Improspectives

Improv skills lead to success

Posts Tagged ‘leadership

A Playful Attitude Makes Life Easier

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News flash: life ain’t easy. I used to hear that being an adult wasn’t easy, but with the piles of homework and outside activities heaped on kids these days it’s fair to apply the statement to everyone. George Carlin opined that every kid’s daily schedule should include a couple of hours staring out the window — I think that’s a terrific idea.

Having time to yourself gives you the freedom to think about whatever comes to mind and combine ideas in new ways. In other words, to play. This attitude can become a habit, letting you see the unconventional and humorous sides of issues even though you take them seriously.

I discovered a terrific example of this approach in the description of the Wharton School of Economics’s course An Introduction to Operations Management on Coursera.org. The FAQ list contains this bit of whimsy:

What is the coolest thing I’ll learn if I take this class?

You will look at the world with different eyes – you will start to detect bottlenecks, identify productivity wastes, and come up with ideas to improve business processes. A known side effect of these skills is that you might drive friends, family, or co-workers crazy when you point to their improvement opportunities…

The descriptions for the other three Wharton classes contain similar humorous elements. This approach should appeal to casual learners the Wharton School wants to engage with (it certainly caught my attention) and makes the prospect of taking a MOOC offered by a prestigious MBA program a little less imposing. I like their thinking and can’t wait to get started.

Improv, Business, and Emergent Behavior

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One of the joys of improv is not knowing exactly what will happen, but improv isn’t unique in that respect. I didn’t get a script when I woke up this morning and I’m guessing you didn’t, either.

What I did have in place when I woke up was a context. I’m in a society with rules, both internally and externally imposed, that guide my behavior. I also interact with other individuals. Mathematicians and computer scientists study simple versions of these interactions using models such as John Conway’s Game of Life. The Game of Life is a model based on a grid of cells. Some of the cells are turned on and others are turned off. At the beginning of a turn, each cell compares its state to its neighbors’ states and turns on, turns off, or remains the same based on a set of rules all cells have in common.

If you follow the earlier link to the Game of Life Wikipedia page, you’ll see that interesting behaviors emerge from various Game of Life starting configurations. The phenomena are interesting enough for researchers to create a new field of inquiry, complex systems science. According to Dr. Melanie Mitchell of Portland State University and the Santa Fe Institute, complex systems is:

…an interdisciplinary field of research that seeks to explain how large numbers of relatively simple entities organize themselves, without the benefit of any central controller, into a collective whole that creates patterns, uses information, and, in some cases, evolves and learns.

— Melanie Mitchell, Complexity: A Guided Tour

Complex systems is new and, while it’s provided some interesting insights into some systemic behaviors, it hasn’t resulted in models that predict how consumers or businesses will interact in an environment (e.g., the internet) or with a product. The good news is that you can do field experiments and see what behaviors emerge. Some marketers use the “cool kids” strategy, where they make a few dozen units of a new product and give it to the cool kids in a high school to see what they do with it. As William Gibson noted in “Burning Chrome”, a short story first published in the 1982 collection Hackers, “the street finds its own uses for things”.

A similar rule applies to existing products. If your bosses panic when customers use a product in unintended ways, call a meeting, brew some herbal tea, and figure out how to take advantage of the gift you’ve received. You’re not wrong or stupid for not having foreseen every possible way your products could be used, but you are both of those things if you let your ego get in the way of capitalizing on what your customers tell you they want.

Always Be Ready

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Performers should always be ready to go. If another group doesn’t show up or someone gets sick, you can step in.

I did the regular show with the ComedySportz Portland group last night, during which our referee hyped an after hours show by another group. Unfortunately, that group had cancelled their show, but the message didn’t get to anyone in the show that night. We had a significant portion of the regular crowd stay for the after hours show, but there was no one there to do it.

Most of the players in the ComedySportz show had had long days, but they were willing to hang around and do a show for the folks who stayed. I always carry the materials I need to do Magic of the Mind (and my wife’s out of town visiting family), so I volunteered to do the after hours. Part of the team stayed to do a quick Q&A session with the fans while I set up, but after those five minutes it was business as usual. Well, as usual as it can be when you’re doing a show in a t-shirt and cargo shorts.

