What’s the drill – February 20: A creative confidence booster

According to Tom Kelley of IDEO, a fear of being judged is the number-one reason why we’re not more creative.

It’s not due to a lack of ability…this is a matter of creative confidence.

We all have the natural ability to come up with novel ideas (yes yes, even you shaking your head in the back of the room). But not everyone has the courage to act on these ideas.

What if we did? How could increasing our creative confidence change our self-image and our capacity to have influence on the world?

Kelley’s mission to boost (nay, rocket fuel) the creative confidence of others is one I find myself equally passionate about.

Unlocking your creative potential can start with a simple re-frame of how you present your creative ideas. Here’s an example straight from Professor William Duggan at Columbia Business School:

When we present ideas we often end by asking the age-old question, “so what do you think?”. A useful question, yes, but one that can open the door for negative feedback and instant confidence deflation.

What if instead we simply said, “anything to add to my idea?”.

Presented in this way, we’re immediately signaling that there is room for the initial idea to expand. We still expect and desire honest feedback, but with a slight re-frame we are boosting collaboration, and hopefully over time, creative self-efficacy.

What facilitators can learn from Jimmy Fallon’s Tonight Show debut

Last night as I watched Jimmy Fallon make his debut as new host of The Tonight show, I was struck by the ease, comfort, and safety that Fallon exhibited as he welcomed a presumably new audience to his show.

It was akin to the skill a great facilitator utilizes when beginning a new learning experience with his or her participants.

Though these two roles are inherently different, and stylistic differences are what help make both jobs a real art form, there are fundamental choices Fallon made that educators, speakers, presenters, and facilitators can absolutely learn from:

Fallon helped create psychologically safety and established a dialogue with his audience in these 2 ways:

  • He made his thinking visible – Strong facilitators know how to engage adult learners by showing them the learning path and extravert-ing their thinking. Fallon told us the basic structure of his show, how long his monologue would be, and even where he’d stand when he delivered the opening set of jokes. Though it seemed like a small gesture, it worked to set a new routine and let the audience know what they could expect each night, and how they would get there.
  • Auto-biographical disclosure – This is perhaps the most impressive technique Fallon utilized, and the most direct application to what we do as facilitators. Fallon spent several minutes at the top of his show, introducing himself, his background, his band and his announcer to bring people into the experience, add authenticity and personalization, and put new viewers at ease. As Dr. Stephen Brookfield theorizes, the more an educator or facilitator can use appropriate autobiographical disclosure, the quicker you can bring adults into ‘the learning’. For example, in a class on adult learning a facilitator can use autobiographical disclosure to briefly talk about his or her experience as a learner and how its framed his or her approach. By telling the story of his own history of watching and admiring The Tonight Show, Fallon also exhibited experiential credibility, by letting the audience know that the experiences (and perhaps new-ness) he dealt with are similar if not the same.

Journalists, bloggers and critics are praising Fallon for these specific, ‘smart’ choices — but they don’t need to be reserved for talk show hosts. Think about the last time you felt “safe” in a new learning environment. Chances are your facilitator exhibited some, if not all of these same techniques.

The power of a “Power Pose”

How much space do you take up? No, we’re not talking about oxygen or your belongings. Literally, when you stand or sit, or enter a room, how much space do you take up and how do you convey that to others?

This is one of the tenants of “Status” – a tool Improvisers use to communicate, influence, empathize, and… play. Status is present in our every day lives and asks us to consider how we act, talk, and feel along a continuum of submission to dominance.

We can choose our status. It is ever in flux. Choosing our status can help us gain the confidence to own the stage.

Amy Cuddy of Harvard Business School does a wonderful job of teaching us how to play with status, how being more mindful of status and body language helps shift us neurologically to act the way we want to feel.

Want to learn how? 

Or watch her TED talk, here.

A power pose is one way. What else triggers you and helps you act the way you want to feel?

