Improspectives

Improv skills lead to success

Posts Tagged ‘business

Improv and Gamification: Structure

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I’m taking the free Coursera course on Gamification, taught by Kevin Werbach from the Wharton School of Management. The book For the Win, which Werbach coauthored with Dan Hunter, mentions four basic elements of gamification:

  • Motivation
  • Meaningful choices
  • Structure
  • Potential conflicts

Werbach and Hunter use the structure element to ask:  “Can the desired behaviors be modeled through a set of algorithms?” For San Francisco firm Keas, structure comes in the form of challenges participants undergo during the workday to improve their wellness, Microsoft gamified identifying translation errors in Windows 7 dialog boxes, and airlines provide better service as you accumulate more miles.

Measuring results in improv is a less exact process, but ComedySportz gets around the problem by having the audience vote to see which team gets the points for a pair of competing games.  The idea that the show is a competition, where the players try to win but don’t care if they lose, provides a hook that makes the experience more than simple entertainment.

For businesses, organizational performance is often based on revenue, market share, and similar targets identified by the executive team. Individual employee performance is measured versus criteria set for each employee, but how do you provide an overall structure for a project, department, or division? Chip manufacturer Intel uses a Plan of Record, or POR, to identify goals and, in some cases, methodologies at all levels of the enterprise. That which adhereth to the POR is blessed; that which doth not is condemned.

Developing a structure to measure performance can be difficult, especially when applied to creative workers. Don’t feel compelled to gamify a process — the best gamification structure might be none at all.

Improv and Gamification: Meaningful Choices

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I’m taking the free Coursera course on Gamification, taught by Kevin Werbach from the Wharton School of Management. The book For the Win, which Werbach coauthored with Dan Hunter, mentions four basic elements of gamification:

  • Motivation
  • Meaningful choices
  • Structure
  • Potential conflicts

The second item, meaningful choices, is a foundation of well-being and self-esteem. Everyone likes to feel that they have some control over their lives — that their choices make a difference in how events turn out. Improvisers’ choices have direct and immediate impact on the show, for good or ill. Your scene partners can find ways to exclude you, of course. A former member of our group was a guest performer in another city, but the other players on the team apparently didn’t care to have him around. They were polite to him before the show, but after he exited a scene, one of the other players stepped on stage and said “You know the guy who was just here? I killed him.”

So much for collaboration.

It’s little better to have teammates ignore offers you make within a scene, preferring to wait for another player to come on and further the action. It’s hard to make progress when no one listens to you, even if you are the junior member of a group.

The same considerations hold true for the office. I’m not saying less experienced workers should be given complete autonomy, but they should have their opinions given a fair hearing. There’s very little that’s more demotivating than disappearing into the bowels of an organization and losing the connection between your work and a company’s success. Of course you can add points, badges, and levels to attach some (albeit artificial) meaning to their tasks, but Werbach and Hunter point out that it’s possible to gamify work unethically, in such a way that the “game” structure works against the employees’ best interests. Much like the sales competition in the movie version of David Mamet’s play Glengarry Glen Ross (first place is a car, second place is a set of steak knives, third place is you’re out of a job), you can use gamification for good or evil. One of their colleagues turned down such a consulting assignment. Rightfully so.

Improv and Gamification: Motivation

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In my previous post, I mentioned four basic elements of gamification put forward by Wharton School faculty members Kevin Werbach and Dan Hunter. Those elements are:

  • Motivation
  • Meaningful choices
  • Structure
  • Potential conflicts

Motivation is tricky. I’ve stated my belief that all motivation is internal, but I  admit it’s a reductionist and curmudgeonly view. Many individuals, particularly extroverts, gain energy by interacting with others. Yes, you can argue they use these interactions to stoke their personal fire, but the truth is that the external forces affect their performance.

I’ll still use my “all motivation is internal” line at parties, though. It’s fun to argue and often leads to interesting discussions.

Gamification uses game elements such as points, badges, and leader boards to set goals, measure performance, and reward individual and team success. One example, which is near to my heart because I’ve written books for Microsoft Press since 2001, is how Microsoft used gamification to get their employees to identify errors in Windows 7 dialog boxes. Windows 7 is available in 35 languages, meaning that the dialog boxes and other text was translated into tongues as diverse as Chinese, Swedish, and Polish. Microsoft tracked which teams (usually members of the same business group) discovered the most errors and posted their names on a leader board displayed in the tool. Some team leaders decided to focus their efforts on the contest, which led to impressive performance.

Improvisers receive feedback from their audience immediately, usually in the form of laughter, but also as appreciation for what’s been done. Some performers can be thrown off by a quiet crowd, especially if they feel they’re having a good night but the audience just isn’t laughing. If you’re not getting the audible feedback you’re used to, check for eye contact. If your spectators meet your gaze and smile, you’re doing fine. They just prefer to express themselves quietly.

Improv and Gamification: Introduction

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You can divide improvisation into two rough categories: short-form and long-form. Short-form improvisation consists of games (also called “scenes” or “forms”) that last about 3-8 minutes and, generally, have specific guidelines to which the players should adhere. Many organizations, including ComedySportz and Theatresports (from which ComedySportz was derived, with the permission of Keith Johnstone), use team-on-team competition to enhance the audience’s experience. Winning a round gets a team points, which are compared on a scoreboard, and provide a clear metric for the state of the show.