As an aside, I actually have two emergency Magic of the Mind kits: one in my ComedySportz bag and another, more complete set in the trunk of my car.

If you’re a speaker, you should always have a digital copy of your slide deck with you in case a scheduled speaker isn’t able to go on. I recommend preparing three versions of your talk: 50-minute, 25-minute, and 5-minute. The long version works for conference presentations, the middle for a half-slot, and the short version as program filler or for a quick presentation during a break. You can use the Ignite conference series model to create your 5-minute piece. Ignite presentations consist of 20 slides displayed for 15 seconds each. The slides are on auto-advance, so the presentation lasts exactly five minutes. The format requires some extra rehearsal, but it’s great for boiling your presentation down to its essential elements.

If you have a few minutes of down time in an airport, on a plane, or in your hotel room, take a few minutes to flip through your slides and notes to review your talking points. Stepping up to help a meeting organizer and delivering a polished, professional presentation is good for everyone and can lead to future speaking opportunities.

You Might Not Have a Book in You…Yet

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A book with your name on the cover is a badge of honor. Many individuals find writing anything longer than an e-mail too painful to contemplate, with good reason: writing your first book-length manuscript is hard.

I’m preparing for some upcoming speaking engagements, so I took the time to re-read Million Dollar Speaking by Alan Weiss. Weiss has made a very (very, very) good living as a speaker and trainer and came highly recommended from a friend who makes a very (very) good living as an entertainer on the college and corporate circuits. In his book, Weiss explodes the myth that says “if you have a speech, you have a book”:

This should be restated as follows: if you have a speech, you have an excruciatingly tiny book. Speaking and writing are discrete skills, sometimes synergistic but not at all equal. Don’t give the published work short shrift: books require extensive research; tight, Jesuit-like logic; brilliant metaphors; and immaculate construction. If that sounds like it doesn’t resemble a lot of books out there, that’s because most books are not very good.

Improspectives runs 126 small-format pages and, according to the word count feature in Microsoft Word, contains 28,807 words. Most business books are 250 pages in length; at 350 words per page, you’re looking at 87,500 words. That’s a lot of information. Consider this: if you speak for an hour at a rate of 150 words per minute, you will have spoken 9,000 words. The spoken word and, by extension, video, are low bandwidth when you’re not presenting graphical content. it’s easier for you to talk for an hour than to write 9,000 words and, yes, video can be more fun to watch (though Weiss gives the example of a speaker whose video showed him writing on an easel pad), but you’re trading your convenience for the amount of information you deliver to your audience.

I dislike giving bad reviews to books, but I did want to give a real-life example of how having a speech or, in this case, a workshop doesn’t mean you have a book. Red Thread Thinking, by Debra Kaye (with Karen Kelly) describes Kaye’s “red thread” approach to finding connections between ideas for profitable innovation. I’ve been in and led enough corporate training sessions to see the value in her approach and believe her workshops would be valuable to many businesses. Unfortunately, so much of the good that comes out a workshop is unspoken and difficult to quantify. Many workshop leaders walk into the room with at most five or six pieces of paper with their outline and rely on the participants to provide the fuel for the day. Even success stories, if you can share them because of confidentiality concerns, can get repetitive when they rely on the same methods.

That’s where Karen Kelly comes in. I don’t know for sure, but I would guess the main author, Debra Kaye, had difficulty generating a manuscript that met the 250-page ideal for business books. The “with” credit on a book indicates the secondary author took on a significant role, which in this case meant lengthening the book by pumping the main author for more talking points, stories, and supporting research. Using that additional input, the professional book doctor can remix material, restating it in slightly different ways to change the emphasis and illustrating the points with new examples. If you add in a prologue and appendices and trim the target page count a bit, you reduce your writing burden from 87,500 words to around 70,000.

