Archive for the ‘Scenes’ Category

Bacon

Monday, April 30th, 2012

Saturday on my way home from playing tennis, I stopped for coffee at a Starbucks not far from Florence and Normandie, a flashpoint for the 1992 L.A. Riots. This Starbucks did not exist when the Rodney King verdict lit up the city exactly 20 years ago that day.

For all I knew, the Food4Less supermarket in the shopping center where the Starbucks sat had been the same one where four young black men from Inglewood had shot part of the underground L.A. Riots video we’d watched together a couple of years after the whole mess had gone down. I remember us laughing at the looters who were too slow getting out of the supermarket because they were trying to steal too many frozen turkeys or whatever, and had been the ones to get busted when the cops arrived. Stupid looters. All over the soundtrack of their video, you could hear the  guys who shot it expressing a kind of awe at the fire and mayhem that was everywhere they pointed their camera. They sounded half-scared, half giddy, like they were experiencing their first sex, or something. They drove the streets and shot the video  undercover, three of them ducking down so the cops would think it was just one kid in the car trying to get home and not four of them time-skipping into the future, to the day we’d all be laughing at their pre-YouTube clips of Looter Fails and L.A.’s Dumbest Criminals.

On Saturday at the Starbucks, at about one in the afternoon, an African American man, maybe a dozen years older than me, was putting cream and sugar in his coffee at the same time I was.

“Coffee tastes different in the middle of the day,” he said, emptying three packs of raw sugar into his drink. “I wonder why that is,” he said.

“Coffee tastes best in the morning when it’s doing its job and waking us up,” I said.

“That’s the truth. When I was little, the grown ups would be having their coffee in the morning, at four AM! and you’d wake up to that smell. Four AM they’d be sittin’ in the kitchen having their coffee, and the smell of it would be the thing that woke you up.”

“And then a little later, you’d smell the bacon,” I added.

“You would. We had good bacon back where I grew up.”

“Where was this?”

“Down in Louisiana, near Shreveport”

“Good bacon in Shreveport.”

“Oh yeah we had good bacon.”

“You had chicory in your coffee.”

The man ignored what I said about the chicory. He was still smelling the bacon. “Four AM, you’d smell the coffee, and then you’d smell the bacon fryin’. Folks got up early back then.”

“I grew up on a farm,” I said. “You’d go to work when the sun came up, and quit when it went down.”

“They didn’t have TV to watch at night. So they would sit and talk for a little while after supper, or listen to the radio, and then they’d go to bed. Where was your farm?” he asked.

“Indiana.”

“They got good bacon back there.”

“Oh yeah.”

We finished mixing the cream and sugar in our coffees. Wished each other a good day. Went our separate ways.

It was no big scene.  The conversation could have happened to anybody, anywhere in L.A., or just about any other city in the U.S., for that matter, on Saturday. And I think that’s the point. Our ability to make connections that put something good into play is everywhere, all around us, with everyone we meet, and every part of the environment with which we interact.

That man initiated a scene by making a declarative statement that indicated who he was: A Discriminating Drinker of Coffee. We yes-anded one another with the smells of coffee and bacon in the morning, and painted the scene with adults huddled in kitchens in the dark of the morning, and children asleep in their beds. We established the who/what/where. We edited cleanly. It was a nice, tight, 90-second scene.

20 years ago, that man and I could not have had that conversation. And maybe that’s the point, too. We have come a long way from the Rodney King verdict, and Shreveport and Indiana. We are all in the business of waking up and creating the days, the weeks, the lifetimes that lie ahead. We still have a long way to go.  We can only do it one scene at a time. By sharing stories. Smelling  the coffee. Appreciating the bacon.

Enjoy your week!

 

 

Making it Go as We Up Along

Tuesday, March 20th, 2012
Drew Coolidge

Drew Coolidge

Most of the credit for this post goes to Drew Coolidge, an exquisitely gifted improviser I’ve had the fun of watching many times in action with his group Cartel, and before that in a group called Spank Drew (draw your own conclusions about what that team thought of him). On USSRocknRoll.com he writes about his three favorite improv teachers, and the gifts each of them gave him.

Here’s a summary of Drew’s post and my take on its applications to business:

From Eric Hunnicutt, he learned how to deal with fear. “Just be present. It’s not about getting rid of fear, if you’re present, fear has no room to exist.” Hunnicutt taught him.

