Where is your Giraffe?

You may remember a previous article 'The Creative Management Challenge' which posed some simple questions such as 'How do you get a giraffe into a refrigerator?' There were some novel answers to that particular question, note that there is no correct answer for two reasons. First of all the problem situation was not fully specified, leaving many questions un answered. What size is the refrigerator, where is it, does it have to get in unaided or can force be used? Secondly there was a deliberate intention to introduce ambiguity. There was no mention of the size of the giraffe, whether it was real/stuffed/inflatable or could it be folded/squashed in any way.

In our businesses we tend to have many giraffes, situations that we have not properly understood with solutions that do not take into account all of the relevant factors or which have been constructed as a result of poor decision making. Curiously, unlike the tall animals, these giraffes seem to exist unnoticed. Why is this, how can all of these poor decisions be swept under the carpet. The answer is of course ego. We do not like to admit that we do not have all of the answers, that we are not in control of our business. The irony is that by ignoring or hiding these 'giraffes' we are actually admitting that we are not in control.

So how can we help ourselves?

• Examine all of the boundaries to any problem, test them and do not introduce any that do not have to be there.
• Ask questions, why do things have to be the way they are?
• Look at things in as many different ways as possible, inside out, upside down or from a customer or competitor viewpoint.

And finally, just to stop you wasting time chasing your tail, ask yourself the question, 'What would happen if I ignored this situation altogether?' If the answer is nothing then you have one less thing to worry about and a greater feeling of being in control. You are beginning to understand your giraffe!

Creativity – selecting the right technique

You, your staff or even your boss have been on a course or bought a self help book that described some creative techniques. You have tried one or two and they sort of worked, but not as you had hoped. Or maybe they did not work at all. Why could this be?

Sometimes Creativity just doesn’t work for one or more of the following reasons:

• The problem scenario or situation has not been properly defined
• The facilitator does not have the correct skills
• The participants are unwilling

Or more than likely the wrong techniques have been selected. Alas you cannot use brainstorming for everything! So how should you go about categorising and selecting techniques?
The following ideas might be useful:

Group/Solo working – who is going to use this technique? Will you use it for one person or a group?

Converge/Diverge – are you looking to focus on, or identify just one possibility or are you wishing to actively generate many options or ideas?

Exploration/description – does the technique allow you to just explore or perhaps describe the situation more fully?

Reality checking/planning – you know what the possibilities are but you need to check that your ideas are feasible or to set out some course of action.

Idea generation/building – this is divergent but are you generating los of ideas or taking a smaller number and building upon them?

If we want to classify Reverse Brainstorming (click here for my blog article) then we could classify it as Solo or group working, convergent, exploring, idea generation. A Cartoon Storyboard could be classified as Solo or Group working, convergent, planning or building.

So how should you select a technique? Often we wish to perform several actions one after the other but for the sake of simplicity lets imagine you need some ideas about how to beef up your sales and marketing effort. You could work either on your own or in a group, you simply wish to generate a large number of ideas in a short space of time. Something like Reverse Brainstorming or a Nominal Group Technique might be the answer. If, however, you needed to explore or describe your current situation before moving on to generate ideas then the above techniques would not be ideal and you might find a modelling, drawing or even visualisation technique more useful.

Go on, try it! You might even find this Creativity stuff useful.

Creative Management Challenge

Below are four simple questions. Try to answer them all before looking at the answers.

• Q1 How do you put a giraffe into a fridge?
• Q2 How do you put and elephant into a fridge?
• Q3 The King of the Jungle is holding a meeting for all of the animals. One of them is not there. Which one?
• Q4 You are standing on the bank of an Alligator infested river and have to get to the other side. What do you do?

A survey by Accenture found that around 90% of Managers are likely to answer all of the questions incorrectly. Many school children under the age of six will actually get these questions right. What does this say about Management thinking? And now for the answers:

• A1 Open the fridge, put the giraffe inside, close the fridge.
• A2 Open the fridge, remove the giraffe, put the elephant inside, close the fridge.
• A3 The elephant. The elephant is in the fridge.
• A4 You swim across the river because all the alligators are attending the gathering.

I can already hear you say "Its not fair" and "they are for kids". This is what the questions are trying to find out:

• Q1 checks to see if you try to make simple things complicated and make assumptions about problem boundaries. Nobody actually said that the fridge was not big enough to put a giraffe inside!
• Q2 tests your ability to consider previous actions. Who says that they are four separate questions?
• Q3 simply tests your memory.
• Q4 checks to see how quickly you learn. After all you must have got question 4 correct if you were a successful Senior Manager.

Try these on your colleagues and see what happens.

Solving problems creatively - Boundary Relaxation

A problem boundary is the imaginary line between what a problem is, must be, should be, or could be, and what it isn't, mustn't be, shouldn't be, or couldn't be. This approach works by creating awareness of the different components of the boundary and then seeing how far they can be loosened. Here are some ways of making a boundary more visible.

NOT-ing the problem statement Take each significant term in a problem statement and define it more clearly by saying what it is not, for example:

How to develop (not replace, alter, reduce,…)
the motorway (not other roads, airlines, ships, ... )
network (not piecemeal)
to allow for (not compel)
the gradual (neither imperceptible nor rapid)
replacement (not augmentation)
of rail (not air, ships, …)
transport (not pleasure use, prestige use)

Boundary conditions not mentioned in the problem statement may often be found by looking elsewhere e.g. budgets, policy statements, market analyses, etc., and by 'asking around'. Sometimes you may need to 'read between the lines'. Once a boundary feature has been identified dearly, then it is usually relatively simple to ask yourself and/or others involved:

'Would it make the problem any easier to solve if this part of the boundary could be altered in some way?'

