Some interviews with WorkPlayExperience
If you like it raw, here's a transcript of an interview I did with the Design Transitions site. I talk about our work methods, and briefly discuss the Jams.
If you play it by ear, here is a radio interview with Markus and I on Gov2.0Radio. It covers our theatrical tools in a little more detail - especially what they meant for the Jams, and in particular the GovJam.
For the video stars, this is me talking to Service Design TV in San Francisco. Some general thoughts on service design, and our toolset.
And for the iPodders out there, here's an interview with Business901 about using theater to gain insight into customer experience.
(Bonus in German: Talking about creativity and play in Contact Management magazine. )
Our session at the Service Design Network Conference in Cologne
By popular demand - quite literally - we'll be running our hit workshop at the SDN conference in Cologne this week. This time, it will be in German...
We'll be talking about the theatrical tools we use in service design. We believe they are unusually effective, insightful, approachable and fun. A customer from a large German company comments:
"Speaking from experience with WorkPlayExperience - it's just amazing how the theater setting immediately creates a different mind set with the participants and thus makes them play, interact and learn more (and better)!" (full quote here)
|Pic by Beat Schweizer|
DOING, NOT TALKING
First, it will be very, very active. I don't believe that people learn much by listening, reading or being talked at, so in our session you will be up on your feet, trying things out.
We will be sharing tools that we use successfully with our clients. They are real, they work. We hope you will adopt them.
A DIFFERENT APPROACH
We use investigative rehearsal in service design work - and that is not the same thing as "practicing" or "roleplay" (which most participants hate, let's be honest). Rehearsal is an iterative, explorative process which taps both creativity and emotion. We'll be showing you how we lead participants into it (even the conservative ones), how we run a rehearsal, and how we use concepts like subtext and dramaturgy to take it to a higher level of co-creation.
The spooky part of investigative rehearsal - and this is part of why theater works - is the way it connects tiny details of the customer experience to the entire service design architecture and indeed to the whole value set of the organisation. At first glance, it can look like a customer experience tool, but it is much more.
This is an updated version of the workshop we gave in Berlin and San Francisco - suitable for people unfamiliar with our work. If we've tickled your fancy, sign up early - each time we run this workshop, it sells out fast. We'll see you on Friday morning.
And if you have any questions, just get in touch. :)
PS. Obviously, there will be NO Powerpoint.
PPS. But there may be chickens.
(Update: The Global Service Jam and Global Sustainability Jam in 2011 were followed by a Global Service Jam in 2012 with almost 100 cities taking part. A GovJam pilot organised in cooperation with the Federal Government of Australia in June 2012 focussed on public sector service innovation. The next Jam will be the 2012 Global Sustainability Jam on the first November weekend of 2012. www.globalsustainabilityjam.org )
After nearly killing ourselves with 68* hours of continuous Jamming at the Global Service Jam back in March, we are coming back for more.
200 "Superhero" designs developed by 1200 jammers in 59 cities within 48 hours was so amazing, we want to try it again. And this time, it will be exactly the same, but different.
The Global Sustainability Jam will take place on the 28, 29 and 30 of October in around 50 locations all over the planet. We have a lot of folks who jammed back in March, as well as a whole bunch of new faces.
It's fantastic to see Jams in regions which were absent or underrepresented at the last Jam - with Russia, India, the Middle East (Tel Aviv & Dubai) stepping up for the first time, and a big jump in the number of Jams in Africa and South America.
Unlike the Global Service Jam, this new event is not exclusively aimed at service designers and their pals. We hope to see 48 hours of jamming giving rise to designs for services, yes, but also objects, initiatives, networks, and things we haven't thought of yet. We'll be mixing the design crowd with the sustainability set - and the results should be gripping.
If you'd like to spend a thrilling 48 hours under our eternal motto of "doing, not talking", we'd love to have you. Find out more here. :)
Global Service Jam initiators WorkPlayExperience presented jamming techniques at Informatik 2011, the computer industry's "class reunion" in Berlin.
The workshop "Experience Innovation through Jamming" allowed delegates to experience firsthand the energy and focus of the Jam format.
The session also included the first public presentation of academic research on the Global Service Jam by Michael Römer, Stefan Thallmaier and Hagen Habicht of the Center for Leading Innovation & Cooperation (CLIC), Leipzig Graduate School of Management (HHL).
