When we accepted Edward Elgar’s commission to put together a Handbook of Research on Creativity two years ago, we knew we were taking on a challenge, but it was only when we started work on the Handbook that we began to realize what a huge challenge it was. If a Handbook is ‘a book giving information such as facts on a particular subject or instructions for operating a machine’ (Oxford Dictionary) then this Handbook will disappoint many. Not only is it not a manual for how to do research on creativity, it is also light on ‘facts’ about research on creativity. This is because, as is pointed out in the Introduction and in the chapter ‘Researching creativity and creativity research’, creativity research in the early years of the 21st century is a dynamic field. While an increasing number of researchers are identifying with creativity research as a field of study, many more would gladly distance themselves from such an exercise, preferring to work within established disciplines such as psychology, sociology, history, philosophy, the arts, education and so on. Perhaps it is inevitable that any new area of research will not attract the interest of many scholars in established disciplines, but creativity is a particularly alluring although nebulous concept, a bit like beauty or success, which until recently has made it somewhat unsettling for researchers to spend any serious time on.