:
○ Hook the reader
○ Tell a story about the reader’s current pain
○ Tell a story about the reader’s potential pleasure
○ Tell them what they’ll learn
○ Describe the author’s background/origin of the book
○ Tell what the book is and what is not
○ Set up the book with a call to action
The Formula
1. Hook the reader
● An introduction has to hook the reader fast. It should grab them by the lapels and force
them to pay attention. It makes you sit up, take notice, and read the next line.
● Here are examples of hooks. They start average and then get much better:
○ “Let’s start with a question: Why do certain groups perform better than other
groups?”
○ “You’ve been told a lie. Everything you know about sugar is wrong.”
○ “I thought I was going to die.”
● There is not a specific formula for figuring out your hook. These are the three questions
we use to help determine what the hook is:
○ What is the most interesting story or claim in the book?
○ What sentence or fact makes people sit up and take notice?
○ What is the intended audience going to care about the most, or be most
interested in or shocked by?
2. Tell stories about the reader’s current pain
● Answer the implicit reader question: “Why do I care?” - What problem were they looking
to solve?
● People pay attention to stories, especially stories that resonate with their problems, pain,
and conflicts. Once they are in touch with those pain points, then they want to hear
about solutions that provide relief and pleasure, and maybe even take them somewhere
new in their life.
● The story or stories in the introduction should dive deep and describe the massive pain
the reader is suffering by not taking the advice or lessons in your book. Pain induces
action.
● Have a look at the Reader Avatar to know the exact pain points of our audience.
3. Tell stories about the reader’s potential pleasure
● Tell a story that describes the pleasure that comes from taking the action. Show them
why the results are so amazing and that the goal is worth the pain.
● Have a look at the Reader Avatar to know the exact pleasure points of our audience.
4. Tell them what they’ll learn
● What to do: Explain exactly how you are going to help them solve their pain and get to
their pleasure.
● Make sure this is so clear and simple that even a seventh-grader could understand.
● It should be as basic as, “I am going to show you precisely how to do this. I’ll walk you
through, step by step by step, until you have mastered everything necessary to get your
results.”
● Make the biggest promise you can keep
● Include Reader Objections: Address the common reader objections overwhelm, value,
skepticism, fear, and complacency and tell them why they need to buy the book. The last
three (skepticism, fear, and complacency) are the most important ones for you to cover:
○ Overwhelm: “I don’t have enough time”, “I am too busy” ➡ Simplify the solution and
show why our solution meets our reader’s needs easily.
○ Value: “I can’t afford it”, “It’s too expensive” ➡ Point out what our reader stands to
gain from reading our book as well as what he stands to lose by leaving it behind.
○ Skepticism: “Will this work for me?” “How do I know this will really work?” “I tried
that before and it didn’t work” ➡ Show proof that you, your product, or your service
will do what you say. Offer credentials, case studies, testimonials of what other users say.
○ Fear: “I am not ready yet”, “I am not sure this is the right time” ➡ Address genuine
concerns about the reader’s pain point. Does she really want to continue with the way
things are?
○ Complacency: “I already know all the stuff”, “I am good with what I know”, “I can
do it on my own” ➡ Present the FOMO – that is, the Fear Of Missing Out. Our reader
may not be aware of what life can be like … how he can solve a key pain point… or that
he even has a pain point at all. Show him.
● Writing Style: Don’t explain “how” our readers will achieve the solution; just mention
“what” it is. To learn how our solution actually works and to get the specifics, they must
read our book! Sell it like a secret.
Some examples:
✅ We’ll tell you about 3 thinking errors that you need to avoid to make better decisions
✅ You’ll learn more about about the most common logical fallacy almost everybody is making
✅ We’ll cover if there is a difference between efficiency and effectiveness
❌We’ll tell you about the Halo effect, the Anchoring bias, and the confirmation bias that you need
to avoid to make better decisions
❌You’ll learn more about the Strawman Fallacy that almost everybody is making
❌We’ll cover that there is a difference between efficiency and effectiveness
5. Describe your background/origin of the book
● Explain who you are, why you wrote the book, and why the reader should trust what you
have to say. Establish your authority.
● The best way to do this, again, is to tell a story.
○ Why does this subject matter to you?
