Thinking Archives - Page 9 of 20 - How to be Awesome at Your Job

Pete Mockaitis
Jonah, thanks for joining us here on the How to be Awesome at Your Job podcast.

Jonah Sachs
Hey, thanks for having me, Pete. It’s great to be here.

Pete Mockaitis
Well, I’m really excited to dig into your wisdom. And you’ve got an interesting turn of a phrase – unsafe thinking. What does this mean?

Jonah Sachs
It’s just the idea that if the world is changing around us, our careers are changing around us, business is changing, that what once was safe, relying on what we once knew, what we’ve always done, what’s worked for us so far, is actually incredibly dangerous, that if the world changes we need to change with it. And so, trying to help people get out of that sense that they need to seek safety and really jump in in a smart way to unsafe thinking, which is about kind of breaking all your own rules.

Pete Mockaitis
Intriguing. Well, so that’s a fun phrase there because unsafe, we think, “Hey, safety is important. We don’t want to do anything that’s not safe.” But here you are advocating, “Unsafe thinking is what’s up.”

Jonah Sachs
Yeah, definitely. I’ve just had my own personal experience of running a business for 15 years that eventually I did sell. But going through this process of being on the wild cutting edge of viral video in the early 2000s, and then getting into that place that so many businesses get once they reach a certain level of success that so many people get to, which is you’re just trying to recreate what you did before. But the internet changes so fast, and every industry changes so fast these days, that that falling back on what you know what you know is just deadly. And it became deadly for my business. And so, I kind of took this quest to learn how to break through and to teach myself new ways to think.

Pete Mockaitis
All right. And so, can you share, specifically, you say it became deadly, how did that unfold?

Jonah Sachs
Yeah. So, I started this company called Free Range Studios when I was 22 years old with my best friend from high school, and we had no idea what we were doing basically. We were doing social change, advertising, and somebody once asked us, “Can you make an internet video?” We’d never seen an internet video before back in 2000 but we figured we’d give it a try. And I think that kind of beginner’s luck, that kind of just joy of doing what we love to do, really helped us break into an industry or start an industry in a way. We were getting 20, 40, 50 million views on some of these socially-conscious activism videos.

And then, as time went on, and we tried, more and more people were coming to us, saying, “Can you reproduce that video you make? Can you make me something like that?” We had 35 employees, we were trying to churn it out kind of like a factory. And what I was noticing first was, “Look, we need a lot more structure here. We need a lot more rules. We need a lot more ways of getting people to just do what we know works.” And the more rules I put in place and the more management consultants I worked with, the less fun everything became, and the less excitement there was in the work, and, frankly, the less creative the work was.

And I kept thinking, “All right. Well, how do I put better rules in place? Or how do I discipline people more to get them to just be creative?” And I realized at some moment when people started quitting, when I just looked at our work and I was like, “Yeah, this looks like the same stuff we were doing five years ago,” that all those rules and processes were actually getting in the way of creative breakthrough. And I didn’t know how to get out of it. It was actually a really difficult life moment for me. Really depressing and I doubted myself.

And so, I started reading neurobiology texts, social sciences, and asking how people that I really admired how they were able to break out of these ruts. And I found that almost everybody who was successful got to this point at some point, what makes them continue to be successful is they found a way to break out of it, and that’s what I was really after when I was doing the research for this book.

Pete Mockaitis
Well, speaking of research, I’d love it if you could share some of the most hard-hitting studies and numbers associated with the benefits of stepping out and doing some more unsafe thinking.

Jonah Sachs
Yeah, certainly. So, one of my favorites is they did a bunch of research on expertise, and they did kind of a broad study of about 20,000 expert predictions, and they found that the most vaunted experts over 10 years in each of their fields in business, in politics, in invention in business, were worse than dart-throwing monkeys at predicting what was going to happen in the future. So, they were worse than random chance at making predictions. And how could that be?

Well, they went a level deeper and they found that the more you were quoted on TV, the more social currency you had, the more likely you were to actually be even more wrong than your average expert. So, experts tend to be less accurate in making predictions than someone who’s just a complete beginner in many fields when the world is changing quickly around them. Not only that, the worst thing you can do is believe yourself to be an expert.

Once you believe you’re an expert, then you get even more stupid. So, in a couple of controlled studies, they showed that people who first said that they knew a lot about financial terms, primed themselves to then say that they knew what the meaning of fake financial terms were. So, they would ask them a bunch of terms, and say, “Are you familiar with all these terms?” And some of them were completely fake. The people who claimed that they knew more were the ones who were fooling themselves into believing and too proud to say, “Oh, I’ve never heard of that.”

So, basically, as we gain expertise, we gain also the ability to have impact in our field, and so we start to move up this curve of impact and quality. But at a certain point, most people start to go back down. It’s kind of an inverted U. And you get to the top of that U the minute you believe that you’ve become an expert.

And so, what I learned from that is that you have to break out of that sense that you know what you’re doing. You have to break out of that sense of clinging to what you bring to the table, what maybe people are paying you for, they’re looking for expertise so they’re paying you to have the answers. Really, in a world that’s changing quickly, you have to have more questions. And so, I looked for research on how that actually works. How do you actually break yourself out of that expert’s trap? And there’s a couple of things that do that.

One is kind of humiliating yourself, getting used to the idea of acting and showing yourself to be a beginner and to be an explorer rather than an expert. I tell the story of a CEO of a 56,000-person company. The company was going kind of down the tube when he was brought in. He knew he didn’t have the answers for it. He brought together 5,000 of his employees in an arena, and this is in India where kind of CEOs are known to be sort of emperors in a way or thought to be. And instead of giving his presentation, he started doing this Bollywood dance.

And he was kind of a heavy middle-aged guy, he’s sweating profusely, he’s a terrible dancer, and the arena is kind of rocking it but no one is dancing with him, and by the end, everyone is kind of laughing and wondering what’s going on, and he kind of just sits down and he starts to give the presentation. And he basically said, from that moment, he was able to pull himself down off that pedestal. He was able to admit that he didn’t have all the answers. He was actually asked by the employees then to go give the same presentation to everyone in the company.

So, when you do whatever you have to, to break that sense that you stand above, you start to break that expert’s trap. Other things you can do is engaging in fields where you know nothing. We’re so specialized these days in our work, and we’re so desiring to kind of keep going where we know. If you break out and start to…I think singing lessons is something I’m terrible at, but I do it because I begin to get more creative by stepping into a field in which I have no expertise. People who live abroad for six months are shown to be more creative than people who haven’t had those experiences.

So, the whole take away from that piece of research, which I really love, was stop thinking of yourself as an expert. Start thinking of yourself as an explorer. And the weird thing about it is that when you do that, you will find that people who follow you will not have less confidence in you. There’s a lot of studies now that show that people prefer leaders who are humble and self-effacing to those who act like they have all the answers.