'If so, under what circumstances could it be altered or ignored?'

It may be easier to get temporary leeway around a boundary by discreetly 'bending' it and making sure nothing goes wrong, than by trying to get formal permission to alter it. Many are familiar with the saying ‘Remember it is easier to ask for forgiveness than for permission.'

Resources for Creativity

There are many hits to my website from people searching for ‘resources for creativity’. Goodness knows what they are actually looking for. Some may be looking for resources for training and workshops but many appear to be looking for a list of tools and materials that are mandatory or desirable for getting Creativity into an organisation.

So what is the answer to the question ‘What do I need to be creative?’ For a perfect creative situation the answer is that you need absolutely nothing as any resources can be created from scratch. The real truth is that organisations are not patient and do like to get a head start. Also the mix of human resources may not be ideal so here is the list that you need:

• External stimulus or facilitation
• An agreed set of objectives
• Internal champions/creative catalysts
• An initial embryonic framework for promoting creativity
• Time and space for employees to be creative
• Enlightened managers who will actively ‘un manage’ creativity
• A light touch audit method
• A simple but effective library of techniques that individuals can use
• A method of capturing, storing and retrieving ideas and feedback

Seeing the above list you may be tempted to ‘go it alone’ and some may find that they succeed however the following should be borne in mind:

• Internally led idea generation initiatives often fail or do not deliver as expected
• Externally led idea generation initiatives often fail or do not deliver as expected
• Simply running creativity training courses will have no beneficial effect on your bottom line
• Leaving creativity and innovation solely in the hand of your HR department will often consign them to the wilderness

The moral is to get some good advice, target your scarce resources and do not commit to anyone who wishes you to create a long lasting dependency on them.

Why Does My Organisation Need Creativity?

When was the last time you got into a difficult situation? Have you ever forgotten a present for a special occasion and found yourself making elaborate excuses? Well this is your creativity at work. Some people have more than others but we all have at least a spark. But why is this useful to your organisation?

Like people, organisations find themselves in difficult situations due to increased competition, global trading conditions or just increased pressure from stakeholders to perform better. There is no manual to escape, no ‘get out of jail free’ card. You will need to rely on the creativity of people at all levels within the organisation, not just management, marketing or your research and development team.

Unlike computers, people can process huge amounts of information instantaneously and then apply something completely illogical – intuition. Intuition is not crystal ball gazing but is decision making based on knowledge that cannot be currently expressed externally.

The three main drivers for creativity are knowledge and experience, frameworks and techniques and intrinsic motivation. To allow Creativity to flourish you will need to address these three areas. The interesting things is that if you have a Creative organisation you will have intrinsic motivation present amongst your employees but the converse is not necessarily true. If you have intrinsically motivated staff they may or may not be creative. Remember, a cat is a four legged animal but not all four legged animals are cats!

If you address all of the factors that affect organisational creativity then not only will you benefit directly from having a creative resource but you will gain an intrinsically motivated workforce for free. Perhaps it really is possible to get something for nothing.

Do I Need To be Creative?

The answer to this question is ‘No’. Refer to the Innovation Equation and you will soon understand why. An Innovation System is desirable from the point of view of developing new products, services or processes but it takes a wide variety of skills to make such a system work effectively. The only real requirement is for you, and those around you to have an open mind and be open to the possibility that the way you have run your company up until now may not be the same as the way it needs to be run from now onwards. This applies even if you currently run a successful business.

So the answer is ‘No’ but what should you be aware of? Well you will need to take a look at the staff you have and see what their strengths are and fill any gaps. They may need to be reorganised, either logically or geographically. Employees may need some sort of training but they will almost certainly require your ‘permission’ to behave and think in new ways.

If you are not one of the creative people yourself then you might need to widen your leadership and management skills. How would you react to the following?

• Drastically changed working patterns


• Having you decisions questioned


• More testing and trialling


• The business not being ‘lean and mean’


• Requests to but things that are not core to your business

These are just a fraction of the things that could occur and which you will have to be ready for. Don’t panic, there will be other people in the same situation. The good thing is that by using tools such as the Innovation Equation, this whole process can be managed successfully and measured so that you have control over it.

Understanding The Innovation Equation

To see my innovation equation please take a look here where you will see the various components explained. This equation is both simple and profound. It states that innovation is simply a blend of creativity (coming up with new ideas), managing know how (the things we already know) and the frameworks that we put in place to help these processes along. Note that I have not mentioned Research and Development, High Technology, Science or any of the other keywords that both companies and governments like to use in their strategy documents. Cutting edge R & D is simply applied creativity with the emphasis on the ‘R’ whilst Product Development uses some Creativity but using existing ideas and Know How. Production is simply a physical manifestation of Know How. This may not suit those who have a drum to beat but it does keep things nice and simple.

This equation also helps to show that it takes a variety of different types of people to make innovation happen. We are talking about an innovation system rather than group of innovative people. After all, a truly creative person is the last person who you might want to look after your company accounts! On the other hand, just because your company accountant is logical, any system that you have for capturing and managing good ideas must not prevent them from making contributions.

