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Change, creativity and innovation are central to organizations and now even more so in these unprecedented times. With advances in technology, the dynamics of global competition, world pandemics and political turbulence, there is a need to be creative in adapting to new and shifting environments in markets and the workplace. Innovative solutions and developments in the design, provision and delivery of goods and services are needed. The need to adapt and reconfigure ways of working and to be creative and innovative in the face of new challenges and emerging opportunities, all highlight the need for skill, competence and understanding in managing these complex processes. Managing change, creativity and innovation is as much about navigating uncharted seas in dealing with the unexpected as it is about managing planned initiatives. As we consistently state, even with the best-laid plans things will go awry. For each of these elements we offer a broad definition to guide focus but it is important to stress that in practice change, creativity and innovation influence each other, overlap and interweave. Broadly speaking, organizational change is the movement over time from existing ways of doing things to alternative and new ways of operating; it is sometimes planned and managed with the intention of securing anticipated objectives and sometimes unplanned for and unforeseen. Creativity is the process through which people generate new and useful ideas. Innovation centres on the utilization of ideas in solving problems, developing processes and improving the way we do things in creating new products, services and organizations. It is important not to view change, creativity and innovation as separate elements with clear boundaries. They are ongoing dynamic processes that emerge, evolve and reshape within, outside and between organizations. Change is a continuous fluid process that contextual triggers (organization and local business context as well as wider external environment) and the proactive and reactive decisions of people shape and reshape. This complex dynamic is influenced by history (the past), ongoing events and activities (the present), and the expectations and aspirations of things to come (the future). Change, creativity and innovation are complex processes that arise from social interaction and conscious decision-making as well as the non-decision-making that arises because of power-political relations. It also extends into the subconscious, in ideas that appear from nowhere, thoughts that occur in tackling particular problems, day-dreaming, sleeping, walking the dog or engaging in other activities at work, in the home or other non-work contexts. Conversations, interactions and experiences that occur as part of our everyday existence all contribute to these processes. In our daily lives, we seek to make sense and to give sense to the world in which we live and in seeking to understand and interpret our experiences and social interactions, we influence (for example in redefining or altering previous conceptions of occurrences) those very processes that we seek to understand.

Although these dynamic and ongoing non-linear processes are by their nature complex, messy and continually changing, in attempts to bring some order and framing to these events it is common to represent them as staged progressive moments over delineated periods. Just as it is normal to celebrate annual events, such as birthdays and anniversaries, or turning points in life, such as marriage or retirement, we also like to designate periods in the achievement of change initiatives, in the translation of new creative ideas into innovative products or services, or in meeting pre-set milestones. In each of these cases, we may set a specified time and place to celebrate an event, a stage or an outcome. We can record achievements and failures in documenting the history of an organization or the progression of a change initiative. In capturing this temporality (past, present and future), the calendar and the clock provide a useful template for the planning, implementation and evaluation of change.

Nevertheless, it is important to remember that these points of celebration in moments of time do not capture all the processes through which life is lived or the very different ways in which individuals and groups can experience and recall a particular programme of organizational change. There is practical value in using the calendar and clock to plan strategies and implement schedules, to mark out milestones or specify periods within which we aim to reach certain desired objectives or meet agreed key performance indicators. However, these intervals of objective time (as represented by the calendar and clock) fail to accommodate the subjectivities of lived experience that also form an integral part of these complex processes. For example, we may draw on the past in different ways through our experiences of the present and these may in turn influence the way we view potential futures in seeking to endorse, revise or prevent planned trajectories. In this way, change, innovation and creativity continually reconstitute in response to contextual shifts, temporal repositioning, the actions and responses of individuals and groups, and the occurrence of both the expected and unexpected. People often plan for change in setting out a clear series of stages that take them from a designated period (in the present) through dates and times over staged intervals (implementation) towards a desired future that is set to occur on a particular day, month and year. In practice however, through our own lived experiences of change we know that these events will not necessarily unfold as planned as the unforeseen occurs, especially within future processes that must always remain ultimately unknowable. We can plan the future but we cannot predict with certainty what the future will be. Even during retrospective reflections on successful organizational change initiatives, disagreement between groups and individuals is common. This is particularly noticeable around accounts on the ways things actually occurred and on what caused what to happen. As reported elsewhere, any significant organizational change will generate multiple and competing stories on 'the way it really happened' (see Dawson and Buchanan, 2005; Burnes and Randall, 2016).