When it comes to business, or life in general for that matter, who among us doesn’t have fears? A speech. A parent. A spider. A client. Hunnicutt’s advice to Drew about performing onstage is just as legit in any other context: don’t work at being fearless. That’s like treating fear as some kind of virus and yourself a victim in need of medication. Don’t go there with your energy. Instead, practice being present. If you’re completely absent, begin by focusing on your breathing. Your senses, all of them, and the space around you, all of it. Go from there. By giving 100% of your attention to everyone and everything around you, fear ceases to become a factor in your performance.

(The basketball legend, Larry Bird, once said about playing in an NBA championship game against the Houston Rockets that, while running a fast break, was he aware not only of where all ten players were on the court, he was aware of every fan in the first 20 rows of the arena. If someone was sitting down with a box of popcorn, or leaving their seat, Bird saw it while sprinting down the floor. We normally think of players confining their awareness to the court, but when our senses are 100% engaged, a line painted on a floor is just one more thing we notice. It does not define the limits of our awareness.)

From Dave Hill, Coolidge got insight into what improvisers call the group mind. The group mind is when all the players on a team tap into and share the flow of a performance. They are all on the same page, they are one organism, evolving in realtime right before our eyes. “It’s the product of individuals making strong choices and completely supporting the moves of the other players,” is how Drew boils down Hill’s gift. It naturally follows Hunnicut’s note. If you’re present, you can do this.

In business, everyone talks about teamwork, but dishearteningly few understand what Dave Hill taught Drew: Every player on a team can make the strongest, boldest, ballsiest individual move she or he is capable of making, and support those moves by their fellow players, and have all of it be consistent with good teamwork. (Oh, and group mind is not the same thing as groupthink. The two concepts are completely at odds with one another.) Agree on the game your team is playing and you’re on the way toward discovering the group mind.

From David Pasquesi, Drew received this gem: “The scene is already occurring, it’s our job to allow the scene to reveal itself to us. The tools for doing that are: 1. Listening (or Paying Attention) 2. There is no two.”

We call Lstening (or Paying Attention) ‘Heeding.’ In business, we can get so focused on the desired resolution to our ‘scene,’ that we forget to heed what’s happening in the moment, which is the only chance we have to improve our odds of success. Heeding results in opportunity recognition. Forget to heed, fail to recognize opportunity.

I’ve evolved the headline from Drew’s post a bit. He made it go, I heeded, and that’s how we up along. Spanks, Drew!

Miles Stroth: Listen Then Think

Monday, January 23rd, 2012

Listen4I take improv classes when I can, always from top-flight teachers. It helps me keep my edge by putting my performance under scrutiny and review that’s much more intense than what you or I experience in a workplace environment.  And it keeps me in a learning mode. You’ve probably never heard the name of my current teacher, Miles Stroth, but Miles is a legend in the improv community. He has influenced the art of improvisation as a performer and teacher, performed thousands of shows, taught thousands of students and changed the way they play the game.

I was struggling with my scenes in this week’s class, then had a little breakthrough in the last scene I did (we do dozens of scenes per class). The difference came about when I began by listening instead of thinking.

“Listen, then think,” says Miles. “Don’t try to make sense of the situation. Interact with it by listening.”

Here’s what happens when you think first instead of listening first:

You begin having a conversation about what’s in your head instead of about what’s in the scene. And because neither your scene partner(s) nor your audience can hear what’s in your head, you’re having a conversation with yourself, which distances you from the scene instead of engaging in it. You’re having a conversation with yourself.

Here’s what happens when you listen before thinking:

You can use your intellect to serve the scene (by doing something smart that propels the scene and makes your partner look good) instead of letting your intellect use you (“I am the smartest person in the room and here’s proof”). You’re having a conversation with reality.

Thinking is the ego talking; Listening is the world talking.

Listen. Then Think. That is the order of the opportunity in any scene you’re in.