Once the first draft is in place, the developmental editor flags obvious repetitions and incongruent material so the “with” author can adjust the manuscript as needed. As an experienced author, I can see where Karen Kelly helped the Red Thread Thinking manuscript along. I think she did a great job, both due to her professional skills and because Debra Kaye’s basic ideas are sound.

My advice to anyone who wants to create intellectual property to support your work and sell in the back of the room? Don’t be afraid to write a series of short pieces at first. A 10-page white paper or 30-minute podcast is far better than a book that’s 90% fluff. Build your material gradually and, when you have enough of it for the type of book you want, bring it together into a coherent whole.

Gamification: Ethics, Disney, and Playbor

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It’s always seemed somewhat ironic that discussions of most systems, from gamification to genetic modification, always leave the issue of ethics until near the end. Of course, you can’t discuss the ethics of something until you have a clear idea of what it is you’re examining, so it might be a necessary evil.

In For the Win, Wharton business school professors Kevin Werbach and Dan Hunter (and Werbach in his Gamification course on Coursera) examine the ethics of gamification. The childhood saying is that anything’s fun until someone loses an eye, but gamification can have a manipulative side. Werbach and Hunter refer to the practice of using gamification to amplify work effort as playbor, a terrific term that captures the essence of their critique.

One example Werbach mentions in both the book and the course is Disney’s use of a leaderboard to display performance statistics for workers in their laundry facilities. One of the basic tenets of business is that “if you can’t measure it, you can’t manage it”, but there’s a real question as to when you cross the line from performance measurement to manipulation. When I had a summer job with a telemarketing firm back in the 1980s, did my target call, contact, and sale numbers amount to manipulation? How about sales quotas for bonuses? Or entering in at least a certain number of books per hour when I took a temp job helping a large independent bookstore digitize their inventory? In neither case was I compared directly to other employees (I was the only salesperson at a very small company), so it probably wasn’t an example of gamification, though I was aware of my performance in relation to my targets.

Ethics is always a tricky subject. In many cases, workplace treatment comes down to what can be negotiated between workers and management, either through union representatives or by workers voting with their feet. In a down economy, many workers are willing to accept conditions they wouldn’t consider in better times. There have been several articles on conditions in Amazon warehouses as well as a recent report on what might be an Amazon warehouse, that remind us how circumstances can give employers leverage over their employees.

Gamification: Don’t Forget the Fun

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My previous set of posts described elements of gamification (such as meaningful choices and conflict) and how to incorporate them into business and improv. Kevin Werbach and his coauthor Dan Hunter also identify six steps to gamification (For the Win, p. 86), which I think provide an excellent framework for business and theatrical endeavors. I just examined how you can devise activity cycles for user interactions. In this post, I’ll talk about the ever-elusive concept of fun.

As a quick review, the authors’ six D’s are:

  • Define business objectives
  • Delineate target behaviors
  • Describe your players
  • Devise activity cycles
  • Don’t forget the fun!
  • Deploy the appropriate tools

What is fun? Dictionaries tell us it’s a sense of enjoyment or pleasure, which is a straightforward enough definition. When you gamify a business or personal process, such as eating healthfully or completing daily assigned tasks, you want to make the experience as enjoyable as possible.

Designing for fun isn’t easy, so my best recommendation is to look for best practices in the industry, visit as many gamified websites as you can, and scour the literature for every example you can find. Many companies have gone before you, so you should do everything possible to learn from their successes and failures. The one hint I can give is that you should acknowledge your players’ actions. Congratulate them and make them feel good about what they’ve accomplished. That step might not seem like fun, but it rewards the player’s action and helps establish that undertaking the desired activity creates a positive reaction.

Always bear in mind that you have different types of players with different goals, whether to explore the world or to specialize in an area and unlock achievements as quickly as they can. You might consider displaying different congratulatory messages for different types of players.

Like all designing, designing for fun is an iterative process. After you implement your system, monitor player activities and feedback to see what you can do differently. Buy key players coffee and ask why they like what they’re doing, how they encourage their friends and coworkers, or why they stopped playing. Every bit of information you capture will help you make your system more rewarding.

