I could give you a million reasons why Laurie Reuttimann is a gamechanger, I’ll give you one. She understands the difference between business objectives and business outcomes. So often, we muddle the two, and think they are the same thing. They are not.

Laurie’s objective with ‘The Cynical Girl game’ is to,”build a portfolio career. You should build one, too,” she writes in her last Punk Rock HR post.

The outcomes will be things like people changing their own games, finding work, passing her links around, friending and following her online, sharing an occasional smile, and using our newfound cynical outlooks to not automatically buy into the bullshit, especially our own.

Objectives are singular. Outcomes are infinite. Focus on objectives to realize outcomes.

Or don’t. The Cynical Girl doesn’t give a damn. She’s too busy babysitting cats to babysit you.

Good improvisers always pay attention to their physical appearance and presence.

Improv theater rehearsals sometimes focus almost exclusively on communication through one’s physical movements and attitudes. Players, for instance, will walk randomly back and forth across the stage as their coach calls out directions that alter their walks. The directions do NOT suggest a physical response (”Your left foot hurts.”) but an emotional one (”You just won the lottery!”) to be reflected in the walk. Each player responds in his or her own way. One player who ‘just won the lottery’ might skip; another will add some bounce to the step or glide to the stride; still another may walk around in a happy daze.

There is no one correct response to the emotional state. Rather, the focus is on players responding as their authentic selves. The question posed by the coach that each player ‘answers’ with a distinctive walk is “How would YOU do act if YOU won the lottery?” Distinctive repsonses by each player make the group portrait a compelling one. There is ‘a lot going on’ in such a performance, it presents many perspectives and avenues of exploration. When every response is the same (’We’re all skipping because we won the lottery’), there is only one thing going on.

Walking is one of many ways players express an emotional state or an attitude. All aspects of appearance, movement, posture, attitude and presence are considered by an improviser. An improviser has no tic, no mannerism, no way of standing or sitting or looking that does not reflect the emotional life of the role being played. Coaches ask players to consider the angle of their spine, their tempo, their chin, and how they use their hands, continually guiding them toward an awareness of a spirit of animation, literally, the movement of life.

By comparison, how many people in business, Bill Gates among them, are stunted in this area of communication? Many. We adopt one posture, one tempo, one way of dressing, and that, for all practical purposes, is our identity. Bill Gates has the classic geek slouch going. He leads with his head. You can tell he spends a lot of time reading or hunched over a computer or slouched on a couch playing videogames. This posture puts a lot of strain on his lower back. It gives him a belly — more strain on the back — that he would not have if he stood up straight. His body is like a fist forming around his heart. His posture and profile are so familiar that they ‘read’ in silhouette. It is his role, one he has obviously played brilliantly, to be the head brain, the leading thinker, the guy with the vision, the trillionnaire tycoon. The posture is in no way out of character, and aside from the healthiness aspect, you can’t argue with it.

It is no coincidence that Gates’ posture perfectly mirrors that of Montgomery Burns of The Simpsons. They’re essentially playing the same role, the only difference is that Gates is somewhat more conniving and malicious than Burns. (j/k, maybe)

The important point about Gates’ posture is this: His edit of his Microsoft scene, and his eventual entrance onto a new stage, present him with an opportunity. Making a move like Yoga can literally change his posture and open his heart. It will give Gates a new characterization for his next scene, one keeping with his new role as philanthropist and all-around do-gooder who leads with his heart.

Industrial Age organizations demanded consistency of behavior. Players danced a dance choreographed by corporate. It was a marching band, a Busby Berkeley MGM Musical.

Today, in the Networked World, players write code in one scene and become international media sensations in the next. No longer do we play one or two roles in a career. We play ten or twenty or thirty. It’s a mashup mentality. It’s Stomp at your neighborhood theater, performed by your neighbors. Players dance their own dances, and if it’s smart, corporate figures out how to dance along.

You’ve got to accentuate the Positive
Eliminate the Negative
Latch on to the Affirmative
Don’t mess with Mr. In-Between *

Accentuating the Positive is how improvisers keep their scenes productive. Entering scenes with a positive frame of mind, supportive, open to the possibilities, lays the groundwork for the group agreement that makes scenes good. In improv theater, of course, performers conjure all kinds of characters, from the overjoyed to the clinically depressed. And yet, even the darkest scenes are based on some kind of agreement, an understanding shared by its players that a particular game will make the scene tick. Business also calls for positive, upbeat outlooks, but just as on the improv stage, players in business must sometimes find agreement around a contentious, difficult or negative situation. In fact, the darker the situation, the more important it is to accentuate the positive. Maybe the most familiar example of finding agreement in a contentious business scenario is a court case. No matter how adversarial the scene gets, there’s an underlying agreement to play a game governed by laws, refereed by judges, decided by juries. The same principle holds true for less formal scenes — it’s finding the underlying agreement to play a productive game that allows the scene itself to become productive. ‘Accentuating the positive and latching on to the affirmative’ will guide you toward that game like a magnet points you to the Pole.

Eliminating the Negative is is a matter if focus and discipline. The kind of energy you bring to your scenes is up to you. If your personal life takes some kind of negative turn, can you summon the focus that will let you rise above your gloom? Going negative is anti-improvisation. Nothing sinks a scene quicker than the player who refuses to play the game. ‘Just saying no’ might have sounded good to Nancy Reagan, but in the Networked World, we understand that saying no gets us nowhere; it’s what we say ‘yes’ to, what we agree to, that leads to the success of our scenes.

Messing with Mr. In-Between is generally a waste of time. Players who make soft choices or ‘choose not to choose’ contribute very little, if anything at all, to the inquiry that yields potent solutions. Industrial Age organizations might have had room for this kind of cagey, low-profile, dis-engaged and delaying behavior. Mr. In-Between steered clear of trouble, took credit for the successes of others, and after 25 years, he found himself in charge without ever making a significant decision in his entire career. In the Networked World, things move too fast and too many decisions must be made for an indecisive player to have any kind of impact — or value to the organization.