○ How did you learn enough to be in a position to teach what you know to people?
If you are not a credentialed expert, your expertise derives from a love of the
topic.
○ Why are you qualified—even uniquely qualified—to write this book?
● This is where you can talk about your hero’s journey story—what it took for you to get to
this place
● BUT: they only care about you and your story insofar as it applies to the book and to
your expertise. Do not give them an autobiography.
6. What the book is and is not
● Tell the reader what the book is and is not to set the right expectations in the beginning.
● You can do this very simply, mainly by stating what you will not be, and the things they
will not get out of it.
7. Segue to first chapter + Call to action
● Include a simple transition to get the reader ready to dive in and start engaging the book.
● A simple example that works for any niche: “Are you ready to [goal]? Keep reading.”
Further resources
Have a look at these articles if you need some further explanations + inspirations
● This is the original article where I got this information from
● Some further hook + story examples can be found in this article
● How to address reader objections
Conclusion
The Formula
1. Grab the reader with a great hook
● Every chapter should start with a hook, even the last one
● Use a story that summarizes the book or close a loop from earlier in the book
● The easiest and most compelling way to begin the conclusion is by referring back to one
(or more) of the topics discussed in the book
2. Restate the book’s mission/thesis
● From the first chapter to the final chapter, your book’s primary message should be
consistent.
3. Summarize chapters
● Summarize the key points so succinctly and clearly that the reader can’t help but
understand your lessons the same way that you do.
● What are the takeaways that really matter?
4. Call to action
● What’s the first thing you want your reader to do when they finish the last word and put
the book down?
● You could use a version of “Now that you have all the tools, go out there and use them.”
❌What NOT to do:
● Do not introduce any new content. New stories or anecdotes are fine.
● Too long. Rule of thumb: It should be the shortest chapter of the book.
Chapter Names
● Naming Scheme: The only acceptable form is the one below: chapter number + chapter
title. For subchapters, we will only have a title, without any number:
○ “Chapter 1: *Insert Chapter Name*”
○ *Insert Subchapter Name*
➔ Example:
○ Chapter 1: Informal Fallacies
Faulty generalization
Relevance fallacy
● Chapter Outline Names: DO NOT simply use the chapter names mentioned in the
chapter outline, try to find better-suited chapter names.
● Secretive: We want you to name the chapters interesting and in a way that you don’t
give away the book content. If the customer has a look at the ToC, he should not know
the solution presented in this chapter. You can make use of questions or simply not
mention the solution.
Examples:
● The Big Secret Of Dealing With People
● Do This And You’ll Be Welcome Anywhere
● A Simple Way To Make A Good First Impression
● If You Don’t Do This, You Are Headed For Trouble
● How To Make People Like You Instantly
● A Formula That Will Work Wonders For You
● An Appeal That Everybody Likes
● The Movies Do It. Tv Does. Why Don’t You Do It?
● When Nothing Else Works, Try This
● How To Criticize And Not Be Hated For It
● Why You Should Visit Cemeteries
● Does Harvard Make You Smarter?
● Why You See Shapes In The Clouds
● If Fifty Million People Say Something Foolish, It Is Still Foolish
● Why You Should Forget The Past
● Don't Accept Free Drinks
● Leave Your Supermodel Friends At Home
● Why We Prefer A Wrong Map To None At All
Reader Avatar
Below you’ll find our reader avatar. We created this avatar for all of our books, in an
attempt to help you picture our dream customer. The text in bold is information that
applies exclusive for this book. Keep especially this information in mind when
writing the book. You can think of this description as a broad reader avatar we apply to
all of our books, and a more specific reader avatar with added details for each single
book.
1. Who is the primary audience? (The microtribe our book must reach to achieve
its objectives)
Our readers are in their mid-20s to early 40s. They are diverse people, artists of all
kinds - writers, painters, actors, dancers, amateurs, hobbyists, and professionals.
Even those people who have creative skills but don’t know how to unleash it.
They are seeking guidance, input and inspiration on how to own and embody their
own creativity.
They need some sort of reassurance that they do the right things, and understand its
concepts and the ways to cultivate and incorporate creativity in their lives.
2. Description of a typical person in our primary audience. What are they like?
James is a skilled artist. He is good with what he does. He becomes so