The other main ideas to take away from the Innovation Equation are:

• Try to bulldoze changes through your company and output can go down


• The more mature and refined your innovation frameworks become, the greater the benefit you will derive from them


• Innovation is essentially about people not technology


• Innovation can be measured directly

Don't forget the low tech

Frequently we think of Innovation as being the latest, modern and often high tech gadget. Given that Innovation can be about combining old knowledge in new ways it often pays to reflect on what we already know. Years ago Russian troops were issued with pacthes that contained maggots that were used to combat infection in open wounds. Now that many viruses have become resistant to drugs, the same techniques are being used to combat MRSA in hospitals.

There was recently an articles published on the BBC news website about 'Bibliomulas' in Venezuela. In many countries we have mobile libraries, trucks or buses that travel around taking books to remote villages. In mountainous terrain, how do you do this? The answer is simple, take the concept of a mobile library but substitute the vehicle. In this case use a mule.

But why stop there? In the mountains the farmers have no telephones or computers but they could do with teh ability to send messages and order food and goods from the valleys. So now these trusty libraries are equipped with mobile phones and laptops.

I'm sure that readers can think of many other such tales of ingenuity. High tech is fun and bewildering but often the combination with low tech is what gets the Innovation into everyday use.

Innovation and Culture

Whilst talking to many people about innovation there is one question that they all ask. 'Do you have experience of of working in my industry sector?'. Quite often the answer is is 'no' and the conversation ends there as many people are risk averse. I have always maintained that the good innovation models (mine included of course!) can be used in any industry and any country.

The drivers for innovation, the support processes that need to be put in place and any other strategic concept are all transferable. What is not always transferable is the local detail e.g. how do you manage knowledge locally, impart ideas to those from a different culture or even run training courses. I always maintain that the greatest experts in any industry are the company themselves. They have the knowledge, they need a model. Why pay huge fees to buy often contradictory advice from a company or consultant that claims to have industry specific knowledge.

So buy my model please, it works! But what are the most common local differences you ask? Here is a short and definitely not a definitive list:

• Time - Arab cultures have a very different model of time whilst many Latin American, Mediterranean and Far Eastern cultures are less precise than in the UK.
• Risk - the same cultures who are less precise may also tend to be less risk averse and more playful.
• Ideas - some cultures readily adopt well formed ideas and in some you will need to plant seeds and let them grow.
• Business etiquette - no matter how creative you are, certain norms will need to be followed, not because they are part of business but because they are social and in many cultures business/social boundaries are blurred.
• Groups - there are varying expectations as to how groups or teams form, what their purposes are and what is expected by/from them.

The list is not exhaustive and is based on my dealings with other cultures in the fields of creativity and innovation only. For in depth advice please consult an expert in your chosen culture.

Is your thinking really creative?

When people say they are creative or that they believe in creative thinking, what exactly are they talking about? Where is this creativity supposed to be?

There are many artists, sculptors, poets etc who produce material that is claimed to be creative. The reality is that they are not creative at all. Consider the artist who throws paint at a canvas to produce an abstract picture. The artist is more often than not trying to confuse or shock the public and in some cases use a form of intellectual snobbery. The next time they paint they may very well use the same technique - where is the creativity in that? This is even more relevant to the topic of design.

Today I read a very interesting article on the BBC website about the building of new fleet of nuclear submarines for the British Navy. My curiosity was aroused when there was a mention of Psychologists attending board meetings and so I read on.

A submarine is a large horizontal metal tube so think how hard it must be to install all of the heavy equipment and machinery. Not so here. The solution? Build the hull in sections but upright and then lower in the equipment with a simple crane. Next rotate the sections so that they are horizontal and then join them. It saves a huge amount of money and time and reduces risk.

Now who is the creative, the artist or designer who uses the same techniques, or the submarine builder who is constantly looking for new ways of seeing problems and then solving them? You decide!

Does my bum look big in this?

As every man knows, this is a question that is impossible to answer. Say ‘yes’ and you will either be dead within seconds or you will be drowning in tears to the words ‘Are you saying I’m fat and ugly? You don’t love me any more do you?’ Reply ‘no’ and you will be accused of not wanting your partner to be slim and resemble a supermodel.

Joking aside, what sort of question is this anyway? Does it help, is there likely to be a way forward, can we develop a win-win situation? Much of creative thinking and hence innovation projects are based on subtle questions being asked at the right time. The art of questioning is paramount. Here are some examples of frequently heard, but not always helpful questions together with some suggested alternatives:

• Why do we always do it this way? What sort of things would happen if we did it this (or any other) way?
• Will it work? If it does not work, what is likely to happen?
• How much will it cost? What is the target cost that we need to be aiming for?
• What are we doing this for? The learning opportunities are incredible. Can we explore all of the options and capture the results?
• When can we have a meeting to discuss this? We will start doing some prototyping and let you know our initial results as soon as we have them!

These alone could cause some of your team to lose the will to live. Assume you do actually get started, what about some questions that will help the creative process? The questions you ask will depend on whether you want to stimulate thinking, shift perspective, motivate others or break mindsets to name just a few.Here are one or two suggestions:

• What would happen if we added banana flavouring? – random stimulus
• What would happen if we did not do this at all? – shift perspective
• All options are open, can we explore as many as possible and record our findings? – motivational
• As we are all here can we try plan b instead of plan a and see what happens? – break mindset with different method plus peer pressure

As ever, this article is designed to make readers think about the questions they use. Oh and about the question in the title. Say ‘you look great’, ‘I agree with you’ or encourage a question of the type ‘I think I look great/fat/ugly/young, don’t you agree?’ If you think this is still fraught with danger then pretend not to hear the question.

