Improspectives

Improv skills lead to success

Posts Tagged ‘performance

Book Review: The Gamble, from Princeton University Press

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Cover graphic for The Gamble

Title: The Gamble

Authors: John Sides and Lynn Vavreck

Publisher: Princeton University Press

Copyright: 2013

ISBN13: 978-0-691-15688-0

Length: 322

Price: $29.95

Rating: 93%

I received access to a preview copy of this book via the NetGalley site.

The popular media covers U.S. presidential campaigns like announcers calling a horse race, highlighting every move, nuance, and setback as if it could determine the winner. Why? Because not doing so would give viewers tacit permission to watch something else, drive down the networks’ ratings, and cost them advertising dollars. One journalist from Mother Jones identified 68 unique events the press labeled “game changers.” Were they, or was it just meaningless hype?

Approach

In The Gamble: Choice and Chance in the 2012 Presidential Election, authors John Sides and Lynn Vavreck analyze the race’s twists and turns in measured tones, emphasizing the role “the fundamentals” (especially the economy) play in presidential elections. Sides is associate professor of political science at George Washington University and the coauthor of Campaigns and Elections. He cofounded and contributes to The Monkey Cage, a politics blog. Vavreck is associate professor of political science and communications at UCLA. As academics, they had to strike a balance between writing for a general audience versus writing for an academic audience.

Books without sufficient analytical rigor might not be considered during tenure evaluations, so the authors took a bit of a risk by writing mainly for laymen. I thought they struck a clever and useful balance by dividing the book into two sections: commentary text, where the authors summarize their findings in the main body of the book; and appendixes that present their data and analyses in more depth. The main text contains plenty of facts and figures, but the appendices extend the analysis by including summary statistics (such as standard deviation and standard error) and other measures of interest to professional academics.

Analysis

So, did the various campaign gaffes, missteps, blunders, and revelations make a difference? Sides and Vavreck conclude that, in the long run, they did not. The American electorate is more or less evenly divided between Democrats and Republicans with only a small percentage of persuadable voters for each election. Seemingly substantial missteps such as Mitt Romney’s statement about the (alleged) 47% of Americans who pay no income tax and Barack Obama’s (real) horrific performance in the first debate caused a momentary blip in the polls, but the candidates’ results settled back to the predicted norm within a few days.

The Republican primary season provides an even starker example of how Mitt Romney kept his forward momentum as challengers such as Rick Perry, Herman Cain, and Rick Santorum were “discovered” by the media but ran off the road due to policy mismatches with the electorate, poor debate performance, or personal issues the press uncovered. The fundamentals of Romney’s campaign didn’t guarantee him the nomination, but the odds were ever in his favor.

So too with Obama, who could rely on an (albeit slowly) improving economy to lift his campaign. Sides and Vavreck point out that even a general sense that things are getting better makes the incumbent very hard to overcome. Just as most Vegas odds makers give NFL teams a three-point edge for home field advantage, improving economic times provide a lift to sitting presidents.

Of course, campaigns and independent organizations do their best to overcome these limitations through voter outreach (aka the vaunted Obama “ground game”) and advertising. The authors’ analysis confirms previous work that ads shift opinions for a short time after viewing, but the effect fades quickly. The Romney campaign tried to leverage that fact by buying a lot of advertising in the days just before the election, but the Obama campaign had done a good job of maintaining their candidate’s presence and prevented the Romney campaign from succeeding.

The Gamble also addresses what the Obama win implies for American politics. Did his win, which was by a reasonably substantial margin, constitute a mandate and indicate a liberal trend in the polity? Recent votes in favor of legalizing gay marriage and marijuana seem to argue in favor of that interpretation, but Sides and Vavreck found that the electorate tends to equilibrate by moving in opposition to the winning candidate’s views. In other words, a liberal candidate’s win results in a more conservative electorate and vice-versa.

Conclusion

When it comes to U.S. presidential elections, the percentage of the electorate that will vote for their preferred party’s candidate regardless of attempted persuasion is so large as to render most campaigning moot. The campaign machines are so well-tuned, the authors argue, they cancel each other out over the long run. The fundamental elements, especially the economy, are far more relevant. I find that aspect of The Gamble comforting.

Before I close, I’d like to give a quick shout-out to the cover designer. I didn’t see the designer’s name in my preview copy of the book, but the cover image uses the point of the “A” in “Gamble” as the fulcrum of a dynamic balance between red and blue, which is a terrific touch. It makes a good book that much better.