Pete Mockaitis
Boy, there’s so much good stuff in there, and that really resonates in terms of like experts and predictions. Like, I can’t help but shake my head when I’m reading financial predictions stuff, it’s just like, “Well, you sound smart because you’re using all the words, and you have a theory, and it kind of adds up that, okay, that theory might indeed result in those financial results.” But, in practice, it’s like Back to the Future or something. It’s like if you could really predict like that, you would just be crazy rich and it’s unrealistic.

Jonah Sachs
That is true. That is true.

Pete Mockaitis
So, okay. Well, so then that’s really interesting.

Jonah Sachs
Those people wouldn’t have to be writing books.

Pete Mockaitis
Right. Right.
Well, so that’s great in terms of, especially, when you think you’re the expert then you’re in even more trouble because you’re not, I guess, seeking the dis-confirmatory – is that a word? The evidence that goes against the expertise…

Jonah Sachs
Yup, dis-confirmatory. Exactly.

Pete Mockaitis
…that’s there.

Jonah Sachs
Exactly.

Pete Mockaitis
Well, then let’s get into it in terms of how should we go about building in the practices so we’re engaging in unsafe thinking and reaching wise decisions as frequently as possible?

Jonah Sachs
Yeah. Well, the book is a long, long exploration of how we do that with kind of six or seven main areas we can do it in. And I can jump to a couple more of the ways that we start actually stepping into those practices. Before we do, I do want to also say that we live in a world now where this has also become this sort of negative feeling about experts in certain realms where I’m not arguing for the idea that, for instance, in the middle of this COVID crisis we shouldn’t listen to what doctors and scientists have to say.

We still, of course, live in a world where gaining information, education, understanding your environment is incredibly important. It’s just that even those doctors and experts perform better when they don’t hold themselves up to have all the answers, when they’re constantly in that curious mode. So, I’m not saying, “Just go listen to your uncle about what to do to treat a pandemic,” but I am saying that the more humble you are as an expert, the more flexible you’re going to be out in your environment.

But, yeah, let’s look at a couple other things that we can do to be more creative and to be more flexible in our thinking. One thing that I found that was just incredibly fascinating and really helped me break out of a few of my traps was this idea of attuning the level of challenge that you have to the level of competency you have. And that’s so often what gets us stuck. When we reach an impasse, and we want to fall back on what we’ve always known, and we find it’s not working, that’s often because our skills are not perfectly tuned yet to the challenge that we’re taking on.

So, if you want to understand this, you look at kind of motivation, right? And there’s been a lot of work done on motivation, and you probably heard some of this stuff about intrinsic versus extrinsic motivation. They used to think that people were only motivated by rewards like getting raises, making more money, status, all that kind of stuff. But then about 20 years ago, they started to really realize that there’s more deep motivations that people carry with them, that when you actually give them rewards at times, they start to be less motivated.

There are some interesting studies that show that young children who are asked to do art projects are more creative when you don’t offer them candy for who’s going to make the best piece of art. So, that’s called intrinsic motivation. But we often run out of intrinsic motivation when the going gets tough, and that’s when we go back to our stereotypical thinking, and that’s when we begin to really fail.

So, where do you draw that motivation from? Well, usually we think of intrinsic motivation coming from things like, “Oh, I have a passion for the work that I’m doing,” or, “Oh, I’m an artist,” or, “I’m an inventor,” and yet we all have so many tasks we have to go through that are not necessarily intrinsically motivating. Any piece of building a career is going to be of varying degrees of excitement. We have to do them all well to make our careers work.

So, how do we keep that motivation and that creativity up? Well, that’s where this theory called flow theory really becomes important. This researcher named Mihaly Csikszentmihalyi, you’ll never be able to spell it, I had to train myself to say it, but he was a rock climber, and he began to ask himself this question, which was, “Why do I go out there, nearly break my bones, rip up my fingertips, kind of give up all my money in time so that I can try to get to the top of a mountain from which I’m just going to come right back down? Where’s the motivation coming from in that?”

And he began to form an early theory, which is now one of the best-tested creativity theories, which is that people, when given a challenge that’s just at the edge of their skills, will tune in and almost obsessively work on that problem. It’s why people play so many video games because the video game is always just a little bit better than you are, and it never gets too far ahead, and it never comes too far behind.

So, when you find yourself in a situation where your motivation is beginning to flag, you’re probably out of flow. You’ll know you’re in flow because you’re working for 12 hours and you hardly notice it, or you just can’t wait to get back to that project. You know you’re out of flow when you’re procrastinating, you’re putting it off, and you’re phoning it in. So, what do you do? It’s not really the task itself. It really has to do with whether your skills are just being pressed and just at the lower level of the challenge itself.

And so, what I ask people to do, and which I find to be extremely effective, is, “Look at that thing that you’ve been trying to do, look at that thing you’re procrastinating, either it’s not challenging enough for you, therefore, you’re getting bored by it and becoming rote. So, how could you change the way that you do it so that you gamify it, in a sense, you add challenge to it? Or, on the other hand, it might be a little too far beyond your skillset to do it well. In which case, even when you’re in a hurry, it really makes sense to step back and brush up those skills.” Again, that’s where we go to breaking that ego of the expert, and saying, “I got to learn something here.”

So, the next time that you’re finding yourself flagging and losing motivation, I would really try to chart where your skills are, where are challenges, and where they’re departing. If you’re bored, you know it’s not challenging enough. And if you’re overwhelmed and exhausted, you know it’s too challenging. And in the book, I just give lots of ways for companies to be organized that way, for people to break up tasks into different phases to keep that flow going. So, another tip, that’s what really gets that creative brain going. When you get in flow, you really do better work.

Pete Mockaitis
Well, Jonah, I would love it if we could really kind of go through a number of levers or tweaks to make something a bit more or a bit less challenging because I don’t have a whole lot of ideas here. Hey, there’s some humble self-effacing action there.

Jonah Sachs
Sure.

Pete Mockaitis
I guess, in practice…

Jonah Sachs
I thought you were the expert here.

Pete Mockaitis
So, I guess if I want to make it more challenging, sometimes I’ll set a timer and see if I can do it faster within a timeline, or I might try to see if I could do a whole batch of them, like, “Have you ever done three in a row?” to turn that into some more challenge. And if it’s too challenging, sometimes I’ll just try to split it into just the tiniest increments, like, “Step one, open up the email where they ask me to do that thing. Step two, list out each deliverable that they want in that email. Step three, open a blank Excel spreadsheet…”

Jonah Sachs
Right.

Pete Mockaitis
And so, it really does help in terms of, “Oh, I’ve been avoiding it. This is hard. I don’t know where to start.” It’s like, “Okay. Well, you do know where to start. It starts by opening up the email.” So, that’s really all I got in terms of tricks to make something easier or harder. What else do you recommend?