How To Generate 20 New Business Ideas Over Coffee

Reverse (or negative) brainstorming is an ideal technique for people in businesses of all sizes, either on their own or with colleagues. It can also be slotted into short periods of time such as coffee breaks, bus or train journeys or whilst waiting for someone. And if your board meeting drags on you can always let your mind wander a little!

To start with, select an issue or topic about which you need to generate ideas. The fact that some of you will be more familiar with the topic than others in a group situation doesn’t matter for this exercise. Everybody will get benefit from trying out the technique and swapping notes afterwards.

The topic should have a positive and possibility- focused phrasing, i.e. how can we gain/improve/create/diversify/build etc. Check everybody understands the question or statement.

If in a group, nominate someone to record ideas on a flipchart. If you are on your own then make sure you have a notepad handy.

Then (and only then) take the topic and reverse it. For example if your topic is “How to improve sales in the company?” reverse it to “How could we drive down sales as low as they could possibly go?"

Note down this reverse statement. Brainstorm for as many ideas as you can (about the reverse statement, forget the original topic for now) and record them. This is where human nature takes over, we are more likely to record negative ideas than positive ones.

Note your ideas verbatim. No judging or filtering of ideas to be made during ideas generation. Keep it quick and always include the unlikely, the weird and the apparently impossible.

Next, take those ideas and reverse them again. This can be done:

• directly so if one had been, say “everybody stop talking”, the reverse might be “everybody talks much more” which might lead to ideas about chat rooms, coffee knowledge sharing hours, skill sharing sessions
  


• by extracting a principle or meaning so “everybody stop talking” - interpreted as a restriction of rights - which reversed could mean ensuring that there is a policy for appropriate communication with ethnic groups within the company
  

Topics that you might like to investigate are:

• How can I drive down sales?


• How can I make my production line less efficient?


• How can I waste as much time as possible during the day?

Even newcomers to this type of thinking should be able to generate 10-20 good ideas in around 20 minutes. Please let me know how you get on.

Innovation - how long is a piece of string?

This is a question that children and parents often ask each other when playing and is of course a trick question. Why then do people ask the question 'how long will my innovation project take' when it too is a trick question? The reason it is a trick question is that rather like the piece of string we tend not to know where one (or both) ends are. Still, this is a question that I would like to answer, so that many of the SME owners can at least have an attempt at creating a budget for next year.
Here I am concerned with an innovation project run in isolation, not several running concurrently or an ongoing rolling programme. First of all let us identify the phases that the project must go through along with the number of people involved.

• Startup
• Audit
• Setup and training
• Research and idea generation
• Testing and refining (including prototyping) if necessary
• Implementation (possibly pre production if manufacturing)
• Roll out

These seven phases can be further broken down or amalgamated as necessary. They outline a process for taking stock, gaining support and laying down rules before taking a hard look at your current starting point. You will need some training and development as you are about to enter into areas that you might not have been before. Have you often wondered why brainstorming works with and external facilitator but not with your own team?

The period of research and generating ideas is one that I term the 'Ideas Lab'. It is a period of intense activity but one where the greatest number of results are observed. Finally we come to the tough bit, actually turing ideas into reality so that the boss can see he has not been wasting his money.

If you are in a mature (as opposed to startup) business then such a cycle is likely to take 12-14 weeks to get to the point where you are ready to launch a new product or service. This gives business owners an idea of how long resources need to be committed for. Now here comes the really big problem, how many resources?

As a rule of thumb you might need some full or part time external help but you will need some internal liaison or project management and a number of people that cover all of the functional area within your company (marketing, sales, production, stores, finance) and possibly at different levels. This could easily be 6-15 people in a medium sized company but could be only 2 or 3 in a much smaller business.

So now you know you might need 6-15 people for around 12-14 weeks and some equipment/office space. This will give a very rough 'finger in the air' estimate, enough for you to be able to answer the question 'is this worth doing?' In today's economic climate you may very well be trying to decide the future of your business.

Busting the myths surrounding business creativity

Myth #1 Creativity Comes From Creative Types

The fact is, nearly all the research in this field shows that anyone with normal intelligence is capable of doing some creative work. Creativity depends on a number of things: experience, including knowledge and technical skills; talent; an ability to think in new ways; and the capacity to push through uncreative dry spells. Intrinsic motivation -- people who are turned on by their work often work creatively -- is especially critical.

Myth #2 Money Is a Creativity Motivator

Research shows that people put far more value on a work environment where creativity is supported, valued, and recognised. People want the opportunity to deeply engage in their work and make real progress. It is therefore critical for managers to match people to projects not only on the basis of their experience but also in terms of where their interests lie. People are most creative when they care about their work and they are being stretched.

Myth #3 Time Pressure Fuels Creativity

People are least creative when they are racing the clock. Actually, you may find that there are 'after effects' -- when people are working under great pressure, their creativity is likely to go down not only on that day but the following day or two days also. Time pressure stifles creativity because people can't deeply engage with the problem. Creativity requires an incubation period; people need time to soak in a problem and let the ideas bubble up.

Myth #4 Fear Forces Breakthroughs

A US research project coded 12,000 diary entries for the degree of fear, anxiety, sadness, anger, joy, and love that people were experiencing on a given day. They found that creativity is positively associated with joy and love and negatively associated with anger, fear, and anxiety. The entries showed that people are happiest when they come up with a creative idea, but they're more likely to have a breakthrough if they were happy the day before. When people are excited about their work, there's a better chance that they'll make a cognitive association that incubates overnight and shows up as a creative idea the next day. One day's happiness often predicts the next day's creativity!

