Diary of a Process: Budget Slashed in Half

Posted on August 30, 2010 by Amy Frazier

Diary of a Process: an episodic peek into a creative company’s internal process.

  • The company: an experience design firm that creates learning environments and opportunities for team-building, exhibit design, education, training, branding, etc.
  • The project: designing a visitor experience for a small west coast museum.

Episode 1, Aug 25: A meeting was called because the client had informed the project manager the budget had been cut in half.

The initial challenge in responding to the news of the drastically shrunken budget appeared to be how to identify all the elements in the design concept, presumably with an eye for what to cut. To begin, owner Bryan Thermo reviewed the various elements that would make up the visitor experience of this museum. As he did so, Thermo began to elaborate upon the concept…

Let’s take a look at elaboration. In the context of creativity, elaboration is the development of an idea, building it out, adding depth and complexity. It’s good to come up with lots of ideas when doing creative thinking. It’s also good to be able to elaborate upon them––in appropriate moments.

…at which point the project manager redirected the discussion to give her impressions of the reasons why the budget had been cut: they hadn’t completely sold the board of directors on their vision for the museum.

The project manager was pushing for clarification. She wanted to have a clear understanding of the issue, before coming up with ideas on how to overcome the challenge. Often, ideas are generated that don’t really fit the problem at hand. Clarification helps you identify the most important problem to solve. The project manager’s redirection of the conversation helped pull back on the elaboration in order to focus on important new information.

Now the conversation turned directly to the core value propositions of the company: how it does what it does––inspire learning, deepen experiences. Client values were identified: cultural enrichment and regional identity. From there it was a short step to a pitch that could be presented to the board: “maintaining the original budget will allow us to transform your landmark into an experience.”

Process in a nutshell: the challenge of a reduced budget led to elaboration on the original concept. A clarification of the situation allowed the team to explore the context of the challenge, and this lead to a decision to pitch the virtues of the original proposal as deserving of the full budget.

Up next: how will the board respond to the pitch, and how will the design concept move forward to meet mid-September deliverables?

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Pulling Back the Curtain

Posted on August 26, 2010 by Amy Frazier

What does creativity look like inside a creative organization?

How might it be possible to get a snapshot of the internal creative workings of a company that generates creative products (artistic productions, biotech breakthroughs, education/training programs, advertising campaigns, etc.), to see both how they do it, and how well they’re doing? Could we lift up the lid and take a peek at the inner workings? Examine internalized strengths and hidden blind spots? Take a stab at a recipe for creativity in creative companies?

To answer these questions, I’m embarking on a consultative exploration of a creative organization, a company that creates learning environments and opportunities for a variety of applications, from team-building, to exhibit design, to educational materials, to branding, and more.

I’ll be taking a look at this organization (for which, full disclosure, I have worked as content designer and trainer/facilitator) from the perspectives of their internal creative process, their creative climate, the creative preferences of the core team, and the development of a creative product. Throughout, I’ll be bringing in elements of Creative Problem Solving as a sort of process guide and framework for skill development. The specific project I’ll be observing is the concepting phase of an exhibit design for a small museum.

I’ll be posting regularly here on the process of observing a process… and the creativity that manifests in the creation of creative products. Something of a hall of mirrors? I’m seeing it as peek behind the curtain. Names will be changed to protect the innocent. I expect later in the project I’ll be able to give you some more information as to what, where, and when, for those who are curious. The “how” will be on full display throughout.

What do I expect to find out in all this? Well, the first major insight will come at the end of this month, when I present the findings to the team on their FourSight profiles. FourSight measures preferences for different phases of the creative process: clarifying the situation, coming up with ideas, developing them, and implementing them.

Is a company whose stock in trade depends on coming up with strong ideas full of people who love to ideate? Does a company which also develops and implements great ideas attract people who love to do that, too? Where are the strengths, and where are the blind spots? We’ll know that next week.

I’ll also be posting episodic snapshots of the organization’s creative process in action. Look for these under the category Pulling Back the Curtain/Diary of a Process. Also see the program page Pulling Back the Curtain for a quick program overview.