Jonah Sachs
Yeah, I’ve got a few of those, of these kinds of tips. And what you’re talking about, in some ways, are these fairly rote tasks, which are very important actually to doing them well. The high level of competency in rote tasks is actually key to creativity. When you’re not doing those things well, you’re acting like the mad professor who’s super creative but not very competent, you’re actually putting a lot more stress on your brain and decreasing your creative abilities.

But I do want to differentiate between really creative tasks and tasks that you just kind of have to slog through. So, talk a little bit about the tasks that you just want to slog through. I looked at a lot of research about how bad, and you’ve probably heard about this, how bad we are at multitasking, and how much stress it puts in our brain to do a number of things at once. So, you might be doing something like, “All right, I’ve got this slog thing, it takes me an hour and a half to update my CRM, or to send out this email, or both.” Take a screencast of what you’re doing for about 10 minutes, see how many times you’re switching apps, see how many times you’re actually working, or checking your email, or picking up your phone, actually look at what you’re doing.

We live in a world where usually we’re doing two or three things at once. And things that seem really hard and take a long time, actually take very short if you shut out all outside distractions. It’s actually part of staying in flow is shutting out distractions. The novelist Jonathan Franzen, he apparently used to put hot glue into his ethernet port, back in the day when you needed a wired connection, and worked out of a windowless non-airconditioned office where no sound could get in. He basically shut out all outside, and he said it was the only way he could work.

And I think it’s really interesting because so few of us do work that way. So, one, shut out the distraction that is probably causing things to take twice or three times as long as you thought they were. It is not easy but sometimes when we see how hard it is, we realize how addicted we are to distractions. So, that’s one of them.

Another one is to break up, just like you’re saying, break things down into tasks, some things, smaller tasks. The creative side of your tasks require intrinsic motivation, and you don’t really need to get rewarded for that. You kind of want to isolate the parts of the task that you really enjoy, and, like I say, if there are parts of the creative side, if you need more inspiration or training, give yourself that time because sometimes we need to up that ability.

But other things that have been shown to really work are to think about a problem very directly and hard for about 15 to 20 minutes, make sure you have all the parameters of the problem, and then go for a walk, take a shower, take a nap, step away from it. It’s usually the background processing in your mind that will come up with original ideas when you’ve ran out of other ideas, because what happens in that first 15-20 minutes, the most obvious solutions come forth, and then it’s when you let your mind rest that new ideas. So, for the more creative ideas and more creative tasks, I recommend this sort of on again, off again burst of creativity and focus, and then open-minded for solution-searching.

And then, finally, because, again, we can go on all day just about this one piece of it, but there’s a lot of research to suggest that some tasks really do require external motivators. And so, sometimes you have to treat yourself like a parent if you’re really procrastinating, and say, “I’m going to give you that cookie, or I’m going to let you watch that TV, or I’m going to give you that reward, if you do these three things,” and set small goals for yourself, and give yourself small rewards.

A lot of people report like having that little treat at the end is a strong signal to their brain and a strong dopamine hit that makes the task not as hard as it once seemed. So, these are all kinds of ways essentially of managing energy through the long task of doing things that are hard as opposed to just reverting to going back and doing the things that are easy.

I can tell you that if your main mode of operation is to always work on the things that are easy for you, you are basically atrophying at your desk, and won’t be long until you’re way underperforming to your potential.

Pete Mockaitis
Yeah, certainly and that really connects there in terms of it can feel unsafe to do the thing that’s really hard and you’re not quite sure you could do, but it’s so essential to do that. I want to follow up on that point you made, that certain tasks really can benefit from treating yourself like a child and there’s going to be a treat if you do this. What are the sorts of tasks that seem to benefit most from that reward-treat-carrot action?

Jonah Sachs
Yeah, those tend to be the more rote, less creative, left brain type of tasks. So, you have to do things very precisely, you know how to do them, they’re difficult only in that they take attention and they take diligence. Those are things that tend to do better. And if you’re working with employees too, those are the kinds of things you want to give people extrinsic motivations to do, “Clean something thoroughly,” whether that’s a bathroom or a database, “Make sure that we have received all our receipts and accounted for them.” Those are the kinds of things that you want to give external motivation for because there’s really not that much excitement from a job well-done. You’re just expected to do it well and you have to, but there’s no real intrinsic joy in doing it.

Something like, “Come up with a new slogan,” “Pick new colors,” “Come up with a creative solution to a problem that we’ve never solved before.” Those are all things you don’t need to give rewards for in that sense. You will want to celebrate people’s creativity, give them more open space, give yourself more open space, and try to dial back that pressure to do it quickly is always helpful.

Pete Mockaitis
Well, now, I want to talk about sort of the social dimension here of unsafe thinking. So, we talked about kind of managing yourself and your productivity and the challenges you take on, adjusting the difficulty. Now, it can be tricky and feel unsafe to challenge someone else’s viewpoint in a meeting to say something, in however you say it, to convey, “I disagree. I think that there’s an alternative which may serve us better,” can be quite intimidating and feel unsafe for people, maybe rightly, because there’s retribution and animosity, or maybe wrongly, it’s just a boogeyman. But, tell us, what are some of your best practices, pro tips, for engaging in unsafe thinking and articulating that with others?

Jonah Sachs
Oh, man, this one is really, really hard because so many workplaces are the sort of schizophrenic mixtures of both really wanting creative employees and really beating them down when they don’t fall in line with company flow. And so, let me just start by saying there’s this fascinating study that looked at teachers, asking them, “All right, first, rate all of your kids in your class from your most creative to your least creative.” So, they put them on a spectrum, obviously, without telling the kids.

Next, they said, “Who are your favorite students and who are your least favorite students?” And, across the board, without exception, less creative kids fell into the favorite student category, and more creative kids were in the troublesome category that teachers actually didn’t like. And when asked, “How important is it for you to teach creativity?” teachers said it was the number one most important thing that they wanted to do. So, this tells us exactly that, by fourth grade, we’re already getting these mixed messages, “Be creative and fall in line.”

So, let’s move that into the workplace, what’s happening in the workplace. Meetings are so often hated and so often deadly because there’s this thing called shared information bias, which tends to happen. It’s this deep psychological problem in groups that happens in a meeting. Okay, so 10 people come into a room, right? They’re having a meeting because it’s important for them to share information. They have to find out what they don’t know from the other people, that’s why they’re meeting, otherwise, people just work alone at their desks.

What happens usually is the leader of the group will set the tone, they’ll say what they know about the problem or about the situation, and that makes sense, and then asks for everybody’s input. Well, it turns out that what people value and report liking in meetings is saying what someone else has said before. And usually so the leader says what everybody already knows because the leader is always speaking, and then everybody feels a psychological pull to rephrasing or somehow agreeing with what the leader said. And, in fact, people tend to even forget what they wanted to say once this shared information bias starts to come up.