A personal interest in education and learning has blossomed into an important business field for WorkPlayExperience, the service design consultancy with a uniquely theatrical toolset.
"We believe in learning by doing, and in crafting mental and physical creative spaces which allow students to discover their way forward", says Markus Hormess of WPX, who is also busy in the FabLab scene.
His colleague Adam Lawrences adds, "It's great that we have been able to explore this field in several extensive projects with Swisscom and other major players, as well as in the planet-wide creative space of the Global Service Jam. Designing education is exciting, challenging and vitally important."
We've posted videos of our working methods before, but in German.
For those of you without German skills, here we are in English giving a (super-accelerated) sample at the Service Design Network Conference in Berlin this summer.
Snook for filming!
48 hours to design a new service - be there!
On 11, 12 & 13 March, 2011, people interested in service and customer experience will meet all over the globe. In a spirit of experimentation, co-operation and friendly competition, teams will have 48 hours to develop brand new services inspired by a shared theme.
The Friday evening (local times) will see service designers, customer experience folks, students, professors, businesspeople, anthropologists, customers, hackers and actors converge on jam locations all over the world. After meeting up and warming up, they will be given a set of common themes for a brand new service. Based on brainstormed ideas, teams will form. Then it's time to get practical.
The teams will have less than 48 hours to research, ideate, prototype (and iterate) their service using whatever methods they want to explore. A social media thread will make sure that all teams - worldwide - will know what is going on, and who is working on what. Groups will learn together, experiment, and bounce ideas and techniques around the planet.
On Sunday afternoon, each team will upload their ideas in a digital, disseminable form, under a Creative Commons licence. (The idea remains yours, but the world will see how you made it).
Sound like fun?
Perhaps you want to run a local jam? Or perhaps you want to find other people local to you who might be interested? Maybe you just want to enjoy the buzz?
Get on list at www.globalservicejam.org
Follow @GSJam and #GSJ11 on Twitter!
Work•Play•Experience and EDO, the Experience Design Organisation.
Jammy logo by Jase Cooper. http://jasecooper.com/
It's great to hear that our session proposal for the Service Design Network's 2010 conference has been accepted by the organisers.
The conference, entitled "connecting the dots", take place in Berlin on the 13th and 14th of October, with a Member's day on the 15th. Markus and I will be heading a session on theatrical tools in service design - no schedule yet, but we'll keep you posted.
Come and see us there!
PS Great news - Snook ladies will be there too!
It's been a sleepy time on this blog recently, for a couple of reasons.
The first is that Twitter has taken over as my main channel for sharing news and ideas. If you want to stay up to date, just follow me (@adamstjohn) and Markus (@markusedgar) and you won't miss a thing.
But the main reason is that our service experience consultancy and training business (Work•Play•Experience, named after this blog) has been keeping us very busy indeed.
We've been lucky enough to win some very exciting clients, and have been running sessions and giving keynote presentations over a significant stretch of central Europe. If you'd like to work with us, we'd love to hear from you.
As a sample of what we've been up to, German-speaking readers can check out this little article about a workshop for the Swiss customer experience group CEN-Xchange. Thanks to Zürich service design crew Stimmt AG for the invitation!
And here's the video from the article - showing Markus and I and one of the techniques we use for customer insight work.
Video by the folks at Stimmt AG.
Men at work image by InsideSouthAfrica at Flickr.
Theater can give you powerful - and long proven - tools for service design and experience work. Our customers at Work•Play•Experience love them, and I've written about them over the years on this blog. Here are links to some of the best...
Rehearsal and service prototyping
Setting up a safe space (forget this, and you can forget the whole thing)
Running the session (why it's important to break the rules)
Powerful rehearsal/prototyping tools
The director's chair
Subtext (top tip!)
Experience structure and timing
Perfect story structure (top tip!)
Starting badly on purpose
Working with contrast
Thinking about timing
Entrances and moving people through them
Stage design lessons for entrances (important for retailers & UX)
When the backstage intrudes
How to guarantee a hit
The Big Three (just for fun?)
When we are boldly going where no service design agency has gone before, Markus and I find it useful to have different spaces for different tasks.
Adam's loft office - light, airy, equipped with a big table, grand piano and much stuff. Great for big ideas, strategic planning and long term thinking.
Markus' basement office - big screens, fast internet, mega printers and lots of toys. The ideal place to get down, dirty and into detail.