If you work for a creative organization (and even if you don’t) I hope you’ll find it to be an interesting journey. Please stay tuned…

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IBM Global CEO Survey: Leadership, Complexity and Creativity

Posted on July 22, 2010 by Amy Frazier

The recent version of the biennial IBM CEO study brings good news about creativity. In the fourth study of its kind (the series began in 2004, in a very different world), the research team surveyed over 1500 global CEO’s in face-to-face interviews, exploring their goals and challenges. Researchers analyzed the data, identified the standout companies (defined by their ability to expand operating margins over both the long haul and in short term crises), and from this extracted three best practices for how to “stand out in a complex world.”

At the top of the list is the finding that thrills the hearts and minds of creativity wonks like me: “Embody Creative Leadership.” In the words of the study, “CEO’s now realize that creativity trumps other leadership characteristics.”

In fact, there’s a lot to be excited about in the report. And some room for caution as well, that the recommendations don’t become too tweaked out of shape. Since the study has been released, for example, I’ve seen reference to the finding on creative leadership cropping up in other sources (including the recent Newsweek article on creativity in America). From what I’ve noticed so far, a couple of things are happening as the report is getting out into the world, which I think are worth exploring.

First, giddy perhaps with the quite public enthronement of creativity as the key leadership competency, many are not giving the question of the actual relationship between creativity and leadership as much air time. Second, the CEO’s surveyed identified the need for creativity in direct response to the issue of increasing complexity, which puts a particular criterion upon which creative approach is best suited in response. The third point, which is sort of a sleeper, perhaps, is that when one stands back to look at the three recommendations together (Embody Creative Leadership; Reinvent Customer Relationships; and Build Operating Dexterity), it’s becomes clear that the demand for creativity is in fact larded throughout the entire report.

Touching on each briefly here (look for other posts to come), let me pull out a few of the detailed findings.

Creativity and Leadership

Creativity is conceived of in the context of leadership values: in analyzing the comments of those CEO’s who mentioned creativity as key, a relationship emerged between creativity and integrity. I infer from this that the respondents believe that if creative leadership is to be developed, both leadership values and creative thinking must be nurtured. If we swing too far toward the C word without focusing on the L, then we may fail to achieve the very best outcomes. The opposite is also true.

Rapid business model change requires change leadership: According to the IBM report, those executives who listed creativity as the most important competency are more prone to innovate within their organizations, and a significant amount of that innovation is occurring through business model change. “CEO’s must be able to test, tweak, and redesign their core activities continually.” To succeed in this type of continual organizational change is to be able to persuade, influence, empower and engage others in a view of the future that is compelling enough for them to go along for the ride, over and over again. Thus, creative leadership involves change leadership. (For a great discussion on the link between creativity, change and leadership, see Creative Leadership: Skills that Drive Change, by Puccio, Murdock and Mance.)

Creativity in Response to Complexity

Since the word “creativity” can mean so many different things, to different people, for different reasons and at different times, I believe it will become very useful as this report continues to circulate that we be clear about what’s indicated, not only to put at ease those who fear the pink tutu, but also to point toward tools and methodologies which are designed specifically for the creative task at hand: dealing with complexity.

According to the findings, a majority of CEO’s believe not only that the level of complexity will continue to rise, but that they will continue to be unprepared to deal with it. From the executive perspective, it’s clear what’s at stake: how to solve increasingly complex problems, and how to seize or create opportunities in a rapidly complexifying environment. Creative Problem Solving and its variations are tailor-made for these complex, ambiguous situations. Knowing the nature of the situation allows for the best creative response.

Three-in-One

The IBM Global CEO study called out three recommendations for “capitalizing on complexity:” Embody Creative Leadership; Reinvent Customer Relationships; and Build Operating Dexterity. Taking a quick look at the second and third on the list, we see how the need for greater creativity is in fact evident throughout the whole report, and not only in the section on creative leadership.

Co-creating with the customer: the report uses the phrase “co-create” to describe the increasingly embedded level of relationship between customer, product and producer. Clearly, the value of creative thinking is not being reserved for the discussion of leadership capabilities; it extends not only to internal processes but to external customers and stakeholders as well.