comfortable with what he does that it becomes like the normal and usual things
he does. He feels like there is more he could do but doesn’t know how to.
He is working hard and sets high goals for himself. He’d like to progress even further
but doesn’t know what to do.
James is regarded as a skilled artist but he wants to strive for more, to discover
more of what he can do. He knows that he can achieve even greater things and is
willing to invest in getting there.
3. What pain are they experiencing because they’ve not read our book?
James is a skilled artist. He wants to take up his skills to the next level, but he
lacks confidence in doing more than what he usually does.
He is taken aback to take a step higher because of his bad and unproductive habits, the
lack of motivation to do more, and his emotional instability along with some life
problems.
All this weighs on him and the stress he’s dealing with impacts his creativity.
These blocks prevent him from discovering more of his creative individuality.
James would like to address all these issues. He is confident that he can and has the
ambition to do it, but doesn’t know where to begin with, what to do to unleash more of
his creative side, how to overcome creative blocks, and where he could find the
solutions.
4. What benefit will they get because they read and implement our book?
By reading our book, James will be able to explore and unleash his creative skills
and potential. He will finally do more than his usual routine. He will start to
integrate out-of-the-box ideas and cultivate them to produce a more productive
outcome, and will be able to better understand the blocks that prevent him from
taking his creative skills further, thus using these to better achieve his goals and
improve himself in the process.
He will also acknowledge and accept his shortcomings, and gain a clearer view of the
areas he needs to work on. Having a rational overview of himself and discovering
the creative process with the aid of fun exercises will help him practice and
develop his skills and bring it to a higher level.
5. What is their experience on the topic?
Jane is a young woman who took the art route. Then, came marriage, family, and
whose work will best keep a roof over their heads. Two years ago she decided
that she wanted to get back to art. The skills were still there, but creativity had
definitely left the building.
By reading this book, she found balance between work and pleasure which leads
her to create a lot more. She learned of the blocks that kept her creativity inside
the cabin and what she needs to do about it to be able to express herself with her
art once again. Her self confidence is higher than it has ever been and it keeps
moving in the positive and solid direction.
This topic on creativity helps the readers develop a habit of creativity, develop
their personal taste, while prompting them to explore new ways. This topic will
help them to realize that each individual has different creative skills and that
going across what they think is the border of their creative skills will help them
embrace and own their creative individuality.
The exercises that this book provides helps in changing one’s common
perspective on creativity and activates change. This topic on creativity is a quick
boost of motivation or implementing new ideas.
Outline Overview
Introduction
1.000 Words
Chapter 1: WHAT IS CREATIVITY