What’s the drill – February 22: Know your objective

‎”Whenever someone comes to me for help, I listen very hard and ask myself, ‘What does this person really want? And what will they do to keep from getting it?” – William Perry, Harvard Professor of Education

Navigating life without a script means finding the balance between freedom and structure. For Improvisers, it means getting clear on the basics of the scene, feeling grounded in the structure so that we can move and build new ideas with complete freedom.

A trick we use to keep us centered, motivated, and able to navigate ambiguity is to know our objective in the scene. What is it that my character wants, and why?

Once we get clear on these answers, a scene can really flow.

But, how often do we go into a scene, a meeting, a phone call, a class, an opportunity and truly know what our objective is?

Getting clear on our objective does more than just help you – it helps your partner in crime. If I don’t know what it is you want, how can I support you?

For me, the most memorable Improv scenes to watch and to play in are those where characters have a clear objective that comes from a very truthful, sometimes vulnerable place. For example, they don’t just want to win the science fair, but they want someone to tell them how great they are… for the very first time.

Having a clear objective is a way to measure change. Did we get what we wanted? Did it mean something to us? What’s my temperature reading before and after? How am I progressing?

When I’m coaching Improvisers or those in a professional development setting, it’s common for people to either not have an objective or to not verbalize it.

We can’t always think of the objective spontaneously, but we can tune into the character, or ourselves to think about what is it that I really want? Sometimes it takes some work, and some encouragement:

  1. Know the “why”, not only the “what” – figure out why your objective matters to you. Sometimes asking “The Five Why’s” can help with this. 
  2. Be open to your objective changing. Don’t hold so fast to it that you close yourself off.
  3. Finally – don’t be afraid to ask for help.

 

 

 

The Presentation Mistake You Don’t Know You’re Making, via HBR

If your New Years resolutions include improving your presentation skills, you’ll want to check out this recent study and article from Harvard Business Review. Has this happened to you…?

“During an interview, your potential new boss asks you to briefly describe your qualifications. At this moment, you have a single objective: be impressive. So you begin to rattle off your list of accomplishments…”

…and before you know it, 5 minutes have gone by. Fear kicks in, the clock is running, and we resort to lists instead of the big picture.

Getting clear, concise and specific in an interview, presentation, or meeting isn’t always easy, especially if we are focusing on the quantity of our material as opposed to the quality.

Naturally, our instincts tell us so because of a phenomenon called “Presenter’s Paradox”… the assumption that more is better.

“More is actually not better, if what you are adding is of lesser quality than the rest of your offerings. Highly favorable or positive things are diminished or diluted in the eye of the beholder when they are presented in the company of only moderately favorable or positive things.”

So if more is not the answer, what do we do? 

  1. Consider choosing a new objective – “be impressive” sounds fine, but we owe it ourselves to really understand and get clear on our objective, and work backwards from there. Improvisers choose every action based on their character’s objective and it does wonders to help them inform the scene and navigate the unknown.
  2. Less lists, more stories – use storytelling to help focus on the big picture. Turn your bullet-point accomplishments into key story points with a beginning, middle and end. Look to the Story Spine for help on this one.
  3. Ask yourself “The 5 Why’s” to help you get clear and specific.
  4. Remember that even though you’re in the hot seat, the interview or presentation isn’t all about you. Follow the improviser guideline of “making your partner look good” by finding opportunities for connection, commonality and interaction.

What matters to you? Seth Godin’s 140-second challenge

What do you care about? You have 140 seconds to share it with a room full of strangers. Ready, go!

Last night in NYC I took part in a noble experiment by marketing and creativity author and guru Seth Godin.

As part of the release effort for his latest book, he let out a rally cry for individuals to get together and share their passion.

The event provided a unique and thrilling opportunity to be vulnerable, courageous, succinct, clear, and focused…in 140 seconds. This may sound difficult to some of us, but we’re each given numerous opportunities throughout the year, week or even day to present what matters to us in a clear and hopefully, authentic way. Why not practice?