Time and temporality are integral to these processes and yet time remains both a paradox and a conundrum. Time is easily understandable in the form of the calendar and the clock which provide a useful template for trying to organize, control and schedule. However, it is also inexplicable in our subjective and intersubjective experiences of time and temporality that remain fluid and open to reinterpretation. As Dawson and Sykes (2018: 232) explain:

Living in a shared social world where history, context, and culture shape the social dimension of time, our understanding of time arises as part of lived through, intersubjective experiences. The world in which we reside is socially constructed and one in which we become aware of our birth and inevitable death whilst recognizing that the world in which we exist is inherently unequal and will continue long after we are gone. In this sense, all human experience is social and political, but whereas we may internalize clock time and others may construct our life history through the lens of objective time, we nevertheless experience life and meaning subjectively and intersubjectively within an ongoing present in which time is shaped and reshaped.

Throughout this book, we present an assortment of theories, models and techniques that cover a range of disciplines highlighting our concerns with simple recipe-type prescriptions and our preference for more critical process-based perspectives. We claim that in practice simple recipe-type some approaches do not stand up in their failure to deliver practical long-term solutions. In this, we spotlight problems with anecdotal management books that identify and codify supposedly best-practice strategies for achieving organizational effectiveness based on common-sense interpretations of organizational life. We have shown the growing support for studies that are both critical and processual (Alvesson and Willmott, 1996; Alvesson and Sveningsson, 2016; Dawson, 2019, 2020) and where power, status and political struggles are not simply viewed as disruptive to the 'rational' management of an organization (Knights and Murray, 1994; McCabe, 2007; Buchanan and Badham, 2020). There has been a movement away from more stability-oriented frameworks to change-centred perspectives - that emphasize meaning and dialogue (Jabri, 2016) in the processual dynamics and ever-changing aspects of organizing - that are seen to be integral to the study and analysis of innovation and change (Langley and Tsoukas, 2017; Reay et al., 2019). The growth in process-oriented approaches also links with some divergence and differentiation among this group of scholars, which is particularly noticeable between those who focus on processual empirical research and those that emphasize the philosophical importance of process (for a discussion, see Dawson, 2019: 8-35). Nevertheless, the base assumptions that underlie a process-based perspective remain (see, for example, Halinen et al., 2012; Hernes, 2014; Langley and Tsoukas, 2017; Dawson, 2020). We hope that this book has gone some way to presenting the debates within and across alternative positions in a clear and illuminating way, and to fulfilling our opening objective of presenting a more 'holistic approach that is able to cut across boundaries and disciplines in furthering our knowledge and understanding of change, creativity and innovation'.

CREATIVE EMPLOYEES AND THE CREATIVE PROCESS We often regard creative employees as being different or idiosyncratic. Their inclination to disregard the bureaucratic chain of command, their preference towards independence and risk-taking as well as their interest in complexity and novelty, characterize such employees. In their enthusiasm for new ideas, they can act as internal entrepreneurs ('intrapreneurs'), advocating new and alternative options for change. Within traditional hierarchical organizations, this individualistic mentality and autonomous thinking may not sit well with management. However, organizations like the Intel Corporation or 3M are examples of companies who nurture and reward such behaviours, recognizing that creativity can flourish in a supporting environment. Such companies develop working practices to increase collaboration or initiate staff meetings where employees present, cooperate and challenge each other with their ideas. Successful intrapreneurs require a mix of different skills and abilities, ranging from coming up with new ideas to promoting and selling their ideas to others. On this count, Sternberg (1999) highlights the importance of synthetic, analytic and practical abilities as precursors to long-term success and endurance. The 'synthetic' ability refers to the ability to perceive connections and refine opportunities. The 'analytic' ability is about employees' ability to judge the value or potential of an idea. The 'practical' refers to the ability to 'sell' an idea to others. As far as the employees' intellectual abilities are concerned, Sternberg (2007) suggests that leaders take responsibility for mixing the talents needed over the life cycle of a new product development, for example in the idea-generation stage, synthetic abilities should be encouraged, whereas after this stage, choosing which ideas to pursue requires analytic abilities. In the final selection of the most promising ideas, it is important to consider practical aspects in order to transform ideas into actual outcomes.