For unstructured work and discussions, and for clearing up the bits and pieces; Ten Forward is any one of a number of cafés and bars with WiFi where we do most of our free form officework.
As seen in this post, the Holodeck is our outdoor working platform. Under the open skies and with a riverside view, it's unbeatable for creative work and getting into constructive conversations with strangers.
Do you separate your workday? How?
It drives me crazy when people think of their Powerpoint* slides as their "presentation". Really, truly crunchy-monkey-nut crazy. Today, I was so annoyed at this habit that I tweeted:
The tweet rang bells with a few folks, notably Chris Atherton. Well, I do like to ring bells - so, for the list fetishists among you, here are...
The Top 10 Reasons a Powerpoint Slidedeck is Just Like a Bra.
10. It is often used out of habit or insecurity - but there are plenty of situations where it only gets in the way
9. It's possible to send one by mail, but it is empty and lifeless, so why bother?
8. Technical troubles will occur at the most embarassing moments
7. Too much decoration can distract from content
6. It's certainly pretty, but do you really want someone else's design to cover up your uniqueness?
5. People usually try to fit too much inside**
4. People think they need the support, but forget it's a restriction too
3. Given confidence, you will often make a bigger impact without one
2. You can borrow or steal someone else's, but it will never fit like your own
1. It may look basically similar, but you should NEVER confuse it with the Real Thing
Folks, Powerpoint isn't the presentation. YOU ARE.
Got any more? Add them in the comments... Oh, and you should follow me on Twitter...
- Linda Wu at SixMinutes comes back with 32 Reasons a Powerpoint Slidedeck is Nothing Like a Bra. Thanks Linda!
- You can also have this list in Chinese, courtesy of ExcelPro.
- STOP PRESS! There is now even a Chinese illustrated version, I kid you not!
** Oprah said 8 out of 10 ladies wear the wrong size, usually too small. And what Oprah says...
Over the last couple of days, I have spent a little time with three exceptional musicians: New York's Refuge Trio, made up of Theo Bleckmann, Gary Versace and John Hollenbeck. I was able to take part in a masterclass vocal workshop with Bleckmann, and several of his statements on singing - like so many showbiz ideas - offer excellent insight for customer experience practitioners.
(We spoke in German, and all this is based on my brief notes, so all quotes are no more than "my best attempt" at capturing the meaning.)
The Master on backstage and frontstage
TB: "When you perform, it can feel like a flat film set. It's like behind me is nothing. But that's not true: the music and the energy is all around me."
In experience design, we often think about frontstage and backstage processes - which is a useful distinction. But the interplay between backstage and frontstage is more complex than just boxes arriving from the storeroom.
Theo's words reminded me that the spaces behind the scenes and in front of the scenes share a common energy - one which customers can sense, and staff can be motivated (or demotivated) by. Remember, the frontstage/backstage boundary is real, but it is permeable to more than just product.
The Master on keeping on track
In one musical exercise, Theo had us hold one note while he played other notes. With notes that were further away, this was easy. But when he played the semitones - the closest possible notes - above and below our note, many of us found ourselves sliding off line.
This common singer's exercise offered parallels to the world of motivation, as is being discussed on Wenovski. Wildly different notes were easy to ignore, but the nearly-the-same notes were pure seduction. Similarly, it's not the grouch in the corner who will demotivate you - he's easy to ignore. Instead, it's the people who do pretty much the right things, but with a little less fire and passion for the customer. Their path - the slightly easier path that looks oh so similar - is the dangerous one, as it tempts us to do just a little less.
It's the same with service design. "All the other companies all do it this way - which is nearly the same. Why don't we?"
Answer: because you need to be exceptional.
The Master on intent
TB: "Know what note you are going to sing before you sing it. Intention is important - otherwise things happen out of fear or habit."
I can think of no greater enemies to good customer experience than fear and habit. Fear can be fear of trying something new, or fear of looking the customer in the eye and making human contact; habit is the innovation-killer of "we always do it this way". And fear and habit together are stagnation and boring or bad service.
Theo's advice here is that intention - knowing what we want to "sing" in advance - is the best weapon against these two.
What "song" do you intend to "sing" to your customers?
If you have ever been to a Work•Play•Experience experience workshop or service design session, you will have noticed that it doesn't look like a normal training day, or even like a normal design space.
It looks a lot like a theater rehearsal - just crazier.