And so, what happens is everyone knows something, everyone knows A, B, and C when they enter, D, E, and F are held by a couple people in the meeting, everyone gets together, and everyone leaves still knowing A, B, and C, no one mentions D, E, and F, and the company is stupider for it. It doesn’t work. So, there’s all these things that need to happen for that to be changed. Some of those things need to happen at the level of the organization, some things can be done by individual contributors who don’t have the power.

Let’s talk real quick about the top level of the organization. Leaders should not speak first in meetings. They don’t need to give the context. Let somebody who doesn’t usually speak start the meeting with what they know. You will get information that you did not expect. And they find, often, that low-status individuals in an organization, for a number of reasons, have some of that hidden information that’s most needed because it’s not what everyone is talking about. It’s what’s being seen from the edges. And information from the edges is a key ingredient to being more creative in a group. So, that’s one.

Number two, you can teach in your organization a kind of respectful disobedience. They do this in the airline industry, they do this in the Navy, they actually role-play and practice for the co-pilot to say that they have a different opinion than the pilot. That turns out, because in the ‘70s and ‘80s when the pilot was kind of the king of the cockpit and no one wants to speak up to usually him, we had way more airline crashes. But when co-pilots, and even flight attendants, were specifically trained to be disobedient, to speak back to power, and say what they observe, airline crashes have plummeted, because one person simply can’t know everything that’s need to be known and they have biases and make mistakes.

So, in your organization, teaching what’s called intelligent disobedience, which means that you’re going to be totally loyal to the company, but you’re going to speak back when you know something is wrong is a huge plus. From the individual contributor level, what do you do in a group? One, to get over that problem of actually the amnesia that comes from shared information bias, I recommend writing down, before you get to the meeting, everything that you want to say. It’s hugely valuable. So, if you have the courage to speak up, this will help you not forget what actually your point of view was. And by the end of the meeting, if something hasn’t been said that you have written down that you still think is important, make sure it gets out there, and you will then be contributing something that was otherwise missing.

Second, just keep in mind that employees who engage in intelligent disobedience, those who kind of speak up and are willing to outwardly say they disagree, are considered more loyal and more effective by managers, this has been well-studied, than those who quietly disagree and pretend they do agree. So, basically, if you’re going along with the flow, but you’re not wholeheartedly agreeing, people actually recognize it and it’s seen as a sign of kind of subversion. If you’re willing to speak up, and then go along with decisions once the group has made them, being loyal to the larger group, you’re going to be seen as more creative and a more effective collaborator. So, that fear may be a little bit unfounded.

Pete Mockaitis
Well, it’s interesting indeed. I’m putting myself in the leader’s shoes, yup, it’s preferable to have someone openly tell you they disagree than to grumble and quietly muddy the waters with their subversive, I think is a great word for that. At the same time, I guess there’s that teacher effect that you mentioned that the creative ones are more kind of inconvenient because they don’t fall in line, “The meeting is going to take longer if you have a different opinion that we need to cover as opposed to you just sort of nodding and agreeing or else.” But at the same time, that’s what the meeting needs to do, is surface this stuff that wouldn’t get surfaced otherwise. So, in a way, it seems like your leader has to have a little bit of awareness and virtue, I guess, in order for them to appreciate what’s happening there with that intelligent disobedience.

Jonah Sachs
Yeah. Well, first of all, if you’re a leader and you’re turning your hair out because your employees are not creative enough, it’s just important to internalize that message that if you are subtly or directly calling for agreement and for efficiency, that you are the problem, it’s probably not your employees. So, getting that, opening that space for disagreement is going to be the source of your creativity.

Yeah, there’s another kind of key leadership tool here, I think, but it’s also something that team members can help to build. And Google did a landmark study on it, I spoke with Steve Kerr, the coach of the Golden State Warriors, he kind of uses it as well, and it’s kind of a little bit counterintuitive when you think about unsafe thinking. It turns out the most unsafe workplaces, the ones that are the most creative and willing to think outside the box, are the ones that provide the most psychological safety to people within that group.

I know that sounds crazy but what I’m trying to say here is that if everyone feels a sense of belonging, if they feel that their job is protected, and they feel that they matter to the team, they are more likely to be able to go against the grain, to say the things that might sound crazy, to open up their mouth when they see things are going wrong. There are these great studies of you could judge a company’s creativity by setting up a prediction market. So, see how often people are agreeing with what the CEO says when you’re actually asking them in front of the CEO, “Do you agree?” But then have a side market where people bet on whether the outcomes or the choices are going to work or not, and you’re going to get the real opinion.

So, prediction market is actually a better way to know if people agree with you than just kind of asking them. But if you create a sense of psychological safety, you don’t need that kind of output. You get to say, “Look, in this arena of creativity, everybody is equal. We fight it out, we go crazy, we are willing to look at ideas. And when you fail, we don’t punish you. We actually reward smart risks rather than just success,” then you’ll find people are willing to start taking those chances.

Now, you don’t want absolute chaos, that’s why it’s very important for groups to be cohesive when they move out of that exploratory phase and into the execution phase. But in exploratory phases, take a look at, “Are you building psychological safety within your organization?” There are lots of tools for doing that. And, again, that’s how Steve Kerr, when he got to the Golden State Warriors, kind of unlocked all the creative potentials of that team to take them to, whatever, five NBA Championships in a row, was by first setting up psychological safety in the locker room so they could get more unsafe on the court, and he kind of walked me through that, and I tell that story in the book.

Pete Mockaitis
Beautiful. Well, tell me, anything else you want to make sure to mention before we shift gears and hear about some of your favorite things?

Jonah Sachs
I guess I’ll just say that one of the things that I found most fascinating has to do with the real psychological mechanisms, and this is just kind of one more tip that I think is helpful when you understand this. I came to understand something that I call the safe thinking cycle. So, what happens is the world change around us, and that creates a certain amount of anxiety. What we’re doing is no longer working. We sense it because we’ve stepped up into a new position, and we’re not quite able to perform in it yet, we need to learn more, or what we’re doing no longer works, or there’s a new competitor in the space, or anything like that. We get a signal of anxiety.

Now, we’re programmed by evolution to see anxiety as a threat to our bodies basically. Anxiety out in the African savannah would mean that there was an animal about to eat you. And in those cases, what happens naturally from anxiety is that our peripheral vision shuts down, our nonessential bodily functions begin to slow down, and we really fall back on what we know works. So, we take what’s called stereotypical actions.

So, anxiety will, first, lead to the sense of, “Okay, I got to do something differently.” But by the time you start thinking what to do differently, you’re programmed by evolution to fall back and do something expedient and safe, and then things get worse because you haven’t reacted to the stimulus, and the cycle just repeats and repeats and repeats. And so, that’s where most people find themselves. The more stressed out you are, the less likely you are to take new and creative actions.

The way to break this cycle is not to respond differently or to force yourself to respond differently. It’s actually to reframe what anxiety means. And this has been a really fascinating look, for me, into sort of a whole bunch of different both kind of biological science and psychological science. But people who effectively break this cycle are those who tell themselves that anxiety is not a signal of danger, but a signal that they’re on their creative edge.

