Creativity is not something you can be lucked or born into. Its language is not that of fate, predisposition, predestination, or genetic exclusion. It emerges from the character of those who choose to have and respect the intelligence to be defiant in change-resistant spaces by going the route of intelligent optimization through maximum disruption.
Creativity creates value in its resistance to be beholden to or controlled by disruption-averse tradition.
Creativity means changing the deception of the obvious "how" by concreting into existence an alternate vision, an alternate "how" that makes the "what", the endgame, all the more workable, achievable, and results-yielding.
Creativity is an investment in deconstructing the "how" to affirm our "what". Creativity is resistance.
We become creatively challenged and self-limited when we assume our way through the execution of a goal/project by being fundamentally reflexive, assumptions-driven, and routine-conditioned, rather than inquisitive, self-aware and self-perfecting.
They say "if it ain't broken, don't fix it", which is it's own time-worn indefectible piece of wisdom. That applies for a mindedness poised for baseline functionality not next-generation consciousness.
So if your goal is not to settle but to reach, creativity is how you stretch yourself past the reflexive assumptions of your routine-centered conditioning and how you shock yourself into a self-reflective state of your own creative brilliance. Here's how to do just that;
Don't localize your intelligence: if your immediate circle of soul crushes is fraught with folxs who are but energetic and creative duplicates of you, it means you are being creatively codependent more than you are being actively creatively empowered and expanded. I mean, think about it, if your creative struggles and powers are exact matches, how can you be challenged to produce an alternate "how" in a space owned by a monoculture of thought and sameness? Start first by developing an awareness of creative models, experiences, and processes that are alien to your project. Start low-stakes and integrate tribes where the very language of their creativity expresses itself as an alternative to yours; if you're a writer, check out blogs, articles, free webinars, about photography for example. Go for 2 niches: 1) one that is profoundly unrecognizable to your own creative standards, and 2) one about which you are genuinely curious but haven't created time for at this point.
Don't be media-dependent - be versatile: as you do step 1 and as you keep on engaging your own immediate circle of soul crushes and possibility models, use several media; read a newsletter, blog, tweet, Facebook post, Pinterest vision board, and check out a short form video about it. Witnessing how one singular thought is re-harnessed and spliced through a gamut of contrasting visuals, texts, and formats, will help you see how knowledge is versatile and how form and content are creative ways of telling the same story. Seeing what creation looks like outside the bounds of your own imagination and creative consciousness will subliminally input new thoughts, directionalities, and perspectives into your own mind.
Dare transdisciplinarity in content and media forms: see how you can crack open intersectional points of contact where media- and content-wise you are disrupting how you typically articulate creation. Focus on one aspect (media or content) at a time, then implement by increments the other one as you evolve your creative perspectives. For instance, if your area of focus tends to be expressed through blog-centeredness or video-basedness, see how you can interface that with a new media form through the creation of different levels of intermediality (for example, by adding photography where you typically wouldn't, text, infographics, video, and/or embedded clickable audio segments in creatively exploratory and experimental ways). Likewise, if you see your work is focused on conceptual photography, you can keep your that as primary focus but choose to look at it from a different perspective; same optics, new edge.
What this trifecta of action-drivenness exemplifies, is how creativity stands for the channeling of transdisciplinary newneess to a change-resistant space. Truth be told, however high-minded and inclusive we may be, each domain segments knowledge and access in more or less structured ways. Creativity means channeling the reflexes from an outer perspective into our own reality as a creative, and it is in the intermixing and compounding of transdisciplinary perspectives, that a new(er), truer, decentralized alternative can be articulated. Newness is relative, and with the deployment of a transdisciplinary intelligence, we heighten the odds of intelligent optimization affirmed by maximum disruption.
On the strength of the 3-item mini bullet point list clearly outlined up above, we prevent our own enamourment with a creative vision and process that is defectively knee-jerk and unself-critical instead of finding ways to be empowered in our creative labor through diligent, clear-eyed, critical, strategic disruption and transdisciplinary intelligence. Creativity means reordering and compounding perspectives and knowledges in ways that render obsolete the obvious "how" to the "what" of our creative vision.
So in short form, the answer to "how can I be (more) creative?" is "how can I be more deathlessly transdisciplinary and self-disruptive through my creation?". When you challenge yourself to rethink both form and content as well as the "how" of your creative labor, you are not concerning yourself with the aesthetics of creativity, but with its core, its substance, its focus. And it is in that beautiful deliberate disruption of form and content, that your "how" evolves and engages change-resistance with a forceful resistance of its own that is elevated, creationally flabbergasting, freeing, and intoxicating.