Objectives vs. Outcomes cont’d

Thursday, January 19th, 2012

Tuesday night, we staged an invitation-only workshop for 25 friends, acquaintances and interested folks to let them experience the marvel that is GameChangers. After reviewing our performance, the GameChangers team’s consensus is that on this particular night we were not marvelous. We started 15 minutes late, got slow in the middle and rushed at the end. We felt that the experience was, at times, less than riveting for our audience.  A couple of people spent an inordinate amount of time on their mobile devices, and we know for a fact they were not tweeting about how great it all was.

Specific notes:

- After cautioning the audience at the beginning of the presentation about long monologues as a means of communicating, I wrapped up the presentation with a long monologue.

- Our direction was soft on a couple of the exercises. This resulted in a kind of sponginess in the middle of the two-hour session, with drawn-out explanations by Antonio and me, less focus by the teams, and a rushed ‘third act’ in the last 15 mins.

- As any improviser can tell you, you have to work on pieces of the process at a time. You cannot drop everything you know on your audience all at once. In my explanation of what we call ‘the orchestral model’ of business communication, and the concept we call ‘quantum narrative,’ I got into more detail than the audience was able to absorb in such a short window. ‘Too clever by half,”as they say in Blighty. ‘Ten pounds of potatoes in a five pound bag,” as they say in Boise.

- The teamwork that usually happens during our workshops was not so much apparent in this one. Things stayed more individualized, and less knit-together than we would like.

- The tempo at which we conducted the session was inconsistent. If I had been conducting a piece of music, it would have been in about 20 different time signatures, with me conducting at least part of the performance with my back to the orchestra. Missing cues. Dynamics roller-coastery instead of scenic.

These notes are related to our business objective for the workshop, which was to explain GameChangers and give attendees a sampling of what we do with our clients. At achieving this objective, we give ourselves a 50%. We were only about half as effective as we believe we’re capable of being.

So why are we not upset?

Two reasons: One is that because our process lets us see so clearly where the issues are, we have already taken steps to remedy them before the next open workshop.

The other, bigger, reason is that the outcomes of the session have been extraordinary, better than the outcomes of many workshops where our performance was actually  much better than it was Tuesday. A lot of credit for this goes to the people who were in attendance. One of the points we make in these introductions to GameChangers is to distinguish between objectives of the game, and the outcomes of the game, and wow, has that been our experience since Tuesday.

These are some of the outcomes:

- Our friend Ron Finley, the ‘renegade urban gardener’ connected with our friends Jenna and Adam from TakePart, who were in attendance. TakePart is the digital division of Participant Media. They are going to do a story about Ron.

- Erin Reilly, the creative director of USC’s Annenberg Innovation Lab, spoke yesterday to her faculty committee about having us do a one-day workshop there in March.

- Marcy and Strath Hamilton of Tri-Coast Studios, which is producing a lot of e-books, met a Ruby on  Rails coder named Patrick Maddox, who was in attendance Tuesday.  They’ve been looking for a coder. Now they’re talking to Patrick.

- T.H. Culhane and David Groder, who are working on a robotics education program funded by the U.S. Naval Research Dept., are making a presentation today (Wednesday) at Washington High School in Los Angeles, and are being joined by Ron Finley, who is a Washington High graduate. This is happening as a result of them connecting on Tuesday night.

- T.H. and Groder will soon get introduced by GameChangers associate Jamal Williams, who was in town from D.C. for the Tuesday workshop, to Nii Simmonds, the ‘Nubian Cheetah,’ a Ghanian-born D.C. resident and former investment banker who funds a program called Afrobotics, a robotics competition for African schoolchildren.

- Kevin Wall, who is producing the opening ceremonies and concert for the 2014 World Cup in Rio, was in attendance. Kevin learned for the first time that Fernando Godoy, who used to be an intern in at one of Kevin’s companies, is today a successful internet entrepreneur in Sao Paulo and is a partner in Spirit of Football 2014. Kevin and Fernando are going to meet the next time Kevin is in Brazil.

- Tri-Coast Productions and GameChangers are meeting this coming Monday to discuss two projects–a GameChangers ebook and a video series that would be produced and performed by people from our network of world-class improvisers.

- Andy Sternberg has since Tuesday introduced us to two friends of his whom he believes will be interested in our work.

- We were able to continue a conversation with Nicholle McClelland Betelier, a marketing officer from IdeaLab, that began at a yoga retreat in December.