Myth #5 Competition Beats Collaboration

Creativity takes a hit when people in a work group compete instead of collaborate. The most creative teams are those that have the confidence to share and debate ideas. But when people compete for recognition, they stop sharing information. And that's destructive because nobody in an organisation has all of the information required to put all the pieces of the puzzle together.

Myth #6 A Streamlined Organisation Is a Creative Organisation

Creativity suffers greatly during a downsizing or restructuring. But it's often worse than many of us realise. A 6,000-person division of a global electronics company experienced a 25% downsizing, which lasted a painful 18 months. Every single one of the stimuli of creativity in the work environment was significantly reduced. Anticipation of the downsizing was worse than the downsizing itself -- people's fear of the unknown led them to basically disengage from the work. More troubling was the fact that five months after the downsizing, creativity was still significantly reduced.

Taking the 'In' out of Innovation

There have been many articles recently that have focused on putting the 'Lead' back into Leadership or the 'Man' back into Management. But what about Innovation, I thought, what does that need that it doesn't already have? One of my recent articles focused on Slow Innovation, going back to basics and making sure that everyone understands the concept, the parts that they play and the overall objectives.

This is, however, an internal issue for organisations. What is happening in the external environment that is helping or hindering Innovation? One possible problem is 'spin'. Innovation as a word is incredibly fashionable and sexy. To coin a phrase, it is 'in'. Unfortunately to take the 'in' out would take quite a bit of work, the best we can do is warn the participants in this fashion game.

Who is taking part and what is the problem here? First of all we have a message that 'Innovation is good' from governments, with grant funding for the wrong things, targeted at the wrong organisations, with advice from the wrong people! At a slightly lower level, Innovation is seen as a panacea for all ills. Wrong! If you hear this, an out of touch consultant is trying to sell you a 'thinly disguised' change program. Embedded within organisations are people jumping up and down shouting 'eureka' and wanting to set up innovation projects. Some may be well intentioned but they want to play with pet projects in their spare time.

This is making some very sweeping statements but next time someone in you organisation mentions innovation, think about what it is intended to do, and that everyone is speaking the same language. Ensure that Innovation is not just a fashion accessory, but an essential part of being a successful organisation.

Please feel free to browse more blog entries or visit the Creative Business Solutions website for more information.

Making use of the oddballs

Many organisations have an oddball character who sits in the corner of the office and does things in their own unique way. These people may very well be the cleverest and most valuable people in the company. You of course would dispute that wouldn’t you?

So how does your organisation work? Of course, you are the star and the place simply could not function without you. In your inner circle are a few highly driven and well motivated individuals who carry the whole business along. Some of your colleagues do an ok job, some are plainly not motivated and a waste of space and then there are the oddballs, the nutters who dress differently, crochet incessantly and go on caravanning holidays. What do they do apart from create endless piles of paper and tap on their calculators all day?

Just because these people use methods different from yours, it does not mean they are wrong. There ways of solving problems could be more effective than yours. What if they actually were doing a better job than you?

Jerry Sternin, former dean of Harvard Business School has labelled these people as positive deviants (PDs) and the process by which their activities are brought from the fringes of a group into the mainstream is termed positive deviance.

Sternin, has many case studies and examples of these types but his principle is that PDs should be used to change the behaviour of their peers so that improved practices are taken on and owned by the wider group, by a proves he calls ‘making the group the guru’. This is more effective than simply calling in outside experts and blindly following their instructions.

The beauty of this method is that it works in social as well as business environments. To see of you have a positive deviant in your office that can help you solve a particular problem, use Sternin’s 4 Ds:

1. Define the problem that you wish to solve.e.g. salesmen are not selling enough widgets


2. Determine if there are any deviants who exhibit the required behaviour e.g salesmen who are outselling their peers


3. Discover what uncommon practices or strategies these people use to succeed e.g. less sales visits but explaining the marvels of widgets to customers


4. Design an intervention that would enable others in the group to grasp the positive deviant behaviour e.g. allow salesmen to shadow deviants or get deviants to demonstrate their methods

Note this is not dissimilar to spreading best practice, the one huge difference is that positive deviance is not imposed from outside.

Who is having all of the ideas?

This is a summary of the statistics produced as a result of a survey conducted by Vodafone UK.

Did you know that:

• 70% of workers believe their company does not reward new ideas, and over half (54%) say they are not formally encouraged to come up with new ideas.


• 79% of the workforce is not offered any financial incentive to innovate.


• 60% of workers are given no time at all to generate ideas.


• 24% of workers say that their ideas simply stay in their heads.


• 93% agree that new ideas and processes are essential to the very survival of UK companies.


• Two-thirds of senior managers say their organizations are innovative, while only 38% of skilled manual workers feel the same way.


• 67% of young employees (aged 16–25) think of themselves as innovative, only 30% of employers agree.

In terms of age, over-55s are the most likely to come up with ideas at least once a day (12%) and in terms of seniority 23% of senior managers and professionals say they come up with new ideas at least daily with 51% of senior managers having ideas at least once per week as well as 37% of both middle management and new graduates.

But ideas are not the preserve of those in suits, 17% of unskilled manual workers, 18% of clerical staff and 22% of skilled manual workers also come up with new ideas at least once per week also.

Departments that generate most of the new ideas are Research & Development (43%), IT/Systems (42%) and Marketing (40%) with the Board next (35%).

The place where workers say they are most likely to come up with a new idea is at their desk (29%), followed by travelling in a car or train (24%) and in bed (20%). Interestingly, women seem to be more likely to come up with ideas in bed than men (22%, compared with 16%).