Starting with a bang
The first thing you will notice is that the room is full of odd things, from rubber chickens to toy catapults, from wind-up flipping dogs to Bugs Bunny DVDs. And lots and lots of chocolate. Immediately after you notice this (and just after your first chocolate rush), we will throw you into a high energy warm-up which soon has you laughing and sweating. Today will not be like a normal workday, that is clear. And the usual rules will not apply.
This is a big heap of fun - but that is not why we do it. Our first goal is to clearly break the rules you know, creating a “safe space” which promotes creativity and encourages risk taking. This break with everyday routine is crucial to the success of our work, as it guarantees more innovation, faster learning, more confidence and a willingness to try new personal behaviour patterns.
Once more from the top...
As the day progresses, we keep you on your feet - you will see very few chairs, and the ones you see will seldom be in use. “Doing, not talking” is one of our guiding principles, so there's almost no frontal presentation (we hate Powerpoint anyway) and very little bookwork. Instead, you will find yourself “playing” through “scenes” again and again. And again. And again...
We are exploring alternatives in an iterative innovation structure just like the one used in the most successful software houses. Now and again, we will step in to draw your attention to details of body language, blocking, storyline, microexpressions, subtext and other verbal- and non-verbal aspects. You'll soon be sensitised to your unconscious effect on the customer - and the effect of your service process design - and will see it with new eyes.
Remember, a theater rehearsal is not just "practice". It is a way to actively and accurately model and develop any kind of human interaction. And it works best in a lively, fun-filled environment which gives plentiful opportunity to try new strategies, experience success or failure in a concrete, tactile form, and learn by doing.
No smart answers, just good questions
It feels like play, but "Play" is only 33.3% of our name. We keep the energy level high, and laughter is never far away - most participants never notice that they are working very, very hard indeed. And the rich crop of ideas they develop are their own.
This is crucial. We cannot be experts on every business, so we don't try to be. Instead, we use theatrical tools to get great ideas out of your people - ideas that have been developed and framed by the participants themselves - not by “headquarters” or some unknown “expert”.
How it works
As the day moves towards the final high-energy "BOOM!", you probably won't notice that the design of entire day was based on critical principles of psychology and dramaturgy. The playful atmosphere has promoted creativity and innovation. The deeply satisfying structure of the day gave periods of high energy, periods of reflection and a stream of new experiences. Participants have pooled their expertise and experience, guaranteeing realistic and practical solutions. Their Buy-In is of course much greater, and the ideas have been prototyped and rehearsed already... so they are realistic, practiced, closer-to-home and YOURS!
We really like this way of working, and we think you will too. At the very least, you are pretty certain to enjoy all the chocolate.
How a stand-up comedian rehearses for both flexibility and confidence.
An over-rehearsed presentation - like an over-rehearsed show - can really stink. It can be so automatic that it loses touch with the audience. It becomes a polished set of actions and words and ceases to be two-way communication, a persuasive dialogue.
On stage, we know that the comic aside - the gag improvised when the scenery collapses or a cellphone in the audience rings - is usually the biggest laugh of the evening. It's because the audience knows it was one-off, one-time, authentic creativity. So should we always improvise?
Usually, no. Bluffing your way through Shakespeare (or a complex presentation) on a wing and a teleprompter will not get you far. You need the confidence to know what happens next, the experience to get you through the technically challenging parts. And that only comes from practice. Lots of practice.
Hmm. So - we are in a quandary. Authentic, spontaneous flexibility, or calm rehearsed confidence? What to do?
The answer is this: you should not rehearse your presentation, you should rehearse your presentations. Plural.
When I'm developing a stand-up routine. I have many of my gag ideas on little index cards which I can add notes to, reshuffle, tear in half, or even eat in frustration. I will stand in a room away from the world (this is embarrassing) and rant my way through the cards. I'll try every line ten different ways. I'll try ten different orders. I'll throw cards away, and dig them out of the bin. I'll try missing out this part, and go off on a stream-of-consciousness tangent expanding that section. I'll even try running the cards backwards - seriously, it can teach you a lot.
After a while, I don't need the cards much, and I can play with my material while jogging, driving, or screaming at the top of my lungs while zooming down the Autobahn on my motorcycle. (If you've ever seen a lunatic doing this, now you know it was me. It feels as mad as a brush, but it's very effective.)*
At the end, I have not just rehearsed one routine - I have rehearsed dozens of routines based on basically the same material.