Gamification, the practice of applying game elements to business and social activities, has become increasingly popular. Kevin Werbach of Penn’s Wharton School and Dan Hunter of New York Law School (and adjunct faculty at Wharton), two leading gamification proponents, wrote For the Win, a book that’s available inexpensively on Amazon through Wharton Digital Press. In their book, they describe how companies have gamified internal processes and customer/product interactions to add fun to what might otherwise be boring situations. If you’ve ever become mayor of a business by checking in on FourSquare, you’ve been gamified.

Werbach and Hunter go into significant detail on how gamification works, but I’ll focus on four points (mentioned on p. 44 of the book) over the next few posts. They are:

  • Motivation
  • Meaningful choices
  • Structure
  • Potential conflicts

I’ll tackle each point  from the perspective of an improviser who also spends time in the business world.

If you’d like to learn more about gamification, you can take Werbach’s Gamification course on Coursera.org. The next section of the course starts on April 1, 2013, but he offered it in the Fall of 2012 and, with luck, it will be available again for readers who learn about the course after the current session ends.

Improv and Engineering

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Many individuals, with quite a few improvisers among them, think of engineers as nerds who think of nothing but binary digits, circuits, and why they can’t get dates on Saturday night. The truth is that many technically-minded people are incredibly creative. Designing devices and systems requires engineers to combine elements in novel ways.

A friend posted a link to an article about Dartmouth professor Peter Robbie. Robbie graduated from Dartmouth in 1969 with an English degree, but went on to get his Master of Fine Arts from Cornell. Now he uses improv in his engineering design class for Dartmouth’s Thayer School  to help students collaborate more effectively.

You can find the full article about Robbie’s work at Dartmouth here. It’s well worth your time to read it.

 

Managing Post-Project Doldrums

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We’ve all fought our way through huge projects and felt the satisfaction of releasing a product to market or finishing the run of a show. The feeling of relief that washes over you is amazing…you see everything you worked for come to fruition and hope your audience appreciates it.

With that relief comes relaxation and, on many occasions, a sense of being adrift, without immediate purpose. Some companies help you “manage” your feelings by throwing you right onto another project, but freelancers are always in search of their next gig. It’s hard to turn down work, but it’s also hard to manage your energy and emotions after a big project concludes. This concern is especially true if you’ve already started a new assignment and have to work while you’re dealing with the end of  the previous one.

I’ve found the following techniques help me deal with the end of project blues:

  • Thank your colleagues for the work they’ve done. Very few projects are solo efforts, so you should make the time to acknowledge others’ contributions. It’s hard to throw a party for a virtual team, but emails and phone calls serve the same purpose for information workers.
  • Walk away, even if just for a day. I have a hard time with this one. Because I work from home, I can work any time I want and for as long as I want. When I need to decompress, my wife and I like to disappear to Vancouver, BC for a couple of days. Yes, I take my laptop or (now) Surface device with me, but I strictly limit checking email to twice per day.
  • Spend time with friends. I’m lucky to have been part of ComedySportz Portland for 17 years. I’m an employee of the company, as are all of our players, but I’ve become close friends with many members of the group. For me, getting on stage and performing is often the therapy I need to attack a new project.
  • Sleep.

Five Ways to Avoid Performance Burnout

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Performers of all kinds, whether you’re a keynote speaker, sales presenter, or actor, can fall into ruts. You’re especially at risk of getting bored with your material if you have to deliver the same content multiple times over several days. Even improvisers, who make up scenes as we go along, are prone to repetition. When you find a bit that works, it’s easy to keep going back to it regardless (or in spite of) the audience’s suggestion.

I’ve found these hints, culled from various other speakers and performers, to be a great help in avoiding burnout and boredom.

  1. Emphasize different words in a sentence. If you’re pitching a design service, you might start with “Our designers have more than 20 years of experience in the industry.” Next time, change the emphasis to say “Our designers have more than 20 years of experience in the industry.” Even this little change helps break the rhythm you’re used to, which keeps things fresh.
  2. Change the order of your topics. If you can rearrange the contents of your presentation, and if it makes sense for you to do so, change the order in which you deliver your material. You should consider applying this technique when you identify a client’s pain point and feel you should address it earlier rather than later in your talk.
  3. Take advantage of interactions outside of your performance or presentation. Too many actors and presenters walk into a room with their head down, ignoring everyone else and focusing on hooking up their computer, grabbing a bottle of water, and powering through their material so they can go to lunch. Human interaction helps you connect to your audience and, more importantly, lets them connect to you. Don’t ignore or dismiss them–they’re the reason you’re there in the first place!
  4. Allow questions in the middle of your presentation. Speakers usually leave 5-10 minutes for questions at the end of their presentation, but doing so robs you of the opportunity to get feedback from your audience. You should know your material well enough so taking time out for questions doesn’t throw you off your game.
  5. Focus on your audience, both in your attitude and your material. Your audience cares what’s in it for them. It takes more work to customize your message for each audience, but it’s worth the time. They’ll appreciate the effort and will often provide additional information you can use to make your message even more effective.