 

Curtis Frye is the editor of Technology and Society Book Reviews. He is the author of more than 30 books, including Improspectives, his look at applying the principles of improv comedy to business and life. His list includes more than 20 books for Microsoft Press and O’Reilly Media; he has also created over a dozen online training courses for lynda.com. In addition to his writing, Curt is a keynote speaker and entertainer. You can find more information about him at www.curtisfrye.com.

Accidents Can be Fun and Useful

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Robert K. Merton, a sociologist who worked primarily in the mid-20th century, popularized the notion of unintended consequences, which he defined as “outcomes that are not the ones intended by a purposeful action.”

The notion of unintended consequences is obvious and was around long before Merton, but the term is often interpreted as meaning an action can have unintended negative outcomes. Fortunately, good things can happen by accident, too.

You’re probably familiar with the story of how a scientist at 3M invented the glue used on Post-It notes — he tried to create a super-strong glue, but ended up with a weak glue that barely held anything together. It wasn’t until years later that he thought to use it to adhere pieces of paper to vertical surfaces, but when he did his “failure” turned into a gold mine. Similarly, scientists at Cornell University created the world’s thinnest sheet of glass (literally a single molecule thick, making it technically a 2-D object) when oxygen infiltrated a chamber in which they were attempting to make graphene.

Improv relies on unintended consequences. Because improvisers don’t have a script, they make offers and trust their fellow performers to advance the scene or game. There are times, especially when you’re “in the zone” (what Chris Csikszentmihalyi calls a “flow state”), that you have no idea what’s coming out of your mouth until you hear it. With experience, your contributions come with increasing ease and provide a solid base for your scene.

In my next post, I’ll extend the concept of unintended consequences to business.

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.

My Experiences Thus Far with MOOCs

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I’m an information forager, someone who wanders among topics picking up bits and pieces of knowledge as I go. If you offer me a good way to gain information and experience, you’ll get my attention.

I’ve sort of fallen in love with the Massive Open Online Course (MOOC) offerings from Coursera. I’ve successfully completed seven of the courses, ranging from an easy introductory course on geospatial information and mapping to a challenging course on machine learning. I bit off substantially more than I could chew when I signed up for a natural language processing class, but at least I had the good sense to pack it in when I saw I didn’t have the skills to complete the assignments.

One of my just-completed courses was Model Thinking, by Professor Scott Page from the University of Michigan and the Santa Fe Institute. This session was the second time the course was offered and, as it turned out, it was an exact repeat of the first session. Dr. Page and his assistants didn’t update any of the lectures (or even edit out coughs and other flubs from original recording), participate in the class’s discussion forums, tweet from the advertised Twitter account, or update the class’s Facebook page or blog. As befits a summer offering, the class ran entirely on autopilot.

We’re very early in the days of MOOC development, so there are a lot of experiments going on as professors and institutions determine how to present MOOCs and incorporate them into university curricula. One of the big problems MOOC providers have to face is the immense number of individuals who sign up for the class but never watch a single movie. In some cases, only a third of students who sign up for a MOOC watch even one lecture, and most courses have pass rates of less than 10% (7% is typical). Part of the problem is that there’s no real penalty for not finishing the course — you know you didn’t do the work, but there’s no social stigma attached to it. And besides, you can always download the movies and watch them at your leisure.

Dr. Page seemed to address this dropout issue by making the Model Thinking class very easy to pass. Grades were calculated by adding 50% of your quiz scores (dropping the lowest two) and 50% of your exam scores, with everyone who scored a total of 75% or higher receiving a certificate. But here’s the kicker: you got three attempts at each quiz and the system displayed the correct answers after you took the quiz for the first time. All students had to do was write down the answers and re-take the quiz to get a perfect score.

Like the quizzes, you got three shots at the mid-term and final, but the system didn’t display the correct answers. It did tell you where to find the information required to answer the question, but you had to figure out the answer for yourself. Even so, if you received a perfect score on the quizzes (hard not to), you only had to get half the exam questions right to pass. The only reason a mildly attentive student couldn’t pass the course would be a lack of time to take the quizzes and exams. You barely needed to watch the lecture movies.

Is this strategy a good way to improve MOOC completion rates? Yes, if that’s your only goal. I would be very interested to learn how this Model Thinking class session’s completion and engagement rates compare to those of other MOOCs, but I wonder how much material students who took the easy route retained. If there’s no significant marginal cost per technically passing but unengaged student, perhaps it’s OK if they take little or no knowledge from the course. At the very least, it’s a worthwhile experiment.