This stand-up rehearsal technique works for presentations too. Play with the pieces and bang them together until you know every angle.
After a while, you will know what the best order is. You can use it for your test audience. But you will not be tied to that order...
You will have all the confidence you need, because you will have mastered your material. But you will also have the flexibility you need. You will know that there is more than one path through the presentation, and that you can cope with anything.
Most importantly, you will be able to adjust your presentation with confidence to genuinely respond to the audiences signals - making it a real two-way exchange, not some polished performance that could have been done by DVD.
*Actually, a shouted rehearsal is a great technique. I know classical actors who rehearse monologues by shouting them from the beach into the ocean waves. Of course, this works best if you have a Victorian greatcoat and rather wild hair.
Photo of some of my index cards by me.
(This post is based on a comment I made last year on TJ Walker's blog)
!!! More great showbiz tips for presenters here.
If you went your presentations to be effective and your events to rock, you will need to think about where you let your audience sit. Here's why.
Check out the first diagram below - it's the well known scheme of where we ought to sit in a classroom or presentation room. You know - the more front-and-centre you sit, the more information you retain and take home afterwards. Old news.
The second diagram, two paragraphs further down, has no hard research behind it. It's just my own experience from a gazillion shows, classroom lessons and presentations I have given over the years. It shows where people want to sit.
When people come into a presentation, classroom or gala event (let's assume for now they didn't pay for their own tickets), they invariably fill up from the back, and along the aisle. It seems they are looking for a swift exit, or trying to avoid direct contact to whatever is happening at the front. Even the keen ones, unless they are die-hard fans, avoid the front row, preferring the midfield.
Now compare the two rooms - the consequence is obvious. Unless every seat is taken, your audience will tend to sit in the seats where they will benefit least from their presence, and your efforts as a presenter.
And that is only the first downside of this trend.
A successful presentation is all about atmosphere (you are there to shape emotion, remember?). For a good, infectious buzz you need to have your audience up close and bunched together. If they are all spread around the back of the room, you are going to be struggling to reach them.
To avoid wasting both your time and the audience's, borrow these tricks from the hospitality industry.
First, choose a room that is as tight as possible for your predicted numbers. Then, encourage your audience to fill from the front, perhaps by:
- standing at the front of the room, welcoming attendees there and offering them seats
- or, most simply and effectively, reserving the rear rows until the rest of the room is full. *
The result of your audience management will be a better buzz and more effective use of everyone's time - a winner all round.
Watching the extras to the Bourne films on the train, I came across this piece of advice which every service manager should take to heart.
"Often when you are a director you are trying to free everybody from thinking too hard. Because if you think too hard, you're not instinctive.
The power to move, the power to excite, the power to propel people - is instinctive."
As a manager, what can you do to free your people from thinking too hard? Remember, it's easy to make things complicated. Simplicity is dang hard, and freedom is scary.
But you need them both to engage customers and release creativity.
Here's a fascinating report on a new design methodology thesis by Christopher Totten.
Totten used games as powerful tools in cooperative architechtural design projects. The games had two functions:
A simple, self-designed board game guided the design process in a Cabal-type system: "Three or four player/designers play cooperatively but each have their own piece on the board. Each of these players takes on a different design role .... rolling the die to move around the board and respond to the directions ... to make design changes, draw new cards, lose turns, or run playtests. "
At turns, the actual building design took place in Google SketchUp or Valve's Hammer Level Editor: "Using a game engine such as Hammer allowed players to explore their buildings while they were designing them; since it lacks a traditional "orbit" tool but allows the in-program camera to be moved through the model with game controls; as one would move through a game environment ... "
Mr T. reports three main benefits of this game-based approach:
1 The board game / Cabal system helped circumvent many of the social or group-dynamic problems normally encountered in cooperative work.
2 The video-game design testing encouraged a high degree of focus on the emotions and experience of the building user.
3 Playtesters also reported that their designs were different because they felt they could make more creative moves while in the play environment of the game. Their designs were more complex and stimulating than those produced with more traditional techniques.
So, fewer arguments, higher user-centricity, and more exciting designs... sounds good to me. This is a great example of successfully using the power of play in a complex business environment.
PS I particularly liked this report on one virtual house: "The playtesters conceived the house as a path of rooms that offered sporadic views to the landscape around the house, leading up to the ultimate reveal of the river on the large porch."
Now, that sounds just like the narrative structure of the next Hollywood blockbuster...
