Our friend, @InvisibleWork a graduate of the U.S. Naval Academy and UC-Irvine’s MBA school, tweeted last week to ask my definition of creativity. I responded: “the systematic elimination of everything not conducive to creativity.”
She tweeted back: “<= like this; like going through the process from the other end.”
Bill Kroyer
The animation director Bill Kroyer taught me this game, which I call Kroyering. It goes like this: To solve a problem look 180 degrees away from the problem. If you can define the problem’s opposite, you will have targeted the problem with just as much accuracy as if you were confronting it head-on. This ‘exploration of opposites’ makes Kroyering a useful process, especially when you need to come up with an original solution, a creative breakthrough. Why is this a cool tool? Three reasons:
First, it gets out of creativity’s way. Like everything that’s natural in the world, creativity wants to happen. Left to its own devices, it will happen. If we clear out what gets in its way, creativity will express itself like a plant will find the sun. As Viola Spolin said, “Act on environment, and environment will act on you.”
Second, because a breakthrough is, by definition, something that didn’t exist before, it is not really possible to say what creativity is, or what form it will take, until it actually happens. It is often more efficient to target what creativity is not. For this reason, Kroyering offers a disciplined and cost-effective path to innovation.
Third, Kroyering makes institutional memory a positive force instead of an impediment, as it often is (At Disney, where I worked for many years, the best way to stop any idea dead in its tracks was to say anything that began with, “Well, what Walt would have done…” It’s why John Lasseter left Disney and ended up with Pixar. Too many people at the time were telling him what Walt would (or wouldn’t) have done.) A study by Dusya Vera and Mary Crossan (Organization Science, Vol. 16, May-June 2005, pp. 203-224) reveals that the best problem-solvers in an organization are those with the longest institutional memories, because they are more likely to disregard or subvert institutional memory to solve a problem. In other words, people with long institutional memories are in the best position to see and understand that a system that created a problem cannot be the same one that solves it. Kroyering helps you identify what you can do differently by getting you out of the attic of your company’s history and into emptier space, where there’s room to expand your vision.
Here are a few qualities that, in my experience, are not conducive to creativity and can be eliminated from your working environment with help from the Kroyering Game:
Randomness; free association; outside-the-box thinking. Creativity craves intent, specificity and structure. Don’t try to get outside the box. Quantum physics tells us that there’s unlimited energy stored inside whatever box we’re in. Or…get yourself inside a different box!
Rigidity, dogma. Whatever creativity is, it’s the opposite of frozen, stuck in place, or with one unyielding position.
Aggression, destruction, violence. The harder you look for it, the harder it is to find. The next new thing has to be teased and seduced from wherever it’s hiding. Creativity does not send out invitations, but if we throw a party, Creativity is almost sure to come. Creativity can’t resist a good party. Just know that when the fighting starts, and well before the cops arrive, Creativity will be outta there.
Divergence. It is not the separating but the joining of ideas and people that results in innovation.
Dignity, manners. Creativity is impudent. It can be wildly messy. It’s like the weather that way. Dress appropriately.
Hollowness, heartlessness, lifelessness, cold bloodedness. Sssss.
Eliminating these and other ‘non-conducive’ elements from your environment will help your creativity flow. When you’re stuck for an idea, your process bogs down, or you can’t seem to get to the heart of a problem, try Kroyering.
In our crazy race to escape these kinds of vortexes, we can turn direction-blind. We pick a course of action, or someone picks a course for us, and in our all-out effort to escape a certain fate, we go heads down as hard as we can for as long as we can in that direction, like barn-sour horses galloping toward a distant barn. A strategy, 
Viola Spolin is the godmother of modern improv. Her landmark development — with her mentor, Neva Boyd — of ‘theater games’ during the height of the Great Depression in the 1930s laid the foundation for everything that has happened with improvisation in the 80+ years since, including the theories and practices of GameChangers.