2.500 Words Understanding what creativity is.
Chapter 2: WHAT IS THE CREATIVE PROCESS

2.500 Words The nature of creative process and where we can find creativity.
Chapter 3: WHAT SORT OF CREATIVE ARE YOU?

2.000 Words The type of creative person you view yourself.
Chapter 4: COMPONENTS OF CREATIVITY

2.000 Words Exploring the different components of creativity.
Chapter 5: DOMAINS OF CREATIVITY

3.000 Words Skills, traits, or knowledge that underlie creative performance.
Chapter 6: HOW THE CREATIVE BRAIN IS WIRED DIFFERENTLY

3.000 Words How the brain network plays a key role in creativity.
Chapter 7: THE BIGGEST BARRIERS OF CREATIVITY

2.000 Words Identifying the common barriers of creativity.
Chapter 8: WAYS TO HURDLE CREATIVITY BLOCKS

2.000 Words Different ways or techniques to cultivate creative skills.
Chapter 9: HOW TO CULTIVATE AND INCORPORATE CREATIVITY IN YOUR LIFE

2.000Words Important ways on how to incorporate creativity in your life.
Chapter 10: EXERCISES

2.500 Words Necessary exercises to practice and develop creativity.
Conclusion
500 Words
Outline Requirements
● We are not experts on the topic of this book

That’s why we hired you, an expert in the field: to harness your knowledge on this topic
into a book. We did our best to research and gather information, especially from other
famous books and customer reviews on amazon. If something we put in the outline
doesn’t make much sense or doesn’t align with the book topic, feel free to make
adjustments, so as long as you know it is the correct thing to be put into that section of
the book. Please notify us in the case that this occurs!
● Sticking To The Chapter Outline
It’s essential to stick to these bullets as closely as possible and to build upon them as
accurately as possible. Do not talk about other aspects, unless it relates to a bullet point.
● Chapter Order
The order of chapters is fixed. Should you feel that switching chapters makes sense,
simply contact us so we can discuss this matter.
● Words Counts
The assigned number of words per chapter is fixed as well. Feel free to discuss this with
us if there’s need to adjust it.
Chapter Outline
Book Characteristics
✅
● Explain ideas through simple and straightforward language.
● Try to always maintain a logical flow of ideas from one discussion to another and link them
as needed to give the reader a more cohesive appreciation of the reading process.
● Keep the tone informative yet light by using practical examples, especially whenever
elaborating on the advantages and disadvantages of mind mapping and in explaining clinical
situations.
● Convey and discuss knowledge, not opinion.
● Provide clear, colorful, and practical illustrations that are easy to understand. Include
graphics and labels on sections of the brain appropriate to the subject discussed.
❌
● Do not use jargon idioms.
● It’s possible that some ideas may overlap across more than one topic; to avoid repetition
and monotony, rephrase/res-state ideas.
Introduction
Word Count: 500 - 1.000 Words
IMPORTANT NOTE: The Introduction obviously goes FIRST in the book, but we recommend
writing it last. Once written, place it first in the book manuscript.
Book Hook First sentence, or scene, or conversation or anecdote that grabs the
reader and forces to them keep going
Frame the Similar to what can be found in the Reader Avatar section
reader’s pain
Frame the Similar to what can be found in the Reader Avatar section
reader’s benefits
Tell them what ● Key takeaways for the reader

they’ll learn in the ● Common reader objections
book
Describe author’s Why should the reader trust the author?

background/origin
of book
Tell them what the Make sure you signal clearly to the right readers
book is and isn’t
Segue to first “Are you ready to [objective]? Keep reading.”

chapter/Call to
Action
Chapter 1: WHAT IS CREATIVITY

Chapter Characteristics
✅
● Give a general idea on what is creativity and its difference among skills, knowledge,
talent, artistry and imagination.
● Give general examples if necessary.
❌
● Do not get into a deep discussion about the science of the human mind so as not to
pre-empt succeeding chapters.
● Avoid providing complex examples.
Chapter Hook Story, anecdote, question to reader, shocking statement or anything that
sets up the chapter
Thesis of Understanding what creativity is.

chapter
Supporting ● Start with answering the question, “What is creativity?” and provide a
content general idea but also a thorough explanation about the answer.
● Provide the gist of importance of creativity.
○ Creativity stimulates thinking out-of-the-box and produces
divergent information to cross the borders within our minds,
from what we know to what we haven't yet thought about.
○ Creativity is an opportunity that you use to impress upon your
individuality, to express yourself.
● Provide the general idea and differences between the following
identifications of creativity:
○ Tangible Creativity
○ Thought creativity
○ Quiet Creativity
○ Ugly Creativity
○ Creativity as Therapy
○ Big and Small Creativity
○ Original Creativity
○ Shared Creativity
● Discuss the following ideas:
○ Creativity as discovery and invention
○ Creativity as a way of viewing this world
○ Creativity as a way of coping this world
○ Creativity as a way of contributing to this world
● Give a thorough explanation and definite examples on the following
ideas:
○ Creativity vs Artistry
○ Creativity vs Talent
○ Creativity vs Knowledge
○ Creativity vs Imagination
● End the chapter with a discussion on who is capable of creativity.
○ Is creativity for everyone or is it just for a few selected
individuals?
Action steps Action steps, exercises, tasks or challenges the reader should now do to
apply the new learned knowledge
Callback to Callback to opening story/anecdote and segue to next chapter

