The story secrets of organizational change

In the world of Storytelling and Organizational Consulting, similar mantras are drilled into us – different words, similar meaning:

1. Make the audience the hero

2. Meet the client where they are

Both of these mantras speak to empowering people and companies, to help them feel, think, do, and see things differently so that they are called to action to enact change.

What this boils down to is – I see you (the client, the character, the company), where you are, for what you are…and I believe in you.

What this requires of us (those who lead change efforts and write the words to inspire) is patience, and a bit of scaffolding.

The best example I’ve seen of living out both of these mantras was Columbia University Professor William Duggan. I write about him often, and, nope, I probably won’t stop.

He had important words say, to teach, and to share. He drew us in carefully and artfully, by speaking the audience’s language (read, mostly MBA students), and skillfully partnering with them to help students come to important realizations themselves. Three acts. Small steps. A slowly built narrative balanced with equal parts logic and emotion at just the right times, each chapter asking for a bit more of us as we went.

In awe of his art, I asked him how he crafted his semester-long class. What was his secret?

Make the audience the hero. Meet them where they are.

He was teaching a slightly unconventional topic and wanted his students to come along for the ride. How often have we too had a great idea, something we care deeply about sharing, and want others to join in on? Hands up, everyone! I see you.

His reminder – you can’t do that by forcing an idea. That’s all head, no heart. He metaphorically held the idea and the a-ha out for his students in his out-stretched arm. And carefully crafted a sequence of steps where they’d be encouraged and motivated to keep reaching. One class after the other.

It’s not too much of stretch to equate this art to leadership.

But how often does our desire to push and prod instead of join and co-create take over our best impulses – especially under stress and threat?

How often does our desire to be seen as the hero and to not quite understand or empathize with where the client could be force us to push too far and stop the story? I’m certainly guilty.

To meet the client, the student, the reader where they are and to help them see that they are the hero is to recognize that we aren’t writing the story by ourselves. It’s not our story. It’s theirs. It’s not my change effort. It’s ours. Or, in many cases… it’s just theirs. And that’s a happy ending.

The Role of Educator as Storyteller

The role of storytellers and educators (who are masters at storytelling) isn’t all that different: help your audience see that they are the heroes of the story you are telling, the change initiative you are working on, or the learning program you are facilitating.

Leave space for the audience to be a big part of the narrative, so that they can see themselves in it,  believe in it, and themselves.

The best facilitators, professors, and change practitioners  I’ve seen can tell great stories, but they always find a way to point out the audience / client / learner as the hero in the story.

“It’s not me, it’s you”.

The more we can help others see and feel that, the better equipped others will be to craft more powerful stories and have the confidence to go after the challenges, opportunities, and allies that they need for each chapter of their narrative (or, lives).

Learning and teaching as art: The best, most inspiring example of this I’ve seen recently was as a student in Professor William Duggan’s class at Columbia Business School. All semester long we studied the hero’s journey of ‘famous’ businessmen and women, military leaders and cultural icons.

We were inspired by them but their stories of personal and professional triumph never felt out of reach. Their stories were not fairy tales.

We can study and learn from the quests, obstacles, and successes and failures of others and their stories – but none will be as powerful as putting ourselves and those we help in the driver’s seat of their own hero’s journey.

 

What’s the drill – March 21: StorySlam’s 5 minute storytelling challenge

In January I accepted the challenge to talk about what matters to me, in 140 seconds.

Tonight, I ventured downtown to check out another public storytelling test-kitchen… the Moth StorySLAM — an open-mic storytelling competition held weekly in NYC and across the country. Here, the rules were a bit different. Brave participants had 5 minutes to tell a true story related to the night’s theme.

What happened in the room tonight was simply inspiring and beautiful. Not only were the 10 stories remarkably polished and moving, but the support, engagement, and positivity emanating from the 200+ people in the crowd was an incredibly special feeling.

The event got me thinking about learning communities, trust, tribes, and the power of story, vulnerability, empathy, and theme to inspire positive change — not just in a 5 minute story, but in a lifetime.

StorySlam events are held in big cities across the USA. Check out the calendar, here.

 

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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.

 

 

 

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. 

The year of Daniel Pink

Little did he know it, but in January of 2012 famed author Daniel Pink was already applying some of the tools he talks about in his latest book (out today!), “To Sell is Human“.

I’ll explain. It was December of 2011 when I finished reading his earlier work, “A Whole New Mind: Why Right-Brainers Will Rule the Future” . I was enamored with the material, and overjoyed that his words seemed to validate my career path, and passion.

On a whim I sent Mr. Pink an email. I complimented him, pointed out our mutual connection (Go ‘Cats!), and…well, asked if he had some time to talk. I may have even quoted Oprah?! Silly me, I thought. But, I had nothing to lose.

I was sitting in a quiet cafe on Polk Street in San Francisco when I received his prompt response:

“hi, lindsey. thanks for the note.

i’m happy to talk, but only on the condition you share with me one or two tips for getting better at improvisation. (as it happens, i’m doing some research that’s kinda, sorta on that topic right now.)”

I screamed. There were some odd looks. I didn’t care – to me, Daniel Pink is a rock star and this was the equivalent of a backstage pass.

Almost a year later Daniel Pink finished the project he alluded to and released “To Sell is Human”. It is a fascinating, thought-provoking read that I highly recommend.

Pink devotes an entire chapter to Improvisation and the tools we use as Improvisers to improve communication, presentation and even, authenticity. Just like in “A Whole New Mind”, Pink has validated, supported, and encouraged the use and application of these tools to a broader base and signals the growth of this field for years to come.

Our conversation in January was one of the highlights of my year. Daniel Pink said “Yes, and” to my request to talk and it is something I will never forget.

In December of 2012 I was chosen to be a part of a small group that would serve as a launch team for “To Sell is Human”.

Small actions (to say “Yes, And”, to help make someone else look good, to practice generosity and taking risks) help to create memories and connections that we don’t soon forget.

Here’s to a new year of saying “Yes, And”,  and to being uncertain but taking a risk anyway. You never know where it will lead.

What’s the drill – September 12: And because of that…

Remember the Story Spine? The fantastic tool we use to apply elements of storytelling to a plethora of organizational situations and cases?

  • Once upon a time …
  • 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 ..

Today specifically we can talk about the Story Spine as a means of discussing risk and reward.

Take the phrase, “And because of that…”

Improvisers are taught, and become more comfortable with taking risks. They feel on stage, experientially, what it’s like to get out of their comfort zone. And because of that, they stretch, grow, and so much more.

Sometimes, off-stage, we take a risk (“until one day”) and wait for the reward (“because of that”). We see risk taking as a means to an end. It’s got to be something tangible, right?

“Where is my ‘because of that‘ already?”, we ask. Show me the reward! Let’s flip to the end of the story.

In truth, the other, “because of that’s” might not have been written yet. We often can’t see them coming although we hope they appear. It may take months, years for you to recognize what they are. You might find there are more than 3, perhaps dozens of “because of that” phrases. All we know sometimes is that the risk moves us forward, certainly in learning, and hopefully in tangible results.

If we are taking risks solely in pursuit of the reward we might never be satisfied with our story spine.

The point is that we as organizations and the people who run them have a responsibility to keep the story moving forward. Choosing to take risks and to use the call to action of “until one day” moves us forward, compared to the glacial, steady, predictable pace of “and every day”.

 

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.