Respondents were realistic about their chances of coming up with a good idea while in the pub (4%) or on holiday (2%). The busy cluttered office is one of the least likely places for a new idea to be formed (3%). The research also finds that workers are more likely to be creative when the workplace is informal and relaxed (32%), with flexible hours (23%) following in importance. Over half (55%) of all respondents are more likely to come up with new ideas when given more time to think.

Read a more complete article and find the source of the original research by clicking on this link.

Business Creativity ( why you need it and how to buy it) Part 6

In the sixth and final article in this series I look at some guidelines for running a Creativity project and some hints on how to go about choosing an external consultant.

Running a creativity project/programme

The following guidelines provide a useful framework for the management of creativity:

• Build in the expected outputs from the project and all budgetary and time constraints.


• Flag up problems or uncertainties early on with the project early on so that remedial action can be taken. There will be more of these than usual.


• Hold regular reviews on the progress and delivery. Ensure that progress is always being made but do not get heavy handed. Remember your employees are involved also!


• Where necessary and agreed, provide staff, facilities and information promptly.


• At the end of the project both parties should undertake a joint project review to see what has been learned. If knowledge transfer is not complete then now is the time to rectify this.

Choosing the right consultant

Many clients rely on word-of-mouth recommendations when selecting a consultant. This is often the way to go when running a creativity project since it depends heavily on trust and communications.

The guidelines below show the steps that might be taken in selecting a consultant:

• Create as full a brief as is possible.


• Conduct a discussion with your potential consultant and get to know as much about their proposed intervention as you can. Where does their expertise lie in terms of consultancy, facilitation and training and why are they using all these strange techniques?


• Knowledge of their track record is useful but what is more important is assessing the potential in this particular case. A track record is not so useful when you are trying to achieve something different!


• Create an efficient but not too restrictive reporting mechanism.


• Make sure that there is an identified way to transfer knowledge to you.


• Make sure that at the end of the project there is no lasting dependency.


• Do not make a choice on price alone, often in the cases of creativity and innovation it is the cost of not taking a course of action that must be considered.

How you approach these steps is determined by the level of formality you require, and the level of client-consultant interaction you envisage. Each approach has its particular strengths and weaknesses, and needs to be evaluated on an organisation-by-organisation, and project-by-project, basis. Some organisations, and most public sector clients, have a more formalised approach to the purchase of consultancy.

There are many people trading as consultants including some ‘crossover’ consultants who have moved from the arts. Their interventions tend to be aimed purely at HR i.e. team building, leadership and motivation. Whilst they are useful they are not concerned with the process of using creativity as a tool for improving the whole of your business.

Also you should try to make some sort of measurement so that you know how much of an impact your consultant has made. I have my own tool for doing this (see The Innovation Toolkit) which looks at both creativity and innovation from a ‘soft skills’ point of view. Your chosen consultant should have a similar methodology available to them


The entire article on Buying Creativity can be read and downloaded by clicking on the link.

Business Creativity ( why you need it and how to buy it) Part 5

In the fifth article in this series I look at why a business might want to employ a consultant or facilitator to help them kick start a creativity or innovation programme.

Why use consultants?

For some reason, and I’m sure there is research somewhere on this topic, it is impossible for an organisation to kick-start their own creativity or innovation programme. Many have started and attempted to devise some sort of change programme, workshops or new processes but all fail shortly afterwards. What seems to be needed is an external kick (in the right place) that mobilises the internal resources of the business.

For many organisations, the resources and skills required exist within the business as it currently is. There is no need to recruit, or spend many hundreds of thousands of pounds on getting very expensive consultants to do the work for you. All you need is some external help with a plan, some training and development, facilitation and knowledge transfer before continuing on your own. It is likely that and organisation will not have the capability to keep abreast of the world of creativity so a regular ‘top up’ might be needed. But be wary of long term dependency on any outside agent.

Probably the single most important reason for hiring consultants is to bring in people with a particular set of skills. The more specialised a consultant is in his or her field, the more valuable they are to clients. Specialist know-how usually falls into two categories. First, there's 'industry-specific skills' – you need people who are experts in your sector. Second, there's what you could call 'issue-specific skills', which is where you need people who are experts in a particular issue – it may be a problem or an opportunity.

But there are times when you simply need help – bright, energetic people who are well-informed, who can help you get a new initiative up and running at a time when it's proving difficult to free up your own internal resources. You're quite definitely not looking for specialists here. You need the consultants to be very flexible – rolling up their sleeves and doing whatever it takes to get the job done – and that's something that requires a broad base of knowledge, rather than in-depth expertise in just one or two areas. It is this third category that your creativity or innovation consultant should fall.

Going back to the premise that the client is the person with intimate knowledge of their business and their market, the final ingredient is the ability to make things happen (i.e. know where to aim the kick).

Even in the smallest organisations, managers find it difficult to stand back and analyse what's happening. Opportunities are missed, and threats are ignored. Even where time is allowed for such reflection, how can you ensure that you're seeing what matters most to the organisation, not just what matters most to you as an individual? Outsiders, like consultants, can provide you with an invaluable perspective because they're looking at your organisation with new eyes.

There are also occasions when you want access – not so much to an outside view, or new data – but to creative thinking, when you want someone to sit down with your organisation and devise an innovative approach. It may be that you and everyone in your industry face a similar threat – for example, the appearance of new, potentially disruptive technology. All your competitors may have adopted the same stance, but you may be looking for a different approach, one that takes the problem and converts it into an opportunity for you to differentiate yourself.

In the sixth and final part of this series I will take a look at how a business might run a creativity programme and some tips about choosing an external consultant.