Hook & segue
to next
chapter
Key reader Clearly lay out what the reader needs to know from this chapter in 3-6
takeaways bullet points
Recommended Resources:
● The Artist’s Way: A Spiritual path to Higher Creativity
● Lazy Creativity: the Art of Owning Your Creativity
● Creativity: Flow and the Psychology of Discovery and Invention
● Ideas on Demand: A Crash Course on Creativity
● Conscious Creativity: Look, Connect, Create
Chapter 2: WHAT IS THE CREATIVE PROCESS

✅
● Clearly and objectively discuss the principle of creative process.
● Provide examples that are highly relatable.
❌
● Do not be technical or wordy in describing concepts.
● Do not dwell too much on giving more reasons so as to not preempt the following discussion.
sets up the chapter
Thesis of The nature of the creative process and where we can find creativity.
chapter
Supporting ● Discuss about the idea of where creativity is, where it comes from,
content and where it is found.
● Delve more in discussing the nature of creativity.
● Introduce the concept of creative personality and provide examples to
further understand the concept.
● Elaborate on the relevance on the following concepts:
○ The work of creativity - Thinking about familiar things in
different way.
○ The flow of creativity - Creative persons differ from one
another in a variety of ways, but in one respect they are
unanimous: they all love what they do. It is not the hope of
achieving fame or making money that drives them: rather, it is
the opportunity to do the work that they enjoy doing.

Hook & segue
to next
chapter
Chapter Clearly lay out what the reader needs to know from this chapter in 3-6
summary bullet points
Chapter 3: WHAT SORT OF CREATIVE ARE YOU?

✅
● Focus on the idea of how you identify and view yourself as a creative person.
● Provide examples to help elaborate the main idea.
❌
● Do not be technical or wordy in describing concepts.
● Do not dwell too much on giving more reasons so as to not preempt the other
discussion/topic.
sets up the chapter
Thesis of The type of creative person you view yourself.

chapter
Supporting ● Lead the readers by asking, “How do you refer yourself?” in the sense
content of creativity.
● Ask and elaborate on the type of creative person that the readers view
themselves.
● Provide an elaborate discussion on the following concept of creative
discovery of self:
○ Do you consider yourself imaginative?
○ Do you consider yourself artistic?
○ Do you consider yourself creative?
○ Do you consider yourself mathematical?
○ Do you consider yourself scientific?
○ Where do your creative strengths lie?

Hook & segue
to next
chapter
Chapter 4: COMPONENTS OF CREATIVITY

✅
● Clearly and objectively discuss the concepts of the components of creativity.
● Only discuss the components that are relatable to creativity.
● Provide examples that are highly relatable.
❌
● Do not be technical or wordy in describing concepts/methods.
● Do not dwell too much on giving more reasons so as to not do away with the main
topic.
sets up the chapter
Thesis of Exploring the different components of creativity.

chapter
Supporting ● Provide a discussion and elaborate explanation on the components of

content creativity.
● Elaborate each of these components and provide a thorough
explanation on each one:
○ An existing domain - an area of knowledge that that the
creative individual knows.
○ The act by the individual - often involves coming at some
aspect of the domain in a novel way.
○ The field - which are the creative person's peers.
○ Surroundings - where you work and live reflects your needs
and your tastes. There should be room for immersion in
concentrated activity and for stimulating novelty. The objects
around you should help you become what you intend to be.
Creating a harmonious, meaningful environment in space and
time.
○ Culture
● Further the explanation by giving illustrations or examples in each
component involved.
Hook & segue
to next
chapter
Chapter 5: DOMAINS OF CREATIVITY