Gamification: Devising Activity Cycles

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My previous set of posts described elements of gamification (such as meaningful choices and conflict) and how to incorporate them into business and improv. Kevin Werbach and his coauthor Dan Hunter also identify six steps to gamification (For the Win, p. 86), which I think provide an excellent framework for business and theatrical endeavors. I just examined how you can describe your players using personas. In this post, I’ll talk about devising activity cycles.

As a quick review, the authors’ six D’s are:

  • Define business objectives
  • Delineate target behaviors
  • Describe your players
  • Devise activity cycles
  • Don’t forget the fun!
  • Deploy the appropriate tools

In a gamification context, activity cycles are the actions you want your players (teammates, customers, co-workers, etc.) to take. You can think of activity cycles as patterns of interaction with your site that represent a task or series of tasks taken to completion. As an example, consider how you check in at sites on FourSquare. Your activity cycle involves pulling up the app on your phone, having it sense your location, and giving it permission to check you in at that location. You can also earn badges, receive special offers, and be named Mayor of a location by checking in there more than everyone else.

Some sites have longer activity cycles. TeamSnap offers a website where you can track your sports teams’ rosters, schedule practices, track attendance, and record game results. You can even assign team members (or their parents) tasks such as bringing snacks to the game. TeamSnap’s also useful for improv groups who want to track practices, send messages, and schedule shows. (Full disclosure: I’m good friends with several TeamSnap executives and my main improv group, ComedySportz Portland, uses their site to track our activities.)

Businesses have activity cycles in all aspects of their operations. Client generation, sales tracking, and customer service all lend themselves to gamification. In some sense, businesses that track sales performance and use other measures to rank their employees already use elements of gamification, but many times those scenarios take on the tenor of the “motivational speech” Alec Baldwin’s character Blake delivers at the start of a monthly sales contest in the film version of Glengarry Glen Ross. In that contest, first place is a Cadillac El Dorado, second place is a set of steak knives, and third place is “You’re fired.”

Some bosses thrive on intimidation and insult, but that approach goes against the spirit of gamification. If you want to gamify successfully, you can’t forget the fun.

Gamification: Describing Your Players

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My previous set of posts described elements of gamification (such as meaningful choices and conflict) and how to incorporate them into business and improv. Kevin Werbach and his coauthor Dan Hunter also identify six steps to gamification (For the Win, p. 86), which I think provide an excellent framework for business and theatrical endeavors. I just spoke about delineating target behaviors. In this post, I’ll talk about describing your players.

As a quick review, the authors’ six D’s are:

  • Define business objectives
  • Delineate target behaviors
  • Describe your players
  • Devise activity cycles
  • Don’t forget the fun!
  • Deploy the appropriate tools

The Gamification course’s final written assignment asked us to create a reasonably detailed gamification plan for a company with a business model similar to Airbnb and other shared-resource mediation sites. I described my typical players using a set of personas that captured a range of user backgrounds and motivations. The prof changes his example scenario every time he offers the class, so I don’t mind giving you this segment of my answer.

As the site grows to include thousands of players, it would be impossible to break them down into a small number of categories. However, it is possible to create personas to characterize typical players that will engage in the ShareAll system. The following paragraphs describe four personas that represent the players.

Andrew: Andrew, a 43 year-old white male, is in upper management at a small web-based services firm. He can work wherever he has an internet connection, so he travels frequently and uses ShareAll’s lodging and car rental features when he does. He has been known to perform a quick pickup or errand for other members, but does so infrequently. Andrew is a focused user who sees ShareAll as a provider of specific services.

Helen: Helen, a 62 year-old African-American female, retired from a 35-year career as a clinical psychologist. She uses the task-running elements on the ShareAll site to have members pick up her groceries once or twice a month and to rent a car when she travels. She has also listed her basement apartment on the site, which brings in the occasional renter. Helen appreciates the convenience of the task providers and the income she generates when she rents out her apartment.

