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The journey of novelty – from the moment it arises to the time it takes hold – is as fascinating as it is problematic. A new entity, to be recognized as such, needs to be differentiated from what existed before. However, novelty poses cognitive challenges that hamper its appreciation since it is difficult to form expectations about and make sense of something genuinely new. And since novel ideas, products, technologies, or organizational forms often violate existing practices and social structures, they are usually met with skepticism and resistance. In this introductory piece, we take stock of research into the challenges of generating, recognizing, and legitimating novelty. We review each paper in this volume and highlight the new perspectives and insights they offer about how individuals, teams, and organizations search for novelty, see novelty, and sustain novelty. Finally, we outline several research themes that, we believe, are worthy of further scholarly attention.

Novel ideas emerge from conversational interaction dynamics in meetings that are organizational practices of interaction. Drawing from meeting science with a focus on multiparty talk in meetings as communicative events, we refer to interaction dynamics as sequences of verbal statements. We explore patterns of verbal statements in idea generation processes in an explorative, inductive field study of ministerial think tank meetings. These are recurring agile meetings with interactive, free-flowing communication. By utilizing the validated, fine-grained act4teams coding scheme, we differentiate between task-related, procedural, and socio-emotional statements made in these meetings. Our findings show that the interactions within agile meetings are characterized by intensified turn-taking, overlapping speech, and joint heightened involvement. By means of lag sequential analysis, we find that novel ideas emerge from interaction cycles of task and socio-emotional statements. Among the latter, active listening expressed by “mm” or “yeah” is of particular importance for triggering novel ideas. As such, we reveal the micro-level emergence of novel ideas in conversational interaction by highlighting the facilitative function of active listening.

Are radically novel practices more likely to attract recognition when the evaluating audience is composed of external evaluators? Our baseline argument asserts that radical novelty is more likely to be positively evaluated by an external audience and that peripheral (rather than core) producers have higher incentives to adopt novel practices that depart from tradition. Yet, because peripheral producers often lack the necessary support and legitimacy to promote novelty, audiences play a critical role in recognizing their innovative efforts. How can peripheral producers mitigate the challenges associated with novelty recognition? To answer this question, we explore how peripheral producers’ collaboration with acclaimed consultants affects the process of external audience recognition in the context of the Italian wine field from 1997 to 2006. Our findings suggest that radical novelty is positively received by an external audience composed of critics, although we do not find a significant difference between core and peripheral producers. However, external audiences are more open to recognizing peripheral producers’ use of novel practices when they collaborate with well-connected consultants. We find that the use of central consultants produces a “boosting” effect that accentuates the differences between evaluations of peripheral producers who embrace novelty and evaluations of those that follow the tradition. Our study thus advances theory by providing empirical evidence of the value of considering third-party actors such as consultants, who sit at the nexus between the agency required for innovation and external audiences’ recognition of novelty, when studying novelty evaluation and recognition.

Consecration represents the most definitive form of legitimation in every cultural field. Complementing previous research focused on individual, contextual, and structural conditions underpinning consecration, this paper takes a sequence analytical perspective and explores whether diverse creative trajectories are more frequently associated with consecration. We introduce the notion of signature style and the pace of category spanning as key features for consecration. We argue that a consecrated signature style is just as likely to result from a producer’s adherence to a specific style over time or from a consistent (and fast-paced) category-spanning creative trajectory. The resulting identity will be specialist in the first case, eclectic in the second. We analyze the stylistic trajectories of 863 electronic music artists and find robust support to our hypothesis. The analysis is corroborated by further exploratory findings that identify intriguing questions for future research. By examining the organization of creative journeys in the career of cultural producers, this paper emphasizes the importance of considering the unfolding and rhythm of creativity over time. This temporal perspective sheds new light on the dynamics of distinctiveness and consecration in cultural fields.

Strategy scholars have widely recognized the central role that narratives play in the construction of organizational identities. Moreover, storytelling is an important strategic asset that firms can leverage to inspire employees, excite investors and engage customers' attention. This chapter illustrates how advancements in computational linguistic may offer opportunities to analyze the stylistic elements that make a story more convincing. Specifically, we use a topic model to examine how narrative conventionality influences the performance of 78,758 craftsmen selling their handmade items in the digital marketplace of Etsy. Our findings provide empirical evidence that effective narratives display enough conventional features to align with audience expectations, yet preserve some uniqueness to pique audience interest. By elucidating our approach, we hope to stimulate further research at the interface of style, language and strategy.

Building on research showing the influence of temporal focus on decision-making, I argue that the propensity to invest in and support radically novel ideas depends on the degree to which the members of the evaluating audience focus on the present time. I conducted a series of experiments to study how a disposition to think more about the present shifts audience members’ evaluative responses to novelty. My findings show that audience members with a strong focus on the present are more willing to support radical than incremental ideas. I further probe the underlying cognitive process by unveiling the mediating role of idea uncertainty. Focusing on audience members’ subjective experience of time and integrating it with novelty recognition offers valuable insight into research on creativity, innovation, and, more generally, social evaluation.

This work addresses how consumer perceptions of quality may be influenced by the composition of competition. I develop a theoretical framework that explains how consumer evaluations of quality can be negatively impacted by a product's stylistic similarity to popular competitors. These issues are examined empirically using more than 75,000 online consumer evaluations, from the evaluation aggregator Rotten Tomatoes, of 123 feature films released in the United States during 2007. Results suggest that during a movie's opening week, movies that are stylistically similar to the top-performing box office movie are evaluated less favorably. Additional analyses indicate that this negative effect may persist in later periods due to social conformity pressures, and that there is reduced demand for those movies that are stylistically similar to the top box office performer. This article contributes to the broader literature in strategic management by depicting how stylistic features of competitors can affect consumer behaviour and perceptions of quality in markets. This work also suggests managerial implications for entry-timing decisions and positioning choices.

Building on sociological research that examines the allocation of rewards in peer evaluations, we argue that the recognition of cultural producers’ work varies with their status and social distance from the audience members who evaluate them. We study the influence of these two mechanisms within the context of the Norwegian advertising industry. Specifically, we looked at how cultural producers’ status and social distance from jury members affect their chances of being honored in “The Silver Tag” – one of the main digital advertising award contests in Norway – during the period 2003–2010. While our findings provide support for status-based rewards allocation, the positive effects of status may be more circumscribed than previously thought. When accounting for the existence of previous connections between audience members and cultural producers, we find that cultural producers are more or less likely to receive an accolade depending on their degree of separation from the audience members. By exposing network-based determinants of consecrating decisions, and suggesting that the positive effects of status may be more circumscribed than previously thought, our findings shed important light on the social foundations of evaluation and, more broadly, the mechanisms of reward allocation in cultural fields.

The last several years have witnessed a growing scholarly interest in project-based organizations. This interest mirrors the diffusion of this organizational form across a wide range of industries, well beyond those where organizations traditionally have been organized by projects. To date, however, research on project-based organizations has not yet offered a systematic investigation of the interactions between project-based organizing and strategic management research. An examination of the existing literature indicates that some of the answers to key strategy questions remain incomplete, at times contradictory, and at best ambiguous. This volume moves the discussion to the next level by offering a comprehensive yet integrated view of cutting-edge research on project-based organizing to shed light on some of these ambiguities and clarify the relationship between project-based organizing and strategic management. To accomplish this, the volume includes the contributions of several leading scholars who have been active researchers on this subject. The chapters develop and extend key strategic aspects of project-based organizing, raise many new important questions, and identify fruitful areas for future research.