Dexterity amid paradox: In the discussion of Building Operating Dexterity, the study authors acknowledge the pull between global and local, simple and complex, etc; they also emphasize the importance of being able to manage these, and other, paradoxes. While the point about co-creating with customers rather smacks you in the face with its link to creativity in general, this statement about paradox and dichotomy is a bit more subtle — but worth calling out. In the creativity literature, there is reference made to what creativity researcher Albert Rothenburg termed “Janusian Thinking” — the ability to hold opposing thoughts in mind, and to see what emerges from this relationship of paradox. Janusian Thinking is a creative thinking skill. When the study authors recommend developing the capacity to manage within paradox, they are, yet again, calling for creativity.

More to come

The IBM Global CEO study is obviously a boon to those interested in furthering creativity, especially in organizations. There’s a lot to unpack in the report (also a lot of data available at the IBM site). We can be very excited about the possibilities, but I also think it’s good to have an ear to the ground, being attentive to the distortions and over-simplifications that can happen with these kinds of attention-grabbing findings. The interconnectedness of leadership, change and creativity; the best practices and methodologies available as creative responses to complex situations; and the awareness of how thoroughly today’s organizations depend upon creative thinking are all sound points of inquiry in extending the findings.

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Newsweek on the Torrance Test of Creative Thinking

Posted on July 21, 2010 by Amy Frazier

NEWSWEEK ON THE TORRANCE TEST OF CREATIVE THINKING

Back in November, I offered an homage to E. Paul Torrance and his ground-breaking assessment of creative potential, the Torrance Test of Creative Thinking, or TTCT. (I morphed it to the “Timely Test of Creative Thanking” on the occasion of Thanksgiving day, which my two grade-school nephews and their mother, at least, enjoyed…)

Recently, Newsweek has offered up a solid article on the state of creativity in America, which is also centered around the import and impact of Torrance’s seminal test. I refer you to that article — a cut or two above much of the popular press reporting on creativity. It is worth a read.

And I would also like to tease out an important element in the article which could easily have been overlooked, but which is absolutely essential in cultivating creativity: deferral of judgment. Without this, creative thinking cannot take hold.

In the Newsweek article, authors Bronson and Merryman allude to deferral of judgment obliquely. They refer to “a populace…receptive to the ideas of others,” and to teachers who are “tolerant of unconventional answers,” but they don’t call it out by name. Which is a shame, because premature judgment and pre-judgment are insidious, ever-present challenges to the flourishing of creativity.

Take Paul Torrance’s life. The “grandfather of creativity” was born to sharecroppers in Georgia in 1915. He and his sister played with dolls made out of empty bottles, dressed in scraps of cloth. Once, a passing minister prophesied that Torrance would be a great man, based merely on the bumps on his skull.

Judging yet?

In his authorized biography The Creativity Man by Garnet Millar, Torrance relates an early episode in his life when he was befriended by a black man hired onto the family farm. The man had spent time in the big city of Detroit, where blacks and whites mixed freely. He filled Torrance’s head with ideas of a bigger world. Torrance credited the man, judged as a “clever thief” by the adults in the community, with giving him the courage to leave Georgia for his higher learning. Said Torrance “he was perhaps the best teacher I had during those early years.”

If Torrance had not been deferring his judgment, what might we have missed?

Torrance’s life is a marvel of passion and human potential. The value of his work exceeds compare. Yet while the TTCT is a fantastic example of his contributions to the field, it is actually easy to appreciate when someone has drawn outside the lines after the fact — especially when we find the results pleasing. It’s something else to defer judgment within the moment as the creative process is unfolding. This goes for teachers and students, managers and team leads, and an individual and their own creative urges and inklings. Think your idea’s bad before you’ve even really started? Afraid to make the big mistakes that can lead to big breakthroughs? Need to have the innovative response yesterday? Then the chances are your judgement is flying high.

Obviously, we do need to make judgments, we do need to make decisions about the quality, novelty and appropriateness of what we’ve created. But please, defer them! Don’t try to diverge (generate ideas) and converge (evaluate and select them) at the same time. As Alex Osborn, another giant in the field of creativity, famously observed, this is akin to driving with one foot on the gas and one foot on the brake. You won’t get far.