So, if what you’re doing is moving away from situations that cause anxiety, you’re actually creating further and further anxiety. And there’s a lot of psychological research that shows the more we concentrate on avoiding a feeling, the more we’re going to have it. The more you move towards that anxiety and say, “Okay, that anxiety is a signal that I should move toward it not away,” that is where we can experience the anxiety, and then take new action in its face.

So, it was very counterintuitive to me, nobody likes that feeling of anxiety, but if you can take it as a signal that you’re in your creative zone, when you feel it, that can really reshape your relationship to the creative thinking cycle.

Pete Mockaitis
Boy, that’s really good, and I think we might characterize anxiety all the more broadly, not just the, “Oh, crap, something terrible is going to happen” sensation, but I guess maybe also like I think about just sort of learning and growth mindset stuff. It’s just sort of in terms of awkward or dread, like, “Ugh, I’m not any good at this. Oh, I feel stupid.” It’s like that whole family of unpleasant feelings you can associate to, “Oh, I’m at the edge of creativity, or of growth, or of breakthrough,” as opposed to, “Oh, this is a thing to retreat from.”

Jonah Sachs
Yeah, for sure. For sure. The things that are like worth doing but don’t make you anxious are the things that you have been doing for a really long time, probably for a decade. So, the first time you give a speech in public, you might feel terrified. Once you’ve given that talk 20 times, you don’t feel scared anymore. If all you’re doing is giving that same talk again and again and again, your days are kind of numbered.

So, it’s great to fall back on the things that we know when we know we can do well. I would say give yourself at least 15% to 25% of your time though doing things that you suck at, and that will make you just a much better, more flexible thinker.

Pete Mockaitis
All right. Well, now, could you share with us a favorite quote, something you find inspiring?

Jonah Sachs
I still love the bumper sticker, I don’t know who even said it, but, “Don’t believe everything you think,” always makes me smile, and I kind of take that as a motto for myself.

Pete Mockaitis
Thank you. And how about a favorite study or experiment or bit of research?

Jonah Sachs
I looked at a study that showed that people, when given a chance between feeling medium-level electric shocks and being bored, would usually, after about 10 minutes, choose the electric shocks. So, when they put four people into a white plain room, and said, “You can have the electric shock and leave, or you can stay for another 10 minutes,” people mostly took the electric shock.

And just amazing to me, I think probably a hundred years ago, 50 years ago, maybe even 25 years ago, we were pretty good at sitting with ourselves and sitting with our own feelings and ideas. The fact that we’re at a place where most of us would rather be in pain than quiet is definitely a sign that there’s a lot of white space, a lot of opportunities for those who could be a little bit more mindful and take their time through processes, and be in that zone where creativity arises, which is in that quiet zone.

Pete Mockaitis
And how about a favorite book?

Jonah Sachs
Well, I’m reading right now a book called Station Eleven. It’s a post-pandemic science fiction book about a future in post-pandemic. And sitting through a pandemic right now, I’m kind of enjoying its beauty and its quiet, looking at what the world sometimes becomes.

Pete Mockaitis
And a favorite tool, something that helps you be awesome at your job?

Jonah Sachs
I have been really appreciating using Asana lately. It’s a fantastic product and helps me organize the millions of tasks that I try to keep. And I’ve tried many, many different tools, and have really struggled to use one again and again. I’m on kind of month 18 now with it and I find it’s really sticking, so that’s my tool.

Pete Mockaitis
And how about a favorite habit?

Jonah Sachs
I think I mentioned the one that I’m most excited about, which is doing things that I’m bad at and staying out of my comfort zone, so continuing to press, although I’m not improving as fast as I like, continuing to press on my singing is my latest habit that I’m trying to stay in.

Pete Mockaitis
And, now, how about a favorite nugget, something that you share that really seems to connect and resonate with folks, and they quote it back to you often?

Jonah Sachs
I find that the thing that most gets quoted back to me from my work, actually, comes from my first book Winning the Story Wars, maybe it’s because it’s been out for so long. But I kind of had three key tips for how to communicate and how to build your own personal brand and tell stories. And that was be interesting, tell the truth, and live the truth, and that gets repeated back to me as a sort of three pillars in life that are always worth following.

Pete Mockaitis
And if folks want to learn more or get in touch, where would you point them?

Jonah Sachs
JonahSachs.com.

Pete Mockaitis
All right. And do you have a final challenge or call to action for folks seeking to be awesome at their jobs?

Jonah Sachs
Yeah, I would just say it all really comes down to move towards the things that scare you, get out of your comfort zone, and if you’ve been saying that you’re going to do things differently, start doing something different today.

Pete Mockaitis
All right. Jonah, this has been a treat. Thank you and keep on rocking.

Jonah Sachs
All right. Great talking.

Pete Mockaitis
Roger, thanks for joining us here on the How to be Awesome at Your Job podcast.

Roger Firestien
My pleasure. I’m happy to be with you today.

Pete Mockaitis
Well, I’m intrigued, so we’re going to talk about thinking and creativity. And I understand that when you like to think, one of your favorite things to do is drive tractors. What’s the story here?

Roger Firestien
I grew up in a farm in northern Colorado, and one of the beautiful things about being a part of my family is that my father didn’t say I had to be a farmer, right? And I got very interested in music, and the interest in music led to my interest in creativity. So, when I moved out to Buffalo, New York in 1978 to study creativity at the International Center for Studies in Creativity, I really never wanted to set foot on a farm again.

And a number of years ago, I went through some challenging times, and I ran into a fellow named Philip Keppler who owns a cattle ranch near Medina, New York which is about 40 miles northeast of Buffalo, where he grazes about 400 cattle. And so, Phil and I became friends, and I started to just go out to the farm to do what I call farm therapy. And what farm therapy is, is you go and you do stuff but you don’t have to make a decision on what you’re doing. My friend Phil says, “Let’s go move those bales up the north,” and we do it. my friend Phil says, “Let’s go move that tractor over there,” and we do it. My friend Phil says, “Let’s move those cattle over there to that pasture,” and we do it.

So, what it allows for me to do, and I do it regularly now, is that when I get stale with writing or when I get frustrated with what it’s like working in a university, in the International Center for Creativity, or running creativity consultancy firm, I go out there and I spend some time either driving a tractor, or working with cattle, or shoveling cow manure, or even falling in it sometimes, because what it does is it gives me break from what I usually do.

The other thing that farm therapy does to me is that, when I’m out there working on a field, and I’m supposed to, what we call bush hog, which is cut down a whole bunch of brush or anything, there is a tangible result from beginning to the end. You can see when it’s finished and there’s great satisfaction in that. In our work in teaching and writing, sometimes you often don’t see it.