Repetition Doesn’t Have to Be Boring

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Humans crave variety. It’s easy to get bored in a job where you repeatedly encounter the same scenarios, whether as part of a customer service job or, perhaps surprisingly, as a lawyer. Yes, a lot of the law is repetitive, especially for young lawyers learning the basics of their practice area. In a field bound by precedent, you spend a lot of time adding details to templated filings your firm has used for years.

Improv provides a welcome relief from the drudgery of the office, but it’s possible for improvisers to get into ruts. If you work with the same group for several years, you end up doing a lot of shows with the same cast. Sure, every show’s different, but they’re not that different. And, humans being what they are, the suggestions you get won’t be that different if you keep asking for the same things. So ask for new suggestions! Don’t go for the standard categories of occupations and animals — ask someone to describe their imaginary friend or a machine they’d like to invent.

For those of you in the corporate world who don’t have a lot of flexibility in how you do your job (yet), make those hallway conversations count. Don’t try to be funny all the time, but use your listening skills to make offers that advance conversations and learn more about your colleagues.

Bonus hint: You can often get superb customer service if you make your rep’s day better. Be nice. Answer their questions directly. If there’s a moment where the conversation pauses because the computer’s slow, make an offer! If you’re talking with a cable company about a bill, mention a show you watched and liked. If it’s a store, mention a good experience you had. The person helping you might not want to interact with you, but if they do, you might have a brief but fun conversation about a topic of mutual interest. You will have gotten what you wanted (and maybe a little extra) and made someone else’s day brighter. Isn’t that why we perform?

Bonus bonus hint: Don’t hit on the rep, even if they sound cute. In fact, especially if they sound cute. They’re in Atlanta and you’re in Missoula…enjoy the conversation and move on.

When Goals Don’t Match Incentives

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Several months ago I wrote about how improv and business relationships can resemble some of the classic 2 x 2 games, such as Chicken or the Prisoner’s Dilemma. Improv and business have characteristics in common with other games, too.

My last post mentioned Mikhail Tal, one of the fiercest attackers in the history of chess. He specialized in knocking the position and his opponent off balance and winning in the resulting complications. Tal lost a lot of games in dramatic fashion, too, but his games were rarely boring.

You can’t make progress in an improv scene or business if you’re afraid to shake things up. Unlike in chess, where you face an opponent over the board by yourself, improvisers and business people have colleagues who are working with you toward a common goal. At least, that’s the ideal. You probably know what kind of disasters can happen when you and your colleagues aren’t all moving in the same direction. But why would team members work at cross purposes? One possible reason is that an individual’s incentives don’t align with the project goal.

As an example, suppose you’re a programmer tasked with shipping a product update one month from today. Further, assume your annual bonus and (possibly) continued employment hinge on releasing your code by the deadline. I can guarantee that you will do everything you can, including cutting every available corner if necessary, to get that software out the door 30 days from now. Doing so meets your objective of getting the software out the door, but does so at the expense of the company’s overarching goal of providing quality products to its customers.

Economists and game theorists call this practice suboptimization, where individuals focus on part of a process at the expense of the project as a whole. Chess players can suboptimize by trying to reach an endgame with very few pieces on the board, regardless of what the position calls for earlier in the game. Improvisers can suboptimize by “working on a character” or “finding a way to work a song into this scene” no matter what happens in a scene. And, as argued above, companies can make their employees suboptimize by setting incentives improperly.

I wish I had a good answer for the problem of suboptimization in organizations. It’s relatively easy for individuals to avoid it if they can identify the larger goals they’re working toward, but it’s hard for employees to consciously work in a manner that won’t be directly rewarded. If it’s a choice between getting paid and doing what’s best for the organization, I say take the money and work with your boss to restructure your incentives after you cash the check.

How to Apologize

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It’s never easy to apologize, especially when you’ve angered the very people you count on for your livelihood. The National Hockey League, specifically its owners, potentially reversed seven years of increasing goodwill and fan excitement when it locked out its players in an attempt to force the players’ union to accept an odious Collective Bargaining Agreement.

The players (rightfully) dug in and, on January 12, the two sides ratified an agreement and 48-game schedule they could have reached months ago. So how do you make up for three months of no hockey and a loss of 34 games per team? One good place to start is by putting your money where your mouth is. The dispute was about money, so that’s the currency you use to apologize to your fans.

The social media team for the Calgary Flames, a team I’ve followed since I was an intern as the U.S. Consulate in Calgary during the summer of 1989 (the year the Flames won their only Stanley Cup), sent out these three tweets today:

calgaryapology

For the first two home games this year, you can get a beer spilled on you at the Saddledome for half price, buy Flames gear for 50% off until the end of the first game, and have a guaranteed win of C$50,000 (with another C$50,000 going to charity) for the 50/50 drawings at the first two games. That’ll go a long way toward regaining their fans’ support.

Apology accepted, but this is the third time we’ve missed games during Gary Bettman’s tenure. Don’t let it happen again.