So before you sit yourself (or someone else) down in front of one of E. Paul Torrance’s foundational tests, (or any other measure of creativity) be careful. Remember: it’s not a contest, it’s an invitation to discover creativity — best engaged in when the judging mind is made to wait, at least for a little while.

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The Ravelled Sleeve of Care

Posted on December 17, 2009 by Amy Frazier

It would perhaps be best to lead in with a quote from A Winter’s Tale, but a line from the Macbeth comes to mind at this time of year instead:

Sleep that knits up the ravelled sleeve of care,
The death of each day’s life, sore labor’s bath,
Balm of hurt minds, great nature’s second course,
Chief nourisher in life’s feast

(Act II, Scene 2, lines 35 – 39)

Shakespeare is talking about the pangs of conscience following an unconscionable act, but his depiction of sleep itself is lovely. I think about it often at times when I feel that I have become unravelled in my days; when many perpetually semi-completed things compete for my attention; when it’s time to stop work, but I’m still at it.

With all that is on our plates or be dealt with — with all that demands our caring attention — it is sleep, Shakespeare suggests, which re-ravells us, and makes us whole.

I mention this as a tie-in to the time of year when nature yawns, and the northern world tries to slow down. I mention it because I think it’s a worthy goal for the season — to go to bed. I mention it because the act of rest is essential to our effectiveness.

In their book The Power of Full Engagement, authors Jim Loehr and Tony Schwartz compare the modern office worker to a professional athlete–and come away with the conclusion that the office worker’s body is under more demands. They make a point of saying that athletes know they can’t be training all the time. Thoroughly and at regular intervals, they must knock it off and rest.

Similarly, the creative process is frequently conceived of as having a period of fallow time, when nothing is happening, but everything becomes potential. Usually identified as “incubation,” this is the time when your brain is working the problem below the level of your awareness. I think of frogs hibernating in the mud at the bottom of the pond… I think of root vegetables, hung in a basement cellar… I think of the season at the bottom of the year, when it’s our job to be like a frog asleep in the ooze, to incubate on the efforts of a year.

What happened to you this year? Where did you go? What did you learn? Let it rest. Let it seep slowly up from your unconscious mind, to gently soak into you in the dark of the year. Let it be nothing known. Pull up a turnip blanket in a warm underground, and set the alarm for February first.

And in that sleepy dark, may some dreams come
to knit up your sleeves of care.

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Timely Test of Creative Thanking

Posted on November 25, 2009 by Amy Frazier
(The following is an homage to the Torrence Test of Creative Thinking, originally written in celebration of Thanksgiving. The graphic below is my own, and is not a representation of the figural test Torrence developed. If you are interested in Torrence’s work, also see the post Newsweek and the Torrence Test of Creative Thinking.)

I’ve been thinking about creative thinking. And then, given the season, this led me to thinking about creative thanking.

This then led me to an idea: the “Timely Test of Creative Thanking,” a riff on the Torrance Test of Creative Thinking. The TTCT is a well known measure of creativity. It measures not your creative style (how are you creative), but your level of creativity (how creative are you).

One of the versions is a Figural Test, were you are asked to create images from a few lines, arranged in rows of squares.

I think perhaps it’s as important to increase our level of creative thanking as it is to work on our level of creative thinking. So, in the spirit of Creative Thanking, I offer you my adaptation of the TTCT, below.

The Torrance test is timed. With this one, I invite you to take your time. Stretch your creativity to explore new ways in which to be thankful, and let your mind come up with as many ideas as possible, as you complete the drawings below. You can write a title to each image as well, and explain why it represents things for which you are thankful.

A Timely Test of Creative Thanking

In a further homage to Torrance, here are the criteria which the TTCT measures, and some suggestions for applying them to the art of being creatively thankful.

Fluency: in the TTCT, it is the total number of relevant responses. How about coming up with tons of answers to the question of what are we thankful for?

Originality: This refers to “statistical infrequency,” the likelihood that you will come up with something new. Can you think of things to be thankful for that others overlook?

Elaboration: This indicates using imagination and detail. How can you make the object of your gratitude really come to life, in all its glorious detail? Can you elaborate upon your thanksgiving?