✅
● Keep the definition and explanation of ideas straight to the point and whenever
appropriate, provide a follow-up or supporting description on the domains of creativity.
● Cite only practical and highly relatable examples.
❌
● Avoid overlaps in the discussion by sticking only to the different domains that underlie
the creative performance.
● When citing studies, refrain from getting too detailed about the research and just focus
on the purpose, highlight, and outcome.
sets up the chapter
Thesis of Skills, traits, or knowledge that underlie creative performance.

chapter
Supporting ● Provide a discussion on the significance of understanding the distinct

content domains of creativity and that creativity and talent are not general
skills, but highly specialized ones.
● Discuss the concept of a domain as a set of representations or
understandings underlying comprehension of a specific area of
knowledge and performance of the tasks associated with that domain
at the conceptual level.
● Provide a quick introduction on the Frames of Mind: Theory of
Multiple Intelligences.
● Elaborate on each identified intelligence:
○ Linguistic Intelligence (abilities having to do with
understanding and using the sounds, rhythms, and meanings
of words and the functions of language)
○ Musical Intelligence (abilities having to do with understanding
and employing rhythm, pitch, timbre, and musical
expressiveness)
○ Logical-mathematical Intelligence (abilities having to do with
finding logical and numerical patterns and producing chains of
reasoning)
○ Spatial Intelligence (abilities having to do with understanding
the visual-spatial world and transformations within that world)
○ Bodily-kinesthetic Intelligence (abilities having to do with
control of one’s body movements)
○ Interpersonal Intelligence (abilities having to do with
understanding and responding appropriately to the feelings,
moods, and motivations of others)
○ Intrapersonal Intelligence (abilities having to do with
understanding one’s own feelings, moods, and motivations,
with assessing accurately one’s own strengths and
weaknesses, and with drawing upon such knowledge to guide
one’s behavior)
○ Naturalist Intelligence (abilities having to do with recognizing,
categorizing, and drawing inferences about features of the
environment; this intelligence was added later and was not
part of the original list of seven intelligences)
● Provide a discussion on the domain-specific proponent that provides
seven categories to define domain, calling them “domains of the
mind”:
○ Social-emotional
○ Physics
○ Natural History
○ Language
○ Mathematics
○ Art
○ Music
● Provide a discussion on Amusement Park Theoretical (APT) Model of
Creativity which proposes that creativity is not completely general nor
completely specific, but actually a fusion between both: creativity is
both general and specific.
● Elaborate on the three levels of domains of creativity and provide
necessary examples in each one:
○ The first level has seven “General Thematic Areas” or general
areas of related interests:
■ Artistic/Verbal
■ Artistic/Visual
■ Interpersonal
■ Problem Solving
■ Math/Science
■ Performance
■ Entrepreneur
○ The second level contains more specific fields within the wider
areas, such as writing within the artistic/verbal area, and
biology, chemistry and physics within the math/science area.
○ The third domain level, or micro-domains, are even more
specific areas of study within fields: poetry within the writing,
and nuclear energy within physics.

Hook & segue
to next
chapter
Chapter 6: HOW THE CREATIVE BRAIN IS WIRED DIFFERENTLY

✅
● Give clear elaborations on how the creative brain is wired differently .
● Provide illustrations and examples on the process discussed.
● Give elaborate examples as necessary.
❌
● In citing studies, refrain from getting too detailed about the research and just focus on
the purpose, highlight, and outcome.
sets up the chapter
Thesis of How the brain network plays a key role in creativity.

chapter
Supporting ● Build on the concept of creative people’s three brain networks that are
content simultaneously activated:
○ Default mode network
○ Executive mode network
○ Salient mode network
● Provide researches to back-up the provided concept where this is an
unusual phenomenon.
● Provide a discussion and elaborate explanation in understanding the
functionality of each of the networks.
● Give clear elaborations, definitions, and meaning on how the brain
network plays a key role in alternating between idea generation and
idea evaluation.
● Provide clear elaborations and examples on what happens to the
brain when it generates creative ideas.