David Zinger posted a nice overview of his time with impromaster Keith Johnstone. There's a lot worth reading there, but I was especially struck by one side note:
Now, replace "audience" by "customer" (that's one of my favourite hobbies), and we have some powerful medicine. If you set out to start every contact by "cheering up" your customer, you will automatically find yourself:
... being present in the moment.
If you are fully tuned in to the customer's feelings here and now, I promise you will not find yourself thinking about the stack of 27B-6 forms waiting on your desk.
... empathising with the customer's expectations.
A customer comes to you with a particular emotion based on what they think is going to happen next. To cheer them up, you are going to have to read - and beat - that expectation.
... caring about first impressions made by your site, location or appearance.
Everyone knows that first and last impressions are crucial. How do your physical surroundings (colour, light, signage, access) contribute to cheering up the next customer?
... being human.
True smiles can only work over a true person-to-person connection. Humour is the same. Without giving at least a glimpse of the person you are, you are not going to spread cheer. So be yourself - you might enjoy it.!
So, here's a challenge: cheer up some customers as soon as you meet them today.
And here's another: cheer them up even more as they take their leave.
Business people love my presentation coaching. I'm an actor and stand-up comedian, so they find my approach refreshing as well as highly effective. Here, in a nutshell, is what I teach them:
10 Close the laptop
Do not plan your presentation by opening PowerPoint and typing your first bullet! Instead, spend time thinking about your audience. Who are they? What do they want? What do they already believe?
9 Throw out your material
It’s a huge mistake to start by collecting material. Don’t ask yourself what you have, ask yourself what your audience will need. Avoid facts and figures - choose powerful images, human stories and genuine emotion instead. These “soft” options are proven to be more effective than any hard numbers. And cut every word that is not truly useful to your audience.
8 Take what’s left and cut it in half
Yes, in half, at least. You should never speak more than five minutes - three is better - unless the people are coming just to hear you speak or you are a paid professional speaker. (And if you think your presentation is “just five minutes”, it is probably about 12. Time it, you’ll see. ) Finish early - they will love you.
7 Don’t start at the beginning
Comedians, rock musicians and James Bond start their shows with a huge bang, and finish with a bigger one. In between, they present a sequence of highlights, getting more impressive all the time. This “Boom!-wow-wow-wow-BOOM!!” sequence is ideal for your presentation (and for any service process). So start with a really strong point - your second best one - then drop down and build up towards your very best “BOOM!” point at the end. Take questions at the bar.
6 Burn the beamer
Look, people’s eyes are attracted to light - it’s why we stare at the fire, the telly, the ocean - so if you use PowerPoint you are distracting from the real presentation - which is not your ruddy slides, it is you. Ask yourself: would Martin Luther King or JFK have benefited from bullet points? (Er.. no pun intended. Well spotted, Ms Pollard!)
(If you have a huge room, you might need a beamer. But use it to project live video of yourself, or for powerful images. Avoid wordy slides and lists - if your slide has more than seven words on it, you are in big trouble. And switch it off as often as you can. Hey, try the “B” key!)
5 Set yourself on fire
This is incredibly important - we look at light, so the brightest object in the room must be you. Get a spotlight on you, and get every other light in the room dimmed or switched off - including the beamer. Insist on this.
4 Don’t read
Never, ever, ever read your presentation. It sounds unnatural, and people need to see your eyes to trust you. Keyword cards are ok, but you won’t need to look at them because you have rehearsed so well. You were planning to rehearse (with a test audience) weren’t you? How much is the time of all the people in the audience worth?
-13 Do something crazy
Do something to surprise your audience. Give them a reason to remember you. For example - don’t hand out business cards, but print your number on bundles of €5 notes and throw them at the audience.
2 Get carried away
This is the big one. I don’t care how you slouch, how you stutter, how badly you dress and how much you fidget with your hands - if you truly, utterly believe what you say, you will convince people. Be yourself and let your passion show. (And if you don’t feel passionate about what you are presenting, please go home and stop wasting our time.)
1 Cancel the presentation
Presentations are there to persuade - not inform. Use them to move emotions, and sway decisions. If you just want to inform, then e-mails, articles, web based training, workshops or personal discussions are proven to be better. Too many presentations are information orgies. So cancel them, and do some work instead.
Article previously published in German in the FrankenPower magazine.
Book your own presentation coaching here.
You should follow me on Twitter here.