Abstractness of Titles: in the TTCT, this refers to using abstract concepts, humor, irony, etc. to label the individual drawings. What label are you putting on the things for which you are grateful? Might they really be called other, perhaps greater, names?

Resistance to Premature Closure: This is about staying open and resisting coming to conclusions too quickly. Are there things in your life for which you know you are grateful, but perhaps you’re not as open to their complete nature as you could be? Have you already decided you know the answer to what you are thankful for, but there might be more to discover?

So, go at it. Fill in the squares, have fun. Let me know what you learn. When I drew the figures, I had certain images in my mind. I’d love to see what this sparks in your imagination, and how it might introduce some creative thanking. Here is a link to the drawing and instructions, as a pdf. Timely Test of Creative Thanking. If you’d like to send me what you come up with, I’d be delighted. (contact info in the pdf)

Happy Thanksgiving!

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Making it Happen in Brussels

Posted on November 19, 2009 by Amy Frazier

Last month I presented at the European Conference on Creativity and Innovation in Brussels.

It was a wonderful experience!

The conference theme was “Make it Happen.” I presented a workshop on using literary and dramatic techniques for effective implementation of creative ideas. The conference was well attended, and very inspiring.

As I look back now on the months of preparation in program development and all of the logistics which are involved in presenting one’s work in a far-away place, I’m struck by the degree of “making-in-happen-ness” that was part of the whole process.

In this, I offer the perspective of one who teaches what they most need to learn.

When we aboard an important idea, energy is generated. Once we have agreed, in our hearts and our calendars and our wallets, that we are going forward with something, energy gets kicked up. I would argue that our ability to handle that energy is as much a part of the process as the experience itself.

One of the first impressions I had as I was formulating the workshop for the conference was the degree to which ideas and their implementation differ. They feel different. An idea is sparkly, promising, free. To “make it happen” will cost us something. What that cost is may be indeterminate, but I believe a part of our psyche knows that we are pulling up against something that may change us, and it will certainly cost us, and this feels qualitatively different from the sparkle of a brand spanking new idea.

To draw this into our awareness is to say, yes this is where the rubber meets the road, and it doesn’t have to feel easy. In fact, if it feels difficult, that may be a good thing. As I pointed out in the workshop, part of the structure of a good story is the pain of an obstacle, potentially insurmountable, and the development within us that it calls forth.

The conference was a fantastic experience. The ideas generated were made manifest in an environment of curiosity, bonhomie and generosity. “Making it Happen” cost everyone who was there, in terms of energy and time and money. Bringing ideas into the world will do that.

We all decide, sometimes on a daily basis: is it worth the price?

Is there an idea that is suing for your time/money/energy right now? How will you proceed?

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Riding the Arc of the Story: Threshold Guardians

Posted on October 6, 2009 by Amy Frazier

RIDING THE ARC OF THE STORY: THRESHOLD GUARDIANS

What’s up with the resistance?

You know the one. The resistance that comes shortly after you decide to launch a new creative endeavor. The resistance that whispers in your ear that maybe the idea isn’t that great, or you really don’t have the time, or you’re really not so good after all.

Maybe it doesn’t affect you. If not, I’m willing to bet you’re in the minority. For a lot of people, the initiatory phase of a project can be a very painful back-and-forth play of initiative and doubt.

I’m currently working on a program I’ll be delivering at the European Conference on Creativity and Innovation in Brussels at the end of the month, called “Riding the Arc of the Story: Harnessing Literary and Dramatic Techniques for Effective Implementation,” and it’s given me some insights about resistance, narrative structure, and the Hero’s Journey.

Evidently, as soon as the hero begins her journey, she is met at the threshold by beings whose purpose it is to provide initial resistance in the form of a test: is the hero up for the challenge? They’re called “threshold guardians,” and they can show up as friends, family, foes…or even part of our own psyche, our shadow.

The concept of the threshold guardian gives us a new way of looking at internal resistance to the early phases of a project. Now, instead of either giving in to the temptation to pull away, or feeling like we have to muscle through and pretend the resistance isn’t there, we can remind ourselves that we might be on the threshold, and this might be only a test. Of the emergency threshold guardian system. And it’s ok.

The next time you find yourself hitting that resistance wall, ask yourself: is this a wall? or might it actually be an opening. Might you actually be on the threshold of something entirely new?