Hook & segue
to next
chapter
Chapter 7: THE BIGGEST BARRIERS OF CREATIVITY

✅
● Focus on the idea of the biggest barriers of creativity.
● Identify the barriers that hinder or block creativity.
❌
● Careful not to dwell too much on giving more reasons so as not to do away with the
main topic of the book.
● Avoid being repetitive and redundant.
sets up the chapter
Thesis of Identifying the common barriers of creativity.

chapter
Supporting ● Identify and provide a discussion on the common barriers of creativity.

content ● Provide a discussion and distinct explanations on the following
barriers of creativity:
○ Habitual block
○ Perceptual block
○ Motivational block
○ Emotional block
○ Cultural block
● Elaborate and give clear examples on the following problems of
creativity:
○ a. Life problems
○ b. Requirements of the domain
○ c. Social pressure
● Define and provide elaborate examples on the identified obstacles for
creativity:
○ Exhausted by too many demands
○ Easily distracted, waste energy
○ Laziness
○ Not knowing what to do with the energy one has
○ Functional fixedness
○ Self-censorship
○ Micromanagement
○ Overthinking
○ Creativity Myths
○ Image Risks
○ Criticism
○ Fear of Rejection

Hook & segue
to next
chapter
Chapter 8: WAYS TO HURDLE CREATIVITY BLOCKS

✅
● Keep the definition and explanation of ideas straight to the point and whenever
appropriate, provide a follow-up or supporting description on the different ways to
hurdle creativity blocks.
● Connect the solutions here to the problems from the previous chapter.
● Cite only practical and highly relatable examples.
❌
● In citing studies, refrain from getting too detailed about the research and just focus on
the purpose, highlight, and outcome.
sets up the chapter
Thesis of Different ways or techniques to cultivate creative skills.

chapter
Supporting ● Provide a discussion wherein in the creative process, our connection

content with consciousness and spirit plays a key role in overcoming the
mental wall of limiting concepts, those false beliefs that reside in the
subconscious- paradigm.
● Give definitions, elaborations, and examples on the different ways or
techniques to cultivate creativity:
○ Continuing practice and personal projects where you follow
exercises that develop your personal taste while prompting
you to explore new ways of seeing.
○ Use of reversal techniques
○ Reframing questions
○ Creating multiple possibilities or frames
○ Looking beyond the obvious by wearing multiple hats
○ Breaking the invisible barrier of assumptions
○ Awakening the subconscious mind with Intense Focus and Let
Go Moments.
○ Try to be surprised by something every day or notice
something creative done by someone else.
○ When something strikes a spark of interest, follow it. Don’t
censor. Don’t limit yourself to what you think is possible or
reasonable.
○ Curiosity & Interest
○ Enjoy Activity through increasing complexity
○ Habits of Strength
○ Scheduling
○ Internal Traits
○ Aim for Complexity
○ Differing Viewpoints
○ Implications/Solutions to problems
○ Divergent Thinking

Hook & segue
to next
chapter
Chapter 9: HOW TO CULTIVATE AND INCORPORATE CREATIVITY IN YOUR LIFE
✅
● Focus on the idea on the ways on how to cultivate and incorporate creativity in your
life.
● Give illustrations and examples.
❌
● Careful not to dwell too much on giving more reasons so as not to do away with the
main topic of the book.
● Avoid being repetitive and redundant.
sets up the chapter
Thesis of Important ways on how to incorporate creativity in your life.

chapter
Supporting ● Provide a discussion on the the importance of cultivating and

content incorporating creativity in your life.
● Elaborate on the different ways to cultivate and incorporate creativity
in your life:
○ Be intentional about creativity and begin to invite it into your
life.
○ Create a creative mindset is a lot like mindfulness.
Mindfulness is the intentional process of creating awareness of
our surroundings and ourselves.
○ Make time for reflection and relaxation.
○ Shape your space, harmonize yourself with your surroundings
as much as possible.
○ Take charge of your schedule.
○ Find out what you like and what you hate about life.
○ Start doing more of what you love, less of what you hate.