The entire article on Buying Creativity can be read and downloaded by clicking on the link.

Business Creativity ( why you need it and how to buy it) Part 4

In the fourth part of this series I take a look at managing creativity, the main uses of creativity and begin to investigate how to go about buying it.

Managing creativity

This seems to be an oxymoron, how can you manage a concept that demands free thinking, exploration and being able to live with ambiguity? The answer is simple (as opposed to easy). We have to construct processes that allow creativity to flourish and employ managers that are capable of working in such a way. How much time can employees spend at the coffee machine, how much time can they spend on research projects and can the company actually tolerate employees that do not conform to a stereotype? It is not a case of creativity or nothing, there are various shades, however businesses must be aware of the choices that they will need to make.

Main uses

Creativity has many uses but the following are the ones that I have come across most frequently.

• Strategy - reviewing existing strategy and defining/clarifying new strategies


• Scenario planning - using storytelling so that all parties can 'live' the story


• Cultural change - mainly centred around motivationempoweringrment


• Effectiveness of training and development - making use of creative techniques embedded in training courses


• Part of innovation programmes - changing mindsets, changing existing structure and culture

How to buy Creativity

Here I refer simply to 'consultancy' although I am talking about all providers of creativity whether they act as consultants, trainers or facilitators. There are many factors which contribute to an effective working relationship between consultants and clients. It is crucial that a purchaser of consultancy understands what they aim to achieve from the outset. At the start of a project it is highly likely that there will be no objectives, and even when they are defined, a client will often be puzzled by the strange terminology that providers of creativity might be tempted to use.

At this point I urge clients to ask about the things that they are not clear about. This might not clarify everything but the client will establish that the consultant knows their subject matter thoroughly. This can be critical where a trainer might be employed instead of a facilitator.

The ultimate success of a consulting project is determined long before you've talked to an actual consultant, and depends on the extent to which you have been able to identify and agree the precise reasons why you're hiring consultants. In most organisations, managers think about these reasons in terms of what they expect the consultants to do, not in relation to the underlying role they're expecting the consultants to play. Nor do they consider how their expectations match the prevailing market conditions. What kind of client are you? How can you assess the risk of developing a unique approach? Are the issues you face new ones, or are you trying to catch up with your competitors?

In my next article I shall look at why you might need outside help to get your creativity programme going.

You can read the full text of Creativity as a Business Tool from the web by clicking on the link.

Business Creativity ( why you need it and how to buy it) Part 3

Yet more reasons why creativity can be useful for your business.

Changing attitude to risk

At first this seems a little odd. The purpose is not to try to make organisations as a whole take on greater risk, however individuals will need to be less risk averse. In a creative culture, individuals will need to stretch themselves and occasionally move out of their own comfort zone thus increasing their own personal risk. However, an increased emphasis on exploration and assessing opportunities means that activities can be undertaken with less risk (as increased knowledge equals less risk) and projects previously considered risky might become possible. A culture shift that encourages collaboration also decreases organisational risk due to the sharing of knowledge and ideas. It is not unknown for employees unwilling to share their knowledge to watch colleagues (and their employer) struggle. Measures to address this usually require changes to company remuneration and rewards schemes.

Improved learning and knowledge transfer

The culture and activities that surround creativity naturally support this as interaction is actively encouraged. This does not mean a noisy workplace with large groups huddled around the coffee machine but interaction should be encouraged and face to face dialogue should replace email. AN often quoted statistic is that 80% of the world’s email travel less than 50 feet. One well known company realised that the tea ladies were the only people who regularly talked to all employees and made use of them as an unofficial company grapevine.

Communications of objectives

This is one of the things that most top management say that they do but one that the workforce will have an opposing view about. Employees do not doubt that there are objectives set but they just do not know what they are. Most MDs and CEOs will make a fair attempt at speaking to the workforce or delegating this to other managers but how do employees know what is expected of them, and more to the point, how their own contribution aids the success of the business.

The answer is ‘stories’, not the childhood stories that we all know, although the concepts are the same. A well crafted story often tells of a journey and consists of both explicit and implicit components. The former usually come from senior management together with an invitation to take part. Employees will embellish the story according to their own values and beliefs. Thus you have achieved one of the holy grails of HR, how to communicate strategy, gain the buy in of employees and ensure that the values of the employees and the company overlap. What’s more, the ‘story’ can be told verbally (say at a company meeting), visually (through a storyboard, video or poster) and easily translated for use in international companies.

In my next article I shall look at Managing Creativity and also the mian uses to which creativity can be put. I will then explore how a business should go about engaging the services of consultants, facilitators and trainers.

You can read the full text of Creativity as a Business Tool from the web by clicking on the link.

Business Creativity ( why you need it and how to buy it) Part 2

More reasons to embrace creativity in your business

Part of a successful innovation strategy

Taken to its simplest level, Innovation is simply a function of creativity (the way we generate ideas), knowledge (existing ideas and the ability to combine them) as well as the processes that have been put in place to manage all of this. Read about the Innovation Equation. Without creativity only incremental innovation can take place and then only in a small way. If you are considering new products, new markets or both the creativity will certainly help as you will definitely need to adopt new mindsets.

Improved organisational culture

There are three main drivers for creativity – intrinsic motivation, tools and techniques, existing knowledge and experience. If you accept that you are going to embrace creativity in some way then you will have to create a programme that directly or indirectly addresses these topics. The interesting thing is the link with intrinsic motivation. If your business has a culture of creativity then there will be high intrinsic motivation, however the converse is not necessarily true. High intrinsic motivation is the desire of many an HR department as it is linked to improved performance and low staff turnover.