So, farm therapy is what I recommend for folks who do businesses like us to be able to get away, get out in the fresh air, have somebody else make the decisions for them, and then oftentimes after that, I get some new ideas or some new insights for a new book I’m writing on, or program that I’m delivering, those sorts of things. It’s really taking a break both mentally and physically for how you spend your usual day.

Pete Mockaitis
All right. I’m convinced. Farm therapy.

Roger Firestien
I’ll see you on the farm, Pete. We can always use another hand.

Pete Mockaitis
It sounds like our next sponsor is a farm therapy offers.

Roger Firestien
International Harvest or John Deere, right?

Pete Mockaitis
So, I’m excited to talk about creativity and, in particular, I understand that you are capable of generating 100 ideas in 10 minutes, and we can all do this. How is that done?

Roger Firestien
Well, it’s not me that does it. It’s a group. So, let me tell you how it’s done. So, first off, let’s get a couple things clear here. One of the things we’re talking about is that we’re talking about an entire creative process here. Earlier on, in the 1950s, a gentleman named Alex Osborn, who happens to be the O in the advertising agency BBD&O, invented the brainstorming technique. But what Osborn realized was just an idea-generating technique isn’t enough. So, he also invented this process that helps you to define a problem, generate ideas, and then develop some plans for actions.

So, when we talk about generating 100 ideas in 10 minutes, it’s not difficult at all. And here’s the procedure that we follow. First, we’re talking about a group of about five to eight people, that’s about it, right? First thing you need to do is to go over the guidelines for generating ideas: defer judgments, strive for quantity, seek wild and unusual ideas, then combine and build with other ideas. Then, and here’s what’s really crucial, is we do a little warm up activity first, like a 5-minute warmup activity. And some of my favorite warm up activities are like, “How to get a hippopotamus out of a bathtub,” or, “How to improve a bathtub,” or, “What might you be able to do with 10 tons of orange jello,” right? Something fun, something sort of zany like that, and we use Post-Its, and we have people write down their ideas, say them out loud, and jot them up. And so, a warm up activity takes about 5 minutes.

Now, in addition to that, we also do this technique called forced connections, which is a technique that we use to combine different ideas from different perspectives. So, when you get stuck, oftentimes what tends to happen is you’re running down the same route. So, if I’m sitting here and if I’m working on a particular problem on, say, how to write a chapter for a book, and I get stuck, I might look around the room and see what ideas the lamp gives me, or what ideas my model rocket that I made when I was 12 years old gives me, or what ideas I get from pine trees at the backyard. And that’s the real essence of creativity, which is combining ideas in a different way than what they’ve been combined before.

So, we’ll oftentimes use pictures to help people to do that, from various aspects, pictures of food, or nature, or machinery, or people. So, then, let’s take a look at how to generate those 100 ideas. So, let’s say you’ve done a little warmup activity, and you’re working with a group, and you’ve generated about 25 ideas in 5 minutes. That’s not uncommon at all when you’re not judging ideas. Then, give the real problem that you want to work on to the group, take another 5 minutes, and oftentimes the group will generate between 25 or 30 ideas there.

Then we do a technique called brainwriting which actually helps people to write their ideas down. We use a little form where they write three ideas on a Post-It. It consists of nine squares. And what they’re doing this way is they’re working sort of in parallel. So, they’re all working at the same time. You don’t have to worry about a recorder, or a facilitator slowing down the process by getting those ideas up there. At the end of that 5 minutes, we usually have 60 or 70 ideas. It’s not uncommon at all to generate 100 ideas in 10 minutes.

Now, the thing behind that is, oftentimes then, what you’re going to find is about 20% of those ideas, about 20 or 30 ideas, let’s say 20% conservatively, are going to be good ideas that you can take and refine. Pete, what the formula really is in this is the generation of ideas doesn’t take long, but it’s the selection, the refinement, the building of those ideas, it does take the time.

So, let’s say you have an hour meeting and you want to generate some ideas for solving a specific problem you’re working on. First, come in with a well-defined problem, starting with the words that would invite ideas, like “How to…” or, “How might…” Then, give a little break, a little warmup activity work to challenge 15 minutes, and you’ll have about 80 to 100 ideas. Then the rest of that time, the remaining 45 minutes or so in the meeting, that’s what you need to use to select those ideas and refine those ideas and decide which ones you’re going to move forward. So, that’s sort of a formula for about an hour, an hour and 15-minute meeting.

Pete Mockaitis
Okay. Well, so lots of good stuff in there. Now, let’s talk about the warmup. I imagine the goal here is that you get people have an easier time generating lots of wild ideas about something that is not close to home than they do generating wild ideas about something that they see every day, and so you’re getting their brain in that zone via doing something a little bit more distant. Is that kind of the logic here?

Roger Firestien
Pete, you’re absolutely right. And we do a warmup for three reasons. First, to briefly train the group on the technique. You can’t expect a group to go in there and just get creative, like, “Okay, we need some creative ideas.” So, first, a little training on them. Next, to sanction the time for speculation. And when I say sanctioning the time, people will come in from a meeting and they’ve been busy with other aspects of the day and other things are going on, and so what we do is we draw a line, we say, “Look, the way you’ve been thinking before, judging, putting things into action, executing, we’re not going to do that right now. We’re going to speculate. We’re going to try out some new ideas.”

And then the thing also is to create what we call judgment-free zone where people aren’t judging their ideas. They’re just coming up with those ideas. And you’ve got it exactly, what we want to do is we want to create something that’s fun, whimsical, non-threatening, away from the problem to generate that energy and to also practice the technique.

And so, in the book Create in a Flash, we have a bunch of warm up activities listed on page 69. And so, the whole purpose there, Pete, is for people to defer their judgment, think differently, and sanction that time for speculating. Then you can go in and work on the type of challenge. And I have to tell you, my entire career, when I neglected to do a warmup activity, I did that twice, either I thought the group was already warmed up or I didn’t have time. And what I had to do was go back into a warm up activity.

And, oftentimes, people will say, “Well, warmup activity is silly.” Well, by design it’s silly. Or they’ll say, “Well, I can’t work with my CEO on this.” I’ve had CEOs, I’ve had army generals, I’ve had people in government do warm up activities, they love it because it gives them a chance to loosen up, to have some laughter, and then that energy from that warm up, you move into working on with the challenge at hand. Oftentimes, what tends to happen is, the reason why people are not successful in idea-generating sessions is, one, they haven’t warmed up or, two, they haven’t followed the guidelines for generating ideas.

Pete Mockaitis
Yeah, that makes total sense to me. And the warm up, I think that’s well-stated in terms of the warmup is producing an energy, a state of mind, a groove, and that’s just huge.

Roger Firestien
Thanks.

Pete Mockaitis
I find that when I’m giving a speech that goes amazingly versus, you know, fine between that…on that continuum. The difference is largely what kind of a state did I get into prior to in terms of was I curious and eager to connect with the audience, or was I kind of in my head in terms of I have these eight takeaways that I’m going to convey now.