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European Conference on Creativity and Innovation

Posted on September 26, 2009 by Amy Frazier

I will be traveling to Brussels at the end of October to present a workshop at the 11th European Conference on Creativity and Innovation.

It’s a great opportunity to get to know some people in the creativity field in Europe, and also to connect with some friends and colleagues.

The conference theme is “Make it Happen.” Very often the attention in creativity goes to how we generate new ideas (“ideation”). At this conference, they are making a real effort to focus on the next step: implementation.

I will be delivering a workshop called “Riding the Arc of the Story: Harnessing Literary and Dramatic Techniques for Effective Implementation.” The idea is this: when we start to implement an idea, put it into action, very often we will hit a roadblock. So, what does it mean to us when that happens? How do we interpret it?

I propose that by looking at roadblocks and obstacles through a different set of glasses, we might learn to interpret them in a new way. That new set of glasses is the structure of narrative arts. So we’ll be looking at things that storytellers (actors and writers) do, on a structural level, that can shine some light on the perils and promises of implementation.

A few days later, I will be teaming up with Marcel van der Pol, who does wonderful work with storytelling (he’s also a presenter at the conference). In the morning, he will offer a workshop on The Story of the Hero. I follow up in the afternoon with Powerful Personal Presence, a workshop on how to deliver material (or tell stories…) with confidence and authenticity. Information on that day of programs is here.

And, over the weekend, I hope to reprise the workshop on Embodying Sustainability, which I first developed for the International Organization Development Association conference a few years ago.

My good friend Cyriel Kortleven at New Shoes Today in Belgium is the connector behind these additional events… His work is exciting, and worth knowing about. Find him here. (He will also be one of the MC’s for the ECCI conference.)

All in all, I’m sure there will be much fun and interesting connections. Look to further blogs for news on how it’s all unfolding.

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Riding the Arc of the Story: Inciting Obstacles

Posted on August 31, 2009 by Amy Frazier

All of a sudden, you have it: a beautiful idea! It comes to you full blown and shimmery. Perhaps something brand new you’ve never before conceived, or perhaps the result of pondering long and hard. Regardless, there it is: exciting, and full of energy. Your idea can do no wrong. The world is its oyster. It is your helium balloon.

Ideation. What a great place to be.

You, and perhaps a happy gang of fellow-ideators, begin to bring this effervescent, brilliant idea into being. Plans are drawn, schemes concocted, url’s purchased and celebrations forseen. It’s all a giddy whirl.

Until the obstacles start to arrive. Perhaps not with the first obstacle, or the second, or the third. But eventually it happens: something comes up and you don’t know if you can get around it. As sure as ideas are born, obstacles come in their wake. It is like a natural law.

In the move from ideation to implementation or execution, the emergence of obstacles can tell us many things. It can be a reality check, or a good moment for redirection. A serious obstacle has the power to derail the entire scheme. Most people, I think, realize that when ideas hit the real world, they are reshaped, and sometimes with difficulty.

But how do we respond when it happens? Think especially of group endeavors. How do different personalities react to the emergence of a serious obstacle to implementation? Can you think of a time when someone has thrown up their hands and said: “At last! Now the real story has begun!”

That’s what the narrative arts have to show us. If we look at the implementation phase through the lens of narrative structure, we can see how stories don’t really get started until the first big whammy. There’s even a term for it: the inciting event. Anything before the inciting event (also sometimes known as the first plot point), is merely background, setting the stage. The action does not really begin to elucidate meaning within the framework of the story, until something unexpected shows up.

The arrival of obstacles which appear to thwart our plans does not necessarily mean that the idea wasn’t solid or real enough for the real world. In fact, it might be just the opposite. The natural pairing of idea and obstacle, story and inciting event, can give us energy for the next phase: the rising action.

I’ll be exploring other narrative structural elements in later posts. I’ll also be giving a workshop on the use of the narrative arts in effective implementation for the European Conference on Creativity and Innovation, in Brussels in late October. And, as befits the theme, I’ve been noticing that since I had the idea for the workshop…well, let’s just say that I’ve been keeping good company with some of my favorite obstacles. But more on that to come…

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