Timothy: Timothy is a 22 year-old Chinese-American male office worker who is taking a year off before going on to graduate school. He earns a good supplemental income by signing up for the task-oriented side of the ShareAll site, mostly by running errands but also as a driver for individuals who need rides to the airport. He has rented a car through the site on a few out-of-town trips, but he is not a frequent user of the site outside of his tasks. He networks with his friends to get as many referral Shares as he can. He also cares deeply about his reputation and does his best to provide excellent service. Timothy is working hard now so he can get an advanced degree without worrying too much about paying for his groceries when he’s back in school.

Steph: Steph is a 28 year-old white female who works as a waitress. She usually gets 24-30 hours of restaurant shifts per week, so she makes herself available for tasks such as house cleaning during her off hours. She also travels around the U.S. when she can and has used the ShareAll site to find rooms in the cities she visits. Like Timothy, Steph networks with friends to general referral credits. She does her best to earn money when she can to improve her life.

As the ShareAll site increases its player base, we can analyze their demographics and activities to create more meaningful segments and personas.

Many companies use personas to describe their customers, so take a look at these brief descriptions in terms of goals, backgrounds, and behaviors to get a feel for how you can create your own personas. What was fun for me, and is often fun for improvisers and business people alike, is including people you know in your work. Andrew is a good friend of mine, and Helen (not her real name) is establishing her professional credentials as a clinical psychologist. I see her having a long, successful career after she finishes jumping through the hoops required for licensure.

Gamification: Defining Business Objectives

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My previous set of posts described elements of gamification (such as meaningful choices and conflict) and how to incorporate them into business and improv. Kevin Werbach and his coauthor Dan Hunter also identify six steps to gamification (For the Win, p. 86), which I think provide an excellent framework for business and theatrical endeavors.

The authors’ six D’s are:

  • Define business objectives
  • Delineate target behaviors
  • Describe your players
  • Devise activity cycles
  • Don’t forget the fun!
  • Deploy the appropriate tools

Defining business objectives seems like an easy step — you want your customers to buy your products or engage your services. In this context, though, you’re thinking about the business objectives for your gamified system. You might want to retain customers or build brand loyalty. These objectives are more general than target behaviors, which are covered in the next item. Improv groups face the same challenges when they try to define their business objectives. Obviously you want to encourage customers to be loyal to your brand, but what other goals do you have? Do you want them to become active consumers of theatre in general?

It’s often tough to distinguish between business objectives and target behaviors, but Werbach and Hunter provide a useful exercise for identifying business objectives. (p. 87) They encourage you to make a list of what you think are your objectives; then, go through the list and cross out anything that’s a means instead of an end. For example, “Build brand loyalty” is an end but “Have visitors view the company’s mission statement” is a means.

Working through this exercise will bring your business objectives into better focus. Plus, if you’re like me and don’t always distinguish between objectives and behaviors on the first pass, you’ll find you’ve identified several target behaviors, too.

Improv and Gamification: Potential Conflicts

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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

Their final item, potential conflicts, addresses how game elements can come into conflict with organizational goals and intrinsic (internal) motivation. The traditional management case study of conflicting elements is suboptimization, where an employee focuses on a specific task to the detriment of the overall project or even the entire enterprise.

As an example, suppose you’ll receive a substantial bonus for releasing a product to market by a specific date. It’s natural for you to evaluate your incentives and get that product out the door regardless of what corners you need to cut. If the product’s not as a good as it could have been, your employer must take a substantial portion of the blame. After all, they structured your incentives in a way that rewarded you for focusing on the subgoal instead of releasing a quality product.

In improv, you can suboptimize by going for the joke instead of playing a good scene and letting the laughs come naturally. I was especially guilty of this practice early in my career, but I’ve gotten away from it. The idea is that you want to keep the scene moving forward smoothly instead of stopping it with a joke. A joke’s punchline is an artificial endpoint that stops progress, pulls focus from the scene, and forces everyone to reset. Are jokes always bad in improv? No, but they make everyone’s job harder, especially when more than one person is going for the joke in a scene. Then it’s a travesty.