There are other aspects of creativity too, such as improved communications and increased trust, which all contribute to improved organisational culture.

Removal of strategic barriers

Strategic barriers exist mainly because of mindsets and a lack of being able to see any other course of action apart from the current one. Also a rigid culture prevents a business of responding to a rapidly changing marketplace or to new business opportunities.

Adopting a more creative stance allows us to address the four main types of strategic barriers and in some cases remove them completely:

• Preferred modes of operation


• Too much or too little choice


• Overcoming embedded values e.g. charities, religious organisation


• Overcoming perceptual barriers e.g. self image or sensitivity to risk

In subsequent articles I shall look at further reasons to embrace creativity and also some of the things that businesses should consider when engaging external assistance. You can read the full text of Creativity as a Business Tool from the web by clicking on the link.

Business Creativity ( why you need it and how to buy it) Part 1

Why does a business need creativity?

Before answering this question, there is one point that should be made. Creativity, like Innovation is not absolute. Creativity in a business context is relative to the current and previous states of the business and its associated organisational culture. Most people who are in the business of providing creativity such as consultants, facilitators and trainers will tell you that the benefits are blindingly obvious. There again, most things are, with the benefit of hindsight. This series of articles is an attempt to crystallise some ideas on the topic of creativity in a business context and provide those who are starting out (or who are thinking of doing so) with some pointers.

Creativity is a powerful tool that can improve the performance of an organisation in an astonishing way and at this point it might be hard to see how. All I ask is that you keep an open mind whilst reading this blog. Please feel free to contact me and ask questions if you like. The paragraphs below list some of the main benefits of embracing creativity, but in the true sense of creativity there will be many readers who will find others. I certainly hope so.

Doing what you have always done

I’m sure that readers will be familiar with the saying “Do what you’ve always done and you’ll get what you’ve always got”. There may be little wrong with what you are currently doing but there is a grave danger of complacency and of developing limiting beliefs or a restrictive mindset. One of the lynchpins of creativity is that you keep an open mind and evaluate all of the options open to you. This does not mean that you have to change at all but that you are looking for new opportunities. In the modern business environment none of us can afford to be complacent. Creativity provides us with many techniques for helping people to see things in a new way and for helping to break mindsets should this be required.

Securing competitive advantage

Most consultants will tell you that their solutions will provide you with competitive advantage but creativity (and innovation) really can. This is because we are dealing with intangible assets which are difficult for competitors to copy, and because the assets in question are our employee’s ability to generate ideas and combine them there are also a huge number of possibilities. Idea generation, combination and transfer of tacit knowledge can occur throughout your business from lorry driver and cleaner to the boardroom. All you need to do is be able to collect and manage this process.

In subsequent articles I shall look at further reasons to embrace creativity and also some of the things that businesses should consider when engaging external assistance. You can read the full text of Creativity as a Business Tool from the web by clicking on the link.

Creativity and Politics

Are you fed up with the current state of British Politics? Do you have plenty of ideas about how things could be better but don't know which way to turn? Well now there is a new political party just for you.

The Emergent Party was founded by fellow PSA member Barry Mapp and is based on creative principles. For those who are fed-up with more of the same and who have ideas to contribute it is both a Think Tank and a political party.

The Emergent Party was officially registered in Great Britain and Northern Ireland with the Electoral Commission in August 2005. It welcomes members who wish to be active and help us to develop and also members who just want to be part of what they can see is going to be something very different.

The Emergent Party plans to be the "breath of fresh air" in British Politics. The Party is emerging from the frustration with "more-of-the-same" policies and politics (and the policies are clearly not leading to real overall improvement and very often are actually making matters worse).

At the last election no-one was able to register their vote for a Party that was thinking differently about all the issues of today. (As Einstein said "we cannot solve the problems of today by the same thinking that created these problems in the first place).

As a Party they are possibly unique, for in pre-launch phase they have no manifesto or policies (yet) and these too, with the help of members, will be "emergent".

If you feel that you can contribute and help build something different then visit the Emergent Party website to find out more about this exciting fusion of Creativity and Politics.

Innovation - who owns the apples?

“If you have an apple and I have an apple and if we exchange these apples then you and I will still each have one apple. But if you have an idea and I have an idea and we exchange these ideas, then each of us will have two ideas” George Bernard Shaw

What has this to do with Innovation you may ask? Well the crux of the matter is the word have. Does it mean 'own' or does it mean 'have access to' and who actually does the 'having'? George Bernard Shaw was correct about ideas, knowledge is the only resource that does not lose value when you share it. If you are the initial source of knowledge then you will gain kudos and perhaps receive some financial gain which the leads many people to becide to become gurus and ration their knowledge, using it as a source of power.

Because people are resourceful you will soon find that your guru status evaporates and what knowledge you have is worth little as those around you will create their own knowledge or find a new guru.

Back to apples and innovation. In a truly innovative organisation or society we need to create a culture which would prove George Bernard Shaw wrong. If each of us has an apple and exchanges it then we each must have two apples - it is our concept of sharing, building upon ideas and skills, and saying 'yes and' that needs to be addressed. It is our interpretation of 'have' that needs some work so that it refers not to ownership but to shared access and potential.

One thing that George did not say was that if we kept the seeds from the fruit then planted them and cared for them we could create many more apples in the future. This may be a cultural shift and a metaphor too far for many businesses.

For different ideas about taking organisations forward visit the Creative Business Solutions website.