Improv Should NOT Be a Surprise

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My friend Rick Maue, a talented performer and innovator in the branch of stage magic called mentalism, identifies three types of performances:

  • Theater, which is a show people come to see in a formal setting
  • Entertainment at events such as banquets, where the performance is part of the overall evening’s activities
  • Filler, where the audience has absolutely no idea you will be there or that there will be any kind of show

I’d like to add a fourth type: Hell, which is a Virgin Atlantic flight with musicians and improv comedians roaming the aisles. Don’t believe me? Here’s part of a Fast Company article describing the scheme:

Virgin Atlantic Little Red, a U.K. domestic rebranding of Virgin Atlantic, will feature “in-flight gigs” on selected flights that include live music and improv comedians. Entertainment will take place on flights headed to Edinburgh and Manchester, and performers will be selected from the talent pool at the Edinburgh Fringe Festival.

But here’s the kicker: While the acts will be mentioned on Virgin Atlantic’s Facebook and Twitter pages, the flights they will be performing on will be a surprise. We’re guessing that business travelers, improv comedy, and a confined environment will be a volatile mixture, but that’s just us.

I do improv and stage magic and think I’m pretty entertaining, but I only take a few strolling mentalism gigs at company parties a year. I want to be sure I’ll be a good fit and often look for reasons to break off from a group early rather than overstay my welcome. I don’t want to be what sports commentator Joe Buck refers to as “the guy at parties who insists on doing card tricks no one wants to see”. I don’t mind stopping to watch a street performer for a few minutes. In fact, I tipped a terrific human statue when my wife and I were in Tallinn, Estonia, in July.

livingstatue

I’d rather donate three pints of blood in an hour than be on a flight with a live musician or improvisers. I’m one of you, guys, and I don’t begrudge you the money, but I will not interact with you.

I think someone in Virgin corporate learned the wrong lesson from the funny PA announcements some Southwest flight attendants make. Those presentations work because they’re fast, they’re hilarious, and they’re over.

Gamification: Deploy the Appropriate Tools

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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 took a wild stab at designing for fun in my last post. In this post, I’ll talk about deploying the appropriate tools.

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

Deploying the appropriate tools is where the cool concepts you’ve brought together become a system you can poke, prod, enter data into, and get feedback from. If you’re measuring data entry, you can automate the process. If you’re measuring geographic information or activity, you might program a mobile app to capture the data automatically. Otherwise, you need to create a system that combines automatic data collection with user entry. The specifics will change based on your environment and resources, but bear in mind that almost any system will require a significant investment of time, money, or both.

In an improv context, deploying the appropriate tools occurs in the context of creating your show and presenting your product. How you present your performances, from your venue to your costumes and format, shapes your audience’s expectations and reactions. Much improv comedy happens in restaurants, bars, and other spaces where the performance is secondary to the venue’s revenue stream. The venue often provides the space in exchange for a little rent or in the hope that the performers’ friends will eat and drink during the show. All the performer needs to do is put on their dark colored top, jeans, and soft-soled black shoes to get going. Troupes with dedicated spaces must pay attention to audience seating, bathroom access, and availability of snacks, drinks, and swag to buy at the performance.

You also have to create feedback mechanisms for the audience and performers. As I’ve said in other contexts, the audience isn’t there for the performers’ sake — they attended the show to have an enjoyable night out. Even your best friends wouldn’t see more than one show if the experience was so dire they didn’t enjoy themselves. You can get feedback from troupe members sitting in the audience and, in addition to watching the show, paying careful attention to the audience’s reaction. It’s easy to develop “laughing ears” where every reaction, regardless of how small, seems like a standing ovation. A teammate in the seats can help you see and hear what the audience really thinks. It’s your job to listen.

I’ll close out this section on gamification with a look at ethical considerations. Is it possible to use game mechanics to oppress your workers? Oh, yes…

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: 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: Delineating Target Behaviors

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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. My previous post covered defining business objectives. In this post, I’ll talk about delineating target behaviors.

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 is the most abstract element of the process, in the sense that the results (increase attendance or driving more visitors to your site) are long-range goals that  result from other efforts. Delineating target behaviors means identifying the specific actions you want your players to take. For example, you might want your players to fill in their profiles completely, perhaps showing a progress bar like the one LinkedIn uses. You can also reward behaviors such as inviting one’s friends to join a site, making purchases, and attending events.

In an improv context, you should think about what you want your audience members to do. Of course you want them to attend your shows and tell their friends how brilliant and funny you are, but you should also focus on what you want them to do during the show. For example, how do you get suggestions, and how does the process affect the suggestions you get? How do you reward audience members for following your instructions, and how do you correct them if they don’t?

Businesses of all types, whether manufacturing, web services, or theaters, must structure their offerings to get the desired responses from their customers. It helps to know what those responses are.

Gamification: Defining Business Objectives

leave a comment »

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.