Roger Firestien
Right. And here they are, one, two, three. I got to get them out, yeah. Yeah, that’s a challenge of every speaker. What I’ve also found too, and I‘m sure you found this too, it’s like less is more. So, yeah, but you get on that track, “I got to get these takeaways out there,” yeah.

Pete Mockaitis
So, excellent point then on the warmup, and I appreciate hearing about the general in terms of, okay, this is a serious person who has lives at stake who takes the time and finds it great. So, very cool.

Roger Firestien
And also, the thing about that is generals, people like that, will use that. For example, generals realize the value of training and being very, very well-trained. And what this does is it gives some training on something that they have no stakes in at all so they can experience the process, they can experience the procedures. And then when you work on the real challenge, and you’re trained already to do it. I mean, you practice target shooting before you have to go into combat. Same thing, you practice generating ideas in a really fun way before you have to apply them to the challenge at hand. And to your point too, it’s simple but it’s huge. It’s easy to do, it’s easy not to do. And so, it’s just that very simple thing when people do it, they’re successful. When they don’t, generally they’re not.

Pete Mockaitis
Okay. And so, I also want to talk about, so we’ve got that five to eight people who are able to generate 25 to 30-ish ideas, lickity-split. And then you do some stuff with Post-Its and three-by-three which turn into a whole bunch more. So, can you go into some details, as to what are we doing with that three-by-three and the Post-It stuff?

Roger Firestien
Well, first off, the Post-Its is pretty common in this business, and we use it in those things called brainstorming with Post-Its. And so, the first 5 minutes is people are generally writing their ideas, they’re saying them, they’re getting them up on a Post-It, and then they’re going up on a flipchart that the facilitator is running, and that’s brainstorming with Post-Its.

This other technique, is called brainwriting. And it’s a really cool tool because what it does is have people work individually. And so, we have a little grid here and we have nine Post-Its on it, three across, three across, three across. We write the creative questions at the top, we say to people, “Write three ideas, put the form out in the middle, pick up a form somebody else has not completed, write three more ideas on that.”

And so, they’re writing ideas continuously. The beautiful thing about this, Pete, is that they already have ideas generated from their brainstorming with Post-Its that are up there on the flipchart. They can use those to build ideas off of this wonderful little brain-writing technique, they can build ideas off of it as well. And the key is to use both. First, is stick ‘em up brainstorming, or the brainstorming with Post-Its where you get all those ideas out in a very wide format, and then, using this brainwriting tool to help people to add onto those ideas to refine them. And, oftentimes, the second round with this brainwriting tool, the ideas are a bit more well-defined because people have to write the ideas down, they don’t say their ideas anymore.

So, they write three ideas, put the form in the middle, pick up a form somebody else has used, write three more ideas, so it’s three ideas and go, and three ideas and go, and three ideas and go. And they will often, say, you’ve come up with 30 ideas with brainstorming with Post-Its, oftentimes people will double that with the brainwriting, 60, because they’re warmed up, they have ideas to build off of, and they don’t have to compete for airtime to get those ideas out there.

Pete Mockaitis
And so, when you say pick up a form, what’s on the form and what are we doing with that?

Roger Firestien
Well, if I can refer to the book, on page 78-79, also there’s PDFs that go along with this, if go to CreateInAFlashBook.com, there’s a downloadable PDF of this form called brain-writing, and all it is is just a simple little grid with nine squares. We put nine three-by-three Post-Its on it, and write these three ideas and go, and three ideas and go, so it’s really pretty not complicated at all but it’s a group process of getting those ideas out that really gets them going.

Pete Mockaitis
Okay. Let me get out of this, but aren’t you writing in both of these phases? So, brainwriting is not actually distinctively different with the writing because writing had happened earlier as well? I’m getting hung up on the word brainwriting.

Roger Firestien
Yeah, the distinction between brainwriting is, first, when you’re doing stick ‘em up brainstorming or brainstorming with Post-Its, you’ll write your idea on a Post-It, you’ll say it out loud, you’ll hand them up to a facilitator that will put the idea on the chart. By saying it out loud, other people in the group can build on that idea and add to it.

Now, with brainwriting, you’re not saying your ideas out loud. You’re simply writing three ideas down, putting the form in the middle, picking up another form, reading the ideas that other participants have jotted down, either building on those ideas or adding more ideas that are coming to mind. So, the second time, the brainwriting is, yes, you’re writing those ideas down, yes, you’re recording those ideas, you’re just not saying them out loud, and you’re doing three at a time.

Pete Mockaitis
Okay. And so then, from there, we got a whole bunch of stuff. What happens next?

Roger Firestien
Well, then what you do is you need to converge on those ideas, all right? And we actually talk about this, in addition to Create in a Flash, there’s 20 videos that go along with it. So, when you go to CreateInAFlashBook.com, you can actually see this process happening. And we have in the front of the book the directions to find those online videos so you’ll actually see what we’ve talked about happening, Pete. And that’s probably the best is go to the website there and look at brainwriting in action.

But after writing those ideas, we do a technique called highlighting. And the first thing we do in highlighting is we take just colored dots and we have the person whose problem we’re working on go up to the charts and mark what we call the hits. These are the ideas that are interesting, intriguing, workable, might solve the problem, you like them. You mark as many hits as you like. Then, from there, you take those hits, you cluster them together into themes, right? Then you restate that cluster as an action or as a new idea.

So, what you’ll have is a whole bunch of ideas for solving a particular issue that will cluster around a certain area. Those build into a concept, then you label that concept with a verb phrase, and then from there you can go further to refine the ideas and develop them. So, that’s the basics around generating them, and then focusing on them. What’s real crucial, after you spent all this time to generate these ideas to not just go up and pick one idea. Well, in that case, why did you spend all those times generating those ideas in the first place?

So, the converge is a very gentle converge. First, what’s interesting, intriguing, workable, how do those relate to each other. And then, once you got that, labeling the cluster with a concept or a phrase that really captures the action, the essence of that idea cluster.

Pete Mockaitis
Okay. And I’d also love to get your take on when we’re trying to create independently on our own, what are some of your pro tips to do that well?

Roger Firestien
Well, very simple, following the same things, creating on your own as you would create in a group. For example, artists have sketchbooks. A dear friend of mine is an artist, when you look through his sketchbooks, he’s got thousands and thousands of sketches in there just jotting down new ideas, just sketches and those sorts of things.

So, when you’re working by yourself, first, define the problem, have a well-defined problem, like, “How to reduce the cost of this project?” or, “How to raise the money for this project?” or, “How to get my leaves raked in my backyard without too much effort?” And then just defer judgment. Don’t judge. Jot down all the ideas that might come to mind. What you might find is the first 10 to 12 ideas, this probably will come pretty easily for you, you kind of probably thought about those ideas before.