Elevators (or "lifts", if you're a BritSpeaker like me) are massively underused resources. Even in these days of fitness awareness, if your building has a people-lifter it will see a lot of use. And people in elevators are a captive audience.
So why not show how cool you are by entertaining them, like in this wonderful elevator artwork by Marcello Brambilla for the Standard Hotel in New York?
- tell a story.
Want a cheap and easy way to boost the effectivity of your creative sessions (and in fact any meeting)? Just change the scenery.
My collegue Markus and I felt like a change for our brainstorming session this week, so we headed across the street and into the park where the local town have provided this brilliant performance/meditation/party/picnic/being space.
A pen, a pad of Post-its, and our meeting room was ready. There were no chairs, so we kept thinking on our feet. We weren't alone - but chatting to other space-users kept the mood light and the ideas flowing fast. In the end, our latest plans for world domination benefited from the presence of a couple of bikers, a theology student, two old ladies, and a dog.
Changing your physical surroundings is once of the best ways to increase the output of creative sessions. So take your crew out of that dang meeting room and hit the cafés, museums, parks and rooftops. You'll see the benefits fast, I promise.
And perhaps your people might even look forward to the next meeting...
Once, there was UX, or user experience. An emphasis on how the user interacted with your product.
Then we zoomed out to CX, or customer experience. Looking at the customer's entire interaction with both the product and the company - from using the product to reading the ad to calling support to paying the bill.
What's next? HX, or human experience?
Considering the interaction between the company (and all it's agents, whether "working" or not) with all the humans it interacts with - whether "customers" or not?
It will be fun finding out.
Winston Churchill gave a famously short speech to schoolboys, where he said:
"Never give in. Never, never, never, never, in nothing great or small, large or petty, never give in except to convictions of honour and good sense."
If you believe in what you do, and love doing it, he is right. Here's proof:
I love the way that the dancer directly appeals to the crowd at the start, but is ignored.
The more he just gets down to doing his thing, the more interesting he becomes. And he just never, never, never, never gives up - until his energy is finally irresistible.
Presumably nobody in this clip is a professional performer, but they all give amazing performances. Why?
* Because they are doing something that feels new.
* Because they are allowed to play around while doing it, which makes it fun.
* Because the only pressure on them to "get it right", is their desire to do a good job for their friends.
LOCKDOWN Projects are onto a winner here. They took an oversubscribed service (wedding videos) and shook it up with a great idea. Then they made the idea work by trusting average people to be stars.
What could your workplace learn from that?
I have a feeling they will.
I've been fiddling with the jolly knobs at Google Analytics, and have worked out that the readers referred by these five blogs spend longest on my site, look at the most pages, and bounce least often.
In other words, if you enjoy this blog, you'll almost certainly enjoy these:
The Customer's Shoes
Pow! Right Between the Eyes!
Design for Service
Fortify Your Oasis
Humor that Works*
The list includes several of my own favourites - if you want more, look for the feed of my own regular blog reading about halfway down the right-hand bar... just after the chicken.
Group hug pic by fridgeuk at Flickr.
Before a show or presentation, you will usually find me waaaay up in the lighting rig, hanging precariously from a gantry and peering at the top of the audience's heads. This is not just to hype myself up (although it is very focussing), or convince myself that my hairline is receding slower than many. Instead, I am trying to feel the vibe, and predict how the show will need to be tonight.
In his book The Invisible Actor, master actor Oida Yoshi (called Yoshi Oida in the West) says:
"Too often actors sit in their dressing rooms or the green room, listening to the tannoy for their cues. Once they hear the stage manager call their names, they go up into the wings, ready to make their entrance. [This] is completely unhelpful in terms of good storytelling. There is only one story being told by a team of actors; not ten different stories being told by ten actors. Therefore, you need to be there in the wings from the very beginning, in order to see how other actors are telling the story".
Anyone staging a customer experience is faced by the very same problem. And remember, the "actors" in a customer experience are not just the staff, but also the customers. So ask yourself:
• What opportunity do my staff have to see how "the story" of our daily business is going, enabling them to start in with the appropriate energy and preparation?
• What opportunity do my staff have to learn how "the story" of this particular customer's encounter with us is going, helping them to take over with the appropriate energy and preparation?
• How do I let my customer see how far along we are in his "story"? Does he have the feeling af a beginning, a middle and an end? Or, better yet, a hook, exposition, climax and resolution?
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