Hook & segue
to next
chapter
Chapter 10: EXERCISES

✅
● Give elaborate/comprehensive exercises that readers can use to practice and
enhance their creativity.
● Flesh out the ideas of Chapter 9 through how-to illustrations and fun tests.
● Give concise and practical exercises.
❌
● Avoid providing exercises that do not directly relate to the book’s topic in general.
● Avoid providing tests that are impractical.
sets up the chapter
Thesis of Necessary exercises to practice and develop creativity.

chapter
Supporting ● Provide practical exercises to practice and develop creativity.

content ● Integrate easy to understand and practical illustrations.
● Provide sample exercises that would apply to creativity.
● Create and include fun and easy tests to develop the reader’s
comprehension and retention.

Hook & segue
to next
chapter
Conclusion
Word Count: 500 Words
Chapter Hook Lead with anecdote or story that wraps up the book
Thesis of book Re-state book’s main idea/thesis
Tie together each State the key takeaway(s) of the entire book and clearly summarize
chapter’s takeaway the book
with overarching
theme of book
Call to Action What should the reader do when they finish the book?

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Obligatory Instructions

Short summary about the book

Important Note - Read the entire document before

Notes For Our Collaboration On This Project

If you can’t tell already, quality is #1 when it comes to our books.

We created a Frequently Asked Question file, to cover some

How To Work Through This Outline

Before doing research

Before starting to write the book

After the book is written

Images, Tables, Diagrams, And Other Graphics

● Sentences And Words Like:

● Stories & Examples

Essential elements of a story

Essential phases of a story

Normal: Things are how they are

Important note to the structure explained above

Callback to Hook & segue to next chapter:

Following A Specific Formula

2. Tell stories about the reader’s current pain

3. Tell stories about the reader’s potential pleasure

4. Tell them what they’ll learn

✅ We’ll cover if there is a difference between efficiency and effectiveness

❌We’ll cover that there is a difference between efficiency and effectiveness

5. Describe your background/origin of the book

6. What the book is and is not

7. Segue to first chapter + Call to action

1. Grab the reader with a great hook

2. Restate the book’s mission/thesis

❌What NOT to do:

James is a skilled artist. He is good with what he does. He becomes so

5. What is their experience on the topic?

Chapter 1: WHAT IS CREATIVITY

Chapter 2: WHAT IS THE CREATIVE PROCESS

Chapter 3: WHAT SORT OF CREATIVE ARE YOU?

Chapter 4: COMPONENTS OF CREATIVITY

Chapter 5: DOMAINS OF CREATIVITY

Chapter 6: HOW THE CREATIVE BRAIN IS WIRED DIFFERENTLY

Chapter 7: THE BIGGEST BARRIERS OF CREATIVITY

Chapter 8: WAYS TO HURDLE CREATIVITY BLOCKS

Chapter 9: HOW TO CULTIVATE AND INCORPORATE CREATIVITY IN YOUR LIFE

Chapter 10: EXERCISES

● We are not experts on the topic of this book

Tell them what ● Key takeaways for the reader

Describe author’s Why should the reader trust the author?

Segue to first “Are you ready to [objective]? Keep reading.”

Chapter 1: WHAT IS CREATIVITY

Thesis of Understanding what creativity is.

Callback to Callback to opening story/anecdote and segue to next chapter

Chapter 2: WHAT IS THE CREATIVE PROCESS

Callback to Callback to opening story/anecdote and segue to next chapter

Chapter 3: WHAT SORT OF CREATIVE ARE YOU?

Thesis of The type of creative person you view yourself.

Callback to Callback to opening story/anecdote and segue to next chapter

Chapter 4: COMPONENTS OF CREATIVITY

Thesis of Exploring the different components of creativity.

Supporting ● Provide a discussion and elaborate explanation on the components of

Chapter 5: DOMAINS OF CREATIVITY

Thesis of Skills, traits, or knowledge that underlie creative performance.