The next one is you might have a bit of a challenge around, so that’s when we recommend using this forced connection tool. So, say, you’re looking at ways to reduce costs on a project, well, then you look around the room, and you say, “Well, what ideas does my telephone give me for reducing costs on this project?” Well, maybe an idea would be, communicate the need to it broader. Broadcast out why you need to do it. My phone has got push buttons on, so separate the project down.

And so, that will spur you on to come up with some more ideas, but I recommend people stretch for about 30 ideas. Now, they don’t have to do it all in one setting. The beautiful thing about the creative process and why tractor time or farm therapy is so helpful is when you step away from the challenge, oftentimes new ideas begin to surface there. And that’s when it’s important to have your smartphone with you to just say those ideas into a voice memo, or have a sheet of paper where you write the idea down, because oftentimes when we find that you start working on a challenge, other ideas are going to be coming in because it stirred your brain up to come up with more ideas and more concepts. We have some good research that shows that that seems to be the case.

Pete Mockaitis
And I’m curious, this number 30, is there some magic to it?

Roger Firestien
Yeah, a bit of magic. So, one-third, one-third, one-third principle. And so, early on, when we were working with the creative process back in the early 1980s, I ran a consulting company called Multiple Resources Associates, and this was early on in a lot of the development of creative process where we really had to try and chart a place, “Where are we going to get breakthroughs when we’re working with our clients?”

And so, as we went through many, many, many, many transcripts, we often found that idea 30, 32, 33, 34, 35, that’s when the new ideas were coming. And so, this is also based on an early principle around the old brainstorming technique, and essentially, it’s this. The first third of your idea production, about the first 10 to 12 ideas, tend to be the usual ideas. These are the ideas you’ve of thought before. These are ideas that are already roaming around people’s heads.

The second third, from idea 12 to 20, or 25 or so, those are kind of the crazy ridiculous ideas. It seems that people have loosened up a little bit, they get a little crazy, a little goofier. They’ve exhausted the usual associations that they have around solving that problem. Then the next third, the third third, that’s where the pay dirt comes, that’s when people come up, begin to make new combinations using that kind of crazy stuff they came up with the second third, some from the first third, and that’s where the new ideas and insights begin to blossom.

And so, I say the idea 30 to 35, you’re bound to get some new insights there. But what often tends to happen is we sit around in a group and we generate 10 or 12 ideas for solving a problem, and we think we’re getting real creative, well, you’re not. All you’re doing is getting those ideas out there that already romping around people’s heads. The creativity comes in the stretch, the innovation comes in the stretch. But that’s what’s behind that idea of saving the quarter for about 30 ideas or so.

Pete Mockaitis
Okay. And so then, I’d love to know, you talked about forced connection, hey, you look around, there’s a lamp, there’s a telephone. Are there any other ways you recommend bringing useful stimuli into the equation for association?

Roger Firestien
Well, I want to save your listeners a lot of money because the whole idea of forced connections is really the basis of what creativity is. There’s lots of books out there that give you 101 ways to come up with more ideas, those sorts of things, and they’re all based on the concept of making a sort of remote association, an association with something that’s not related to the problem at all, which is combining ideas that usually don’t appear to be related in any way.

Now, what we use is we use visual forced connections. So, if you’re in a session and the group is slowing down, we’ll have a series of pictures, lots of pictures, and they fall into four categories. One category is people, second category is nature, the third category is machinery or the non-living world, and the fourth category is food. And we’ll just have these pictures just scattered out over a table. When people get stuck, they can take a look at the pictures, see what ideas it gives them, use that to create a connection and come up with a new idea.

Now, you can use pictures but you can also use smells. You can also use sounds or music. You can also use taste. In other words, you’re working on a problem in some way, and you’re tasting cinnamon. What ideas that cinnamon bring to mind? Or you’re working on a problem and you see an ocean liner. What idea does an ocean liner bring to mind? That’s the basics of it, Pete. Taking a look at something or making connection with something that’s not related to the problem at all and use that connection to create a new idea. And that’s my go-to tool.

So, there’s other tools that you can use but if we’re going to give our listeners something that they can use consistently, it’s this forced connection tool. We have an interview on one of the videos of a gentleman named Dr. Robert Gatewood, who took one of my classes and he said, “I would leave class, and as I was driving, I’d be working on a problem, and I’d look around and I’d see what connections I might get from a stoplight, or what connections I might get from a building.”

And there’s an interesting story about forced connections if you want to go into that in a second, but I want to make sure that I’ve responded to your question here.

Pete Mockaitis
Oh, yeah, got it. It’s storytime.

Roger Firestien
Storytime. So, one of the people that we talk about is a gentleman named Wilson Greatbatch. Now, do you know who Wilson Greatbatch is?

Pete Mockaitis
I don’t.

Roger Firestien
Most people don’t. You know what a pacemaker is?

Pete Mockaitis
Yes.

Roger Firestien
Of course, you do. Wilson Greatbatch invented the pacemaker, and he actually lived about 10 miles from where I live, and I got the opportunity to visit with Dr. Greatbatch a number of times. Now, one of the things that led to the invention of the pacemaker was a lot of failures, a lot of trial and learn is what we call them. And Wilson Greatbatch is wonderful about reframing failure. He said, “I look forward to failure as a learning experience. Nine out of ten things that I worked on fail. But the one that works pays for the other nine.”

So, in my conversations with him, the idea for the pacemaker, he told me, actually came from a hazard flasher on the side of a road. So, he’s driving back from a meeting one time, he sees this construction site, he sees all these hazard flashers flashing. That flashing made the connection between the pacemaker electrical charge and this network with the heart. So, that’s one example.

Pete Mockaitis
Cool, yeah.

Roger Firestien
Yeah, cool. They all are, yeah.

Pete Mockaitis
Interesting. So, trial and learn instead of trial and error.

Roger Firestien
Yeah, trial and learn because whenever you do something, you create a result. It might not be the result you anticipated, but the question is, “What can you learn from that result?” If you look at highly-creative people, they see failure in a different way. They see failure, they don’t attach a negative value to it. They see failure as, “Well, gee, that didn’t work. What else might work? What else might work?” Edison was famous for his quotes on this, but he was about halfway into inventing the lightbulb, and somebody asked him, “Mr. Edison, how many tries have you tried to invent a lightbulb that haven’t worked?” He said, “Well, I’ve succeeded in proving 700 ways it will not work. When I find a way that will work, I will be 700 ways closer to that.” And so, it’s that whole attitude about failure.

Pete Mockaitis
That’s great. Well, Roger, tell me, anything else you want to make sure to mention before we shift gears and hear about some of your favorite things?

Roger Firestien
So, as far as creativity is concerned, and as far as things that your listeners can take away from, I think it’s really crucial that oftentimes people think that creativity is just coming up with lots and lots of ideas. But what I found over my 40-year career is that oftentimes, most of the time, what we think is the problem isn’t the problem at all. And that’s why it’s important to ask a lot