- A crypto-hipster named Som showed up uninivited, and asked some of the best questions and offered some of the most thoughtful comments of the evening. Thank you, Som, whoever and wherever you are! Please stay in touch!

- My favorite outcome of the evening came about thanks to a ‘gift’ from David Groder. At the very end of the session, after my long-winded closing monologue, Groder asked if we could go around the room and have everyone introduce themselves. All 25 people introduced themselves and described the work they’re doing. It was really remarkable, not only because it completely subverted the normal order of things—introductions at the end instead of the beginning!—but also because the people in attendance are doing brilliant things in the world. Attendees are working in robotics, social media, community development, urban gardening, fashion, cause-related marketing, transmedia storytelling, architecture, criminal law, venture capital, entertainment, academia, e-books, tech, watercraft stabilization, app development, etc. etc. etc. Introductions at the end became a very enjoyable kind of reveal. Almost everyone stayed and talked for half-an-hour or more after the session, and I believe most of that conversation would not have happened if not for David’s gift to the scene.

Never get objectives confused with outcomes. Objectives are what we use to assess and improve our performance. Outcomes happen as a result of having performed. Objectives are finite. Outcomes are unlimited. Objectives create focus. Outcomes generate value.

Post-event conversations were the most productive part of the evening

Post-event conversations were the most productive part of the evening

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The Cliche of ‘Yesterday’

Thursday, January 12th, 2012

Not long ago, I observed a scene in a retail store where a manager requested something from a busy employee. This request was obviously unexpected. An ambush of sorts. The employee was doing something else at the time. We have all been part of a scene like this, in one role or the other.

“And when do you need this done?” sighed the already-dubious employee.

“Yesterday!” said the manager, pivoting abruptly and walking away.

The employee shook her head almost imperceptibly and said to no one in particular, “What am I supposed to do with that?”

Exactly.

‘Yesterday’ is not an answer. It’s an attitude.  And a cliche on top of it. The ‘I need it yesterday’ attitude says to the employee:

“You are now guaranteed to fail. I’m going to be unhappy with you no matter what. You should have thought of this yourself. Do I have to think of everything?” That’s  lot of attitude for one word.

And like the employee said, what is a person supposed to do with it?

Give the people in your scenes information they can put to use! Information that will shed light and bring clarity to the problem at hand. Don’t muck up the scene with your imperious attitude and your unrealistic expectations.

Richard Saul Wurman holds court at USC school of Architecture, 01.10.12

Richard Saul Wurman holds court at USC school of Architecture, 01.10.12

On Tuesday, I went to see Richard Saul Wurman speak to an audience of architecture students and faculty at USC. Afterward he held court outside the classroom for half a dozen students who stayed around and asked him questions. One student asked, “What do you think of urban planning?”

Wurman sized up the student for half a beat then shook his head. “That’s a terrible question,” he scolded. (He pulls no punches.) “It’s too general, too broad. How can I even begin to answer it? It’s like asking a doctor what he or she thinks of medicine, or asking an oceanographer what he or she thinks of water!”

See, there’s learning in the ‘Yesterday’ scene for both players. The employee had an attitude, too. “When do you need this done?” made scheduling the task the manager’s problem. It was therefore not a very useful response to the manager’s request.

Instead of a question that made scheduling the task the manager’s problem (and setting herself up to be a victim) a question or statement that engaged the manager in the scheduling process would have been better:

“I’ve got five to-do’s on my list ahead of your request. Help me prioritize.”

“I can have it done in 48 hours.”

“Rate the urgency from 1 to 5, with 5 being an emergency where I have to drop everything and do it now.”

Whatever you do, whatever role you’re playing, give your scene partners information they can act on, not an attitude that makes it more difficult or even impossible for them to solve the problem of the scene.

Role Model

Monday, December 12th, 2011

Our friend, Howard was the publicist on the film, Tex, which was Matt Dillon‘s breakout role as a leading actor in a feature film. Young Dillon was barely out of his teens at the time, maybe even still a teenager, and was, by all accounts, a raw and rambunctious lad. He and Howard were in Atlanta visiting the nerve center of new media at the time, Turner Broadcasting, the first of the Superstations, where Young Dillon would be doing a series of interviews. After his first interview, he began chatting up a young Turner employee who was beautiful in a way that only southern girls can be. They can say everything without saying anything. A Turner exec pulled Howard aside to tell him Young Dillon had to back off the belle. “That’s Ted’s girl,” explained the exec.

Nobody, including Young Dillon, had to ask what this meant.LeadershipFlowers1A

The old role model of leadership was about control.  How do I get what I want when I want it?

Leadership in a networked world is not nearly as much about control as it is about adaptability. How does a team get the resources it needs to solve the problem?

Now—-

Just because leadership is highly adaptive doesn’t mean it is without structure. In fact, it’s the opposite: Because what it means to lead can change from scene to scene, it  calls for even more structure and definition than the old models did, when one org chart covered every leadership scenario.

We call our role model the 3A Role Model. Here’s why: There are three A’s to every role: Accountability, Autonomy, and Authority. When the 3 A’s are clearly defined and understood by all the players in a scene, and when they are complementary between players, leaders will emerge organically and authentically from that team and its scene.

When the 3 A’s are muddled, overlapping or disputed, leadership can get territorial and ‘status-y.’ When this happens, leadership  arises from something that’s not part of the scene—qualifiers like job titles, seniority, family ties, company politics, intimidation, scapegoating, etc.—all of which are unrelated to the problem to be solved in the scene and therefore offer only an illusion of leadership, not the real deal.

The 3A Role Model:

Accountability. We are Accountable to our team, and to the ‘game’ of solving the problem at hand. We are also Accountable to our company, to the agreement that we are engaged (one hopes) in generating something worthwhile in the world, and in caring for families, loved ones, communities, and ourselves. These are the most important aspects of Accountability, because they are intrinsic to teams and individuals. Beyond that, Accountability does, in fact, mean organizational responsibility–who reports to whom? This structure is extrinsic, though, and does not guarantee a good flow of communication. In fact, if leadership is extrinsic, scenes often produce a one-way flow of communication, which is a big no-no. Good leaders make it clear they are every bit as Accountable to their team as their team is to them. And so it flows…

Autonomy. If Accountability is the root system of an organization, nourishing and sustaining it from within, Autonomy is the leaf system, which has the potential to energize and give it life by drawing in outside resources and opportunities.  Autonomy means the freedom to decide and act on one’s own, without any other player’s approval or oversight. Nobody tells a leaf which way to turn! A company’s spirit of entrepreneurship and ability to innovate are liberated by Autonomy. Its ability to turn these energies into growth rests with Accountability and….

Authority. Authority—-which stems from a 13th-Century Old French word, autorite, meaning “a book or quotation that settles an argument”—–is the ability to empower and disempower. It governs the other two A’s. To extend the permaculture metaphor, this is the planter or designer who decides what grows where. In the parlance of IT departments and gamers (and IT departments), this is ‘god’ or ‘superpower’ status.’ This ‘A’ regulates the other two ‘A’s', by deciding, for instance, the makeup of a team. Authority also means Authorship—of strategies, plans, vision, letters to employees, and the game elements of Environment, Roles, Guidelines and Objectives. It can also mean Authorization and Authentication: Who has access to accounts? Lists? Records and reports? Facilities? Fellow employees? Who can call a meeting? End a meeting? Okay a budget?

Ultimately, leadership is the art of role-modeling. When a team’s roles are modeled artfully, its leaders will emerge when and where they are needed.

Gamechanging Leadership

Thursday, December 1st, 2011

MountainTeam1AIn hierarchical organizations, leadership moves primarily from the top down. That’s its sole direction. In this model, the CEO is automatically the leader in every scene that doesn’t  involve the Board of Directors. The people who report to the CEO are the leaders in every scene that does not involve the CEO or the Board etc. etc. etc. until you get to the janitor, who is the leader of the broom. Every scene has a pecking order, and the pecking order has been decided before the scene begins.

In a business environment that changes at the speed of thought, there are lots of issues with this leadership model. Specifically, it’s too slow. It does not let an organization act quickly enough on opportunities or adapt cost-effectively to changing market conditions.

In networked organizations, by contrast, leadership is organic, it grows out of the structure of the scene and its problem-solving process, and not from a presumed hierarchy.

Visibly good leadership is essential to attract employees and customers to a brand and keep them engaged in its narrative, but that visibility can come from anywhere. Sure, it can and should still come from the ‘top.’ It can also come through the side door, from behind, the center, the edge, from out of left field, up from the ashes, or out from the shadows. It can be bombastic, it can be imperceptible, or any dynamic in between.

In networked organizations, leadership is everyone’s responsibility, and there is no single context for it, or one accepted style of leading. It is the scene that determines what leadership looks like, and what purpose it serves.

Further, being a leader is no bigger or lesser a deal than being a follower (i.e. team player). Just as everyone in a networked organization is expected to be a leader, everyone is also expected to be a follower. A player’s leadership (or followship) status is a condition of the scene and the game, not necessarily a condition of his or her rank in the organization.

Among the questions addressed, on a scene-by-scene basis, in a gamechanging leadership model:

-Whose subject matter expertise, perspective, or professional experience is most important to the scene?

-How well-articulated and shareable is the vision?

-Is your scene’s narrative (and its possible outcomes) scripted ahead of time, or co-created by your team as a result of its problem-solving process?

-Are your team’s roles complementary and supportive, lacking expertise to solve the problem, or overlapping and in conflict?

-What is the balance, and who does the balancing, between listening and speaking? Between information and intuition? Deconstruction and construction? Prenatal and Postmortem? Questions and declarations?

-How does a team stay focused on the problem at hand, while at the same time honoring historical and future organizational narratives?

-Who decides? How?

-What’s the game? When is it time to change the game or edit the scene?

And while there’s no one style or way of behaving that defines effective leadership, two things are true of all gamechanging leaders:

1) They listen first. 2) They do not script outcomes.

They understand that there are many ways to solve a problem, and that most of those ways will not be their own. This leadership model is the only way to act quickly enough on market opportunities and adapt cost-effectively enough to changes in the environment to stay competitive in the networked world.

NEXT: How we define Roles

Gameless

Monday, November 21st, 2011
Katehi

Katehi

The old games are exactly that. Old. And like anything old, they lack sap, spine, vigor. In many ways, the Occupy Wall Street movement calls this out. Saturday’s Silent Protest against the UC Davis Chancellor, Linda Katehi, is one of the best ways yet of #OWS demonstrating the impotency of old games.

Here’s the scene breakdown:

A day after the notorious on-campus pepper-spraying incident, the UC Davis protesters have the idea of  creating dialogue with Katehi, by forming a stage between the Administration Building and her car. (Note that no one is out front taking credit for this idea, it doesn’t belong to anyone. Ownable ideas are typical of an old game; shareable ideas are typical of a new game.) The stage is a hundred yards long, a catwalk extending the length of the theater, lined by hundreds of students sitting on the ground in order to effectively elevate the stage.

In forming this stage, the protesters change roles, from ‘Quad Occupiers’ to ‘Silent Audience.’ It doesn’t take them much time to do this. There’s no ‘spin’ of a story being told or sold, no research to back it up, no ‘official position,’ only a simple intuitive agreement to keep their mouths shut for the duration of the scene. Game on. ‘Silent Protest’ is the name you can give the game. The reality of the scene emerges from the focus on this game, this agreement. It is the absence of protest that will make the protest so dramatic.

After 3 hours of what must have been a lot of hemming, hawing and phone-calling by her team about ‘how to handle it,’ the scene finally begins when the Chancellor enters, accompanied by a couple of non-speaking ‘extras.’ She is lit dramatically by the glow of cameras—-eyes of the world—-tracking her across the stage. Her delaying has made this a nighttime scene, which is even more dramatic, the darkness creating a heavier silence. By taking the stage without a script, i.e. nothing in her head, Katehi is exposed as someone with nothing in her heart. She’s got nothing. Because —-

The script won’t be ready until tomorrow!

The silence of the audience is remarkable.  Its discipline is impressive. No one breaks. The silence is marred by a few unable-to-resist journos whose subdued questions as the Chancellor nears her car only underline the otherwise-completeness of the silence.

Here is what gets revealed by the scene: The Chancellor cannot speak for herself. Her heart is closed, her emotions as frozen as the mask of solicitude frozen on her face. She is afraid of saying the wrong thing. Her institution’s students intimidate her. There is no dialogue between player and audience, between administration and student, between authority and autonomy. No dialogue. Just an old game, getting called out for what it is. Empty.

The protesters didn’t have to say a thing. All they had to do was create an environment in which the old game of ‘script and control’ would be displayed in all its inadequacy for the world to see.

Boje

Wednesday, November 16th, 2011
Dr. David Boje, the 'Einstein of Story'

Dr. David Boje, the 'Einstein of Story'

This morning, I’m wrapping up a visit with Dr. David Boje, who’s on the faculty of the business school at New Mexico State University. Boje’s work focuses on storytelling and its effect on business (huge!) I participated in two of his classes, one undergrad, one for PhD candidates, in which we explored what he calls the Quantum Physics of Storytelling and its relationship to improvisation. We found all kinds of connections and I think we both came away from the experience feeling there’s  lot more to be discovered and explored in this realm. Improvisation is the ‘trigger mechanism’ that can release the quantum energy (and meaning) stored in stories. Boje’s work provides the framework for the process and the empirical evidence of its outcomes. We’ll leave it at that for now. Very excited to see where this scene goes, and how it can help GameChangers’ clients!

Objectives and Outcomes

Monday, October 31st, 2011

Games are structure. They create focus, encourage participation, and stimulate the Group Mind, which gives players the freedom to work at the height of their intelligence toward collaboratively solving a problem. At GameChangers, we define game structure as ‘ERGO’–Environment, Roles, Guidelines and Objective. If you can define these elements in your scene, you’ve called out a game.

A ‘scene’ can be a single meeting or a years-long campaign. It can address an immediate crisis or seek lasting change in an organization’s culture. Whatever the reason for your scene, you always have the ability to apply game structure to it.

In addition to defining game structure, we help our clients sort out productive games from the unproductive ones. It should come as no surprise to anyone that there are a lot of unproductive games getting played out there. They can be unproductive for a lot of reasons. Here’s a big one: Games that treat Objectives and Outcomes as the same thing are not good games.

Objectives are structure. Outcomes are performance. These are two very different things. Here’s an example we sometimes use in our workshops to illustrate this point:

What is the Objective of the game of basketball? It’s to put the ball in the hoop. This objective has not changed since Dr. James Naismith nailed a peach basket to the balcony of the gymnasium at Springfield College in 1891. Other elements of the game, the E the R and the G, have evolved dramatically, the O has not. It is remarkable for its unchangedness.

The Objective: same as it ever was

The Objective: same as it ever was

Now…what are the Outcomes of the game of basketball?  Let your mind play with that question for awhile, and see what kind of responses pop up. Here are just a few that I myself have experienced: the Ireland (Indiana) Spuds high school basketball team; Hoosiers; my first pair of Chuck Taylor white canvas high tops; numb fingers from playing in 30-degree weather at recess; the fact that I first learned about Crispus Attucks because Oscar Robertson played for Crispus Attucks High School; Marv Albert’s arrest and subsequent rehabilitation; LeBron James leaving Cleveland; Dude Perfect; Magic and Bird; Rick Mount; George McGinnis; Wilt vs Russell; a rubber band that I wore on my wrist for a year; the Chuck Taylor black leather high tops that Corey Feldman wore in my film, The Lipstick Camera; the Chuck Taylor brand; the relationship between Spike Lee and Michael Jordan; Bobby Knight; Extreme HORSE with my friend Tim; hoops with my sons and their friends; coaching at the Y; the 2002 and 2003 Loyola Cubs CIF Championships; my friendship with Jamaal Wilkes; Ernie Barnes’ paintings…you get the idea…while there’s only one Objective, there are many possible Outcomes. And that’s just me. Your Outcomes are different from mine. Outcomes are an ever-expending set of possibilities.

This same dichotomy between Objectives and Outcomes is applicable to any game structure for your business. The Objective is the constant; the Outcomes are the infinite unknowns, where all the possibilities and all the upside reside.

Focus on your Objective, yes, by all means, absolutely! From a process standpoint, it is the most important thing, the target, the point of the exercise, it can even be your motivation. It is not, however, where the action is. Not where growth and extension occur.  If the only action you’re open to is achieving your Objective, you’re missing most of the possibilities of the game.

The game is put the ball in the basket. The possibility is Oscar Robertson.

"High Aspirations" by Ernie Barnes

"High Aspirations" by Ernie Barnes