A commonly held assumption is that creative employees do not care about financial rewards, as they are more interested in the output of their efforts. Our research within the creative industries supports the view that such employees do place considerable emphasis on the quality of their work and the ideas they generate, but that financial concerns are by no means absent. Research also shows how employees are more likely to be creative in pursuits they enjoy. If employees do not enjoy an activity, they will not invest the large amounts of time and energy required. Hence, managers need to match people with jobs that reflect their expertise, interests and skills in order to ignite intrinsic motivation.

Managing creative employees and sustaining creative work environments requires balance and understanding in providing an appropriate blend of autonomy, support and control. Increasingly, creative employees must act proactively in learning new techniques/tools/methodologies to keep pace with marketplace processes in continually updating their knowledge. It is important to develop intellectual capital that will create new competencies. Creative organizations need to be skilled in creating, acquiring and transferring knowledge and in encouraging behaviours that stimulate the continual search for new knowledge. This knowledge can then be used to create the 'new' and challenge traditional expectations. Furthermore, we argue that the generation and implementation of ideas is neither a mystical process limited to 'Eureka' or 'Aha!' moments, nor the privilege of the select few working on their own. On the contrary, it is about developing ways for employees to perpetually search for ideas within or outside their organizations, recombine them and apply them to new problems or situations.

At the individual level, it is important to support an attitude of curiosity and playfulness, as well as nurturing the inquisitive nature of experimenting, mixing or breaking products, business models, theories or processes. Leaders and managers need to master the methods for motivating and rewarding the generation of new ideas in order to harness the creative potential for the mutual benefit of the individual, the group and the organization. At the team level, it is important to ensure the right mix of knowledge, skills and abilities. The exchange of knowledge and the sharing of viewpoints enrich the pool of ideas from which the team can choose. If organizations want to foster creative activities, promote innovative thinking and support cultures of change, they should recognize the centrality of people to these processes and the need to nurture environments favourable to such developments. Leaders or managers of these organizations need to pay close attention to the way they lead employees and develop an organizational culture and structure conducive to creativity, innovation and change.

LESSONS FOR MANAGING CHANGE, CREATIVITY AND INNOVATION Despite a plethora of guidelines for managing processes of change, creativity, innovation, and the various toolkits on effective change management, the majority of major change transformations still fail. Why is this? Perhaps it reflects the tendency to view change as a linear series of events that run through a number of identifiable and predictable stages, whereas in practice change is a complex dynamic process that often occurs within a multiple-change rather than a single-change environment. In our view, the processual and ongoing dynamic nature of change requires greater attention (Dawson, 1994, 2014, 2019). In promoting a process perspective for understanding processes of change, creativity and innovation, we recommend going beyond simple recipe approaches and identifying broader temporal and contextual lessons. The eight general lessons that emerge from our research are as follows:

There are no universal prescriptions on how best to manage change, creativity or innovation, nor are there simple recipes to competitive success. We recognize that this will not prevent continuing company demand for such solutions and therefore stress the importance of being aware of the serious limitations of stage models that propose following a specified number of steps in a particular sequence (sometimes referred to as n-step guides). We recommend that practising managers and employees should challenge - where possible and practicable - the assumptions behind linear sequential packages for 'company success'. Change is a political process and the strategies that promote change, creativity and innovation should be sensitive to the socio-cultural environment, temporal contextual conditions and the shifting character of expectations in the views and reactions of employee groups and key political players. Political sensitivity and astuteness (the ability to manoeuvre through shifting terrain) are often well-honed skills in those individuals and groups (change agents, trade unionists and the like) who are able to shape these processes in certain preferred directions. Time, planning and flexibility are essential. Changing the attitudes and behavior of employees, generating commitment and support for change, creativity and innovation is a long-term goal. Moreover, any radical large-scale strategic and/or operational change requires considerable planning - including numerous revisions and modifications to planned changes - and is unlikely to experience a line of continual improvement. Critical reflection is central. Resistance is not a natural negative response that needs to be 'overcome'; it requires assessment and serious consideration. To put it another way, people who question change are not an obstacle but a resource for critical examination of plans and intentions. Similarly, casting a jaundiced eye on a 'failed' project that has not enabled the translation of new ideas into commercial products may result in negative employee experience and thereby inadvertently support the assumption that the problem rests with employees and not with other elements of the organization. Such a view can create an self-fulfilling prophecy that can be hard to overcome, especially if this position appeals to common-sense assumptions about why individuals and groups resist change. Individual and group experience will vary in context and over time and no silver bullets exist that guarantee acceptance. In short, there is a need for continuous critical reflection in order to question taken-for-granted assumptions. Learn from all experiences and do not simply focus on anecdotes of 'success'. It is important to learn from all experiences (the good, the bad and the ugly) and not simply to focus attention on so-called 'success' stories or the views of those in dominant positions. Such stories are often post-hoc rationalized accounts constructed to convey a certain preferred message to an intended audience. As such, the experiences and views of different groups and individuals at various levels within an organization are all potential sources of knowledge for understanding and shaping processes of change, creativity and innovation. We can generally learn more from failure than the reconstructed (selective and partisan) stories of success. Align training, education and staff development with the practical need for new operating philosophies and working procedures. It is important to train employees in new techniques and procedures and for that training to be when needed and as required. Change agents must ensure that there is no misalignment of training programmes with initiatives that seek to develop new skills as this can be a major source of employee scepticism and frustration. Communication is more than just communication. Communication is central to managing change, promoting creativity and supporting the innovation process, but it also needs to be contextual. As supported by much of the literature, employee communication should be ongoing and consistent. It is important to be aware of competing narratives that co-exist at any given time, and these can undermine and misdirect attention and create environments of mistrust and uncertainty. The choice of what, when and how to communicate as well as the releasing of disconfirming information are all key decisions that in practice are often political issues. Communication is critical both for those seeking to steer processes in certain preferred directions and for those wishing to resist the intentions of others. Contradictions provide healthy food for critical reflection. This final lesson is perhaps the most straightforward lesson of all, and that is that managing change, creativity and innovation requires the utilization of an array of skills and competencies in the continual adaptation to changing contextual circumstances. It is complex, demanding and difficult as it involves orchestrating interweaving processes - that may contradict as well as complement - towards a set of objectives, which may themselves refine and change over time. These processes have an ongoing history that is never static but open to change as the past is fluid in the context of the present and in the light of future expectations. For us, this draws attention to the significance of temporality and the value of a processual approach in understanding the theory and practice of change, creativity and innovation. CONCLUSION This book argues that change, creativity and innovation lie both within and outside the explicit and measurable, as it includes intangibles, such as tacit knowledge, the unknown and the unexpected. Tangible elements, such as structures, procedures and regulations, may enable space for 'free thinking' or they may create 'prisons of conformity' that discredit alternative views or multiple perspectives. Individuals may actively seek environments in which creativity and open-mindedness are encouraged, where resources and a culture of curiosity support innovative activities. Working in teams, individuals may find further factors that facilitate or limit imaginative thoughts and different contextual environments that variously inhibit or aid the translation of new ideas into practical outcomes. Project deadlines, budget constraints and the need to conform to quality regulations can all serve to shape these processes, and the effects of these contextual influences on change, creativity and innovation often comprise the anticipated, the unplanned for and the unforeseen. Managing change is a complex unfolding dynamic that requires planning, political acumen, flexibility and improvisation, whilst the intangible nature of creativity speaks to the centrality of context in fostering this social process. Both come together in the translation of new ideas into new products, services or ways of thinking. To phrase it differently: change, creativity and innovation represent a complex dynamic of overlapping processes that continually reshape with the changing contextual conditions in which they occur.

In drawing attention to the debates and controversies that surround change, creativity and innovation, we have attempted to write some readable and accessible book. In so doing, we have sought to both summarize the mainstream literatures and challenge students by delving more deeply into the concepts and assumptions that underpin competing perspectives and theories. We hope that we have achieved these pedagogical aims and that the text is clear, concise and comprehensible, enabling students to improve their knowledge and understanding. We also hope that this body of work attends to the scholarly traditions of academia in challenging the reader and opening up areas that may stimulate further interest, research and educational development. In presenting a scholarly yet readable book, we have attempted to move beyond the self-imposed subject barriers associated with the literatures on change, creativity and innovation in presenting a more holistic and integrative approach. Whilst we recognize the limits to such an endeavour, we hope that we have gone some way to opening up these areas for broader discussion and debate. Two key arguments that we have returned to throughout the text are first, the need for more critical reflection and awareness of the assumptions that lie behind theoretical perspectives and new conceptual developments that underpin new management ideas and models, and second, the need to cross discipline boundaries in the analysis and reappraisal of business practice and organization theory to not only gain greater insight, but also to learn more about the ways in which these influence each other in the development of new knowledge. From our perspective, it is learning, critical assessment, discussion and debate in seeking answers to questions, even if they may be ultimately unanswerable, that lie at the heart of education and are an essential part of student life in the ongoing pursuit of knowledge.