 

I’m curious to know what you would talk about in your 140 seconds?

I challenged myself to improvise much of my talk but here’s what I ended up saying:

My name is Lindsey, and I am an Improviser. Usually when I tell people this, especially if I am outside of New York, I hear one of three reactions:

“Oh, you must be funny, then”, or “Is that like, ‘Whose Line is It Anyway?'”, or “I could never do that”.

Here’s a secret. Everyone is an Improviser. Everyone in this room is an Improviser. No one has a script when they get up in the morning.

But here’s how I really know that everyone in this room tonight is an Improviser. Improvisers are really good at doing these 3 things:

  1. Taking Risks
  2. Embracing Failure
  3. Saying YES to opportunities 

Everyone in this room took a risk to come here tonight. Everyone who got up here and shared their art is embracing failure, and everyone said yes to an opportunity even if they were unsure of what this was. 

5 years ago, almost to this day, I took my first Improv class. Now I work with corporations, teams, and individuals to help them cultivate their inner improviser because I believe that these skills matter. Imagine what the world would look like if everyone learned these skills? Well, I imagine it would be similar to this room here tonight, a room full of people who took risks, embraced failure or re-defined what ‘failure’ meant, and said yes to opportunities. I’m really excited about that world.

My hope for today is that when you leave this room tonight you’ll help someone else unleash and embrace their inner improviser, that you’ll keep taking risks and saying yes to new things, and exercising the muscle that brought you here tonight – then maybe someday we’ll have the courage to throw away the script. 

What’s the drill – August 21: Find the ending

And, in conclusion…

Sometimes as presenters, communicators and improvisers we spend so much time learning how to start our speech, conversation, or scene that we forget to brush up on how to finish them.

Here are some tips, pulled straight from the world of Improvisation and storytelling to help you find the elusive ending.

1. Know your objective – What do you want your speech to accomplish? Build in tie-back to your objective, and once you’ve achieved it, it’s a key sign it’s time to end.

2. What has changed? Kenn Adams’ story spine gives us a wonderful framework to think about communication and storytelling. “And ever since that day…”, what changed, for the character or for the world you described? Help paint the picture with emotional resolution.

3.  Re-incorporation – Reincorporation is comedy gold. To help find your ending, look to the beginning. What can you reincorporate?

4.  Button it up – Improvisers tend to end scenes on the biggest laugh – they like to go out on top. Once their objective has been achieved, and they have been changed, ending on a big laugh (otherwise known as a “button”) is always a good feeling.

5.  Have you solved the problem? If the problem you’ve established has been solved, your work is done. Be careful not to introduce new problems, or re-hash the same one. Simplicity is key.

6.  Did you answer the audiences questions? The audience has a circle of expectations: with the information you’ve given them, they have questions they expect to answered. Once you’ve done that for them, you can expect to have come to the end. 

A new way to think of change

In an Improv scene, a movie, a story, or a great presentation we find resolution by completing this sentence,

 “and ever since that day”…

What changed?

This change is brought about by what we call a tilt. Something a character says, does, expresses, and admits to, etc in a scene.

It is our goal in an Improv scene to be open to change and to actively seek it. This change then answers the question, “what was different about this day”.

As innovators, creative problem-solvers, leadership coaches, managers, trainers, and facilitators we push positive change.

“And ever since that day”….

The tilt, the catalyst for change, comes from being hyper-aware to what offers and ideas have already been expressed. What is around us that we can use? What are our characters feeling, expressing, and wanting and what honest reactions and desires can we pull from to help our characters organically grow and evolve?

We can think of it this way:

Once there was…
And every day…
Until one day…
And because of that…
And because of that…
And because of that…
Until finally…
And ever since that day…

Improvisers want to be changed. The static scene and character that stays the same from beginning to end is not our friend.

To embrace change is to ask… “and ever since that day”… and to see the world of possibilities that appear when we making even one small tilt pushes us in a direction we couldn’t have predicted.