Before yesterday, I’d never, to my recollection, heard the phrase ‘burning platform’ used in a business conversation. Yesterday I heard it used multiple times in two different conversations, with teams in two different businesses, in two different parts of the U.S., to refer to issues they are addressing.
A pattern defines a game.
This is what a burning platform looks like:
What’s the story here? Well, let’s see…it’s an environmental disaster…lives are no doubt endangered (many have already escaped in lifeboats, jumped or been killed (e.g. ‘fired’)…the focus is on containment instead of productivity…the PR spinning is beginning…a hundred lawyers are circling…Wall Street is manipulating markets based on shareholder emotions…the media is fanning the fear…the government is organizing committees that will haunt and impede productivity for years to come…cities, states and municipalities are seeking reparations. Whatever good can emerge from this mess will be years, maybe a generation, in coming.
Metaphors like ‘burning platform’ represent a level of meaning that accompanies all communication, the Meta level. (The other two are Cosmetic and Emotional). The Meta level contains metaphor, symbolism, allegory, parable, analogies, etc. Meta meaning is powerful stuff and should be chosen with great care. It’s why brands work so hard, at such great expense, on their identity. Those symbols mean a lot.
At GameChangers, we practice what I call the science of narrative. This science requires specific, deliberate and objective choices about what metaphors we put into play.
The Center for Public Policy and Administration defined the phrase ‘burning platform’ in 2005. ‘Burning platform’ according to the CPPA, came into meaning when a driller on a burning offshore oil-drilling platform calculated that his best chance of survival was a 150-foot jump that he’d never make under normal conditions. A burning platform came to mean an ‘urgent condition requiring bold choices.’ All good, and useful. Context is huge, however, and after the Deepwater Horizon explosion, the context for this phrase changed and, along with it, its meaning. Now it means ‘unmitigated disaster.’
Look at the photo again. That’s the image of a burning platform most of your audience will conjure when this phrase is used. Whatever changes come about because of the pictured scenario promise to be painful, litigious, lengthy and costly. This is not what we want when we change the game. We want change that is productive, agreeable, fast and inexpensive to implement.
Clearly, we need a new metaphor to capture this meaning.
It’s like that old Rocky and Bullwinkle cartoon intro, where Bullwinkle pulls a monster out of a hat and says “No doubt about it, I’ve gotta get another hat.”
Another thing—my 
Yes, we are here, and I see a place we can grab over there. Yes! A new crack reveals itself, and we grab it. We see another hold and we make the move. Yes, and now we’re experiencing the mountain from a new perspective. Multiple new holds appear, and one hold at a time, with each move accompanied by a thousand little calculations that are faster than conscious thought, we move up the face of the mountain. 
“The Chileans were very grateful,” says Franklin. 
Page 202: Garreth talking about whether a phone call that’s crucial to their fates will happen or not: “Either way, we’ve moved it forward.” The improvisation: ‘Something happening’ and ’something not happening’ are both opportunities to move your scene forward. Don’t worry about what will or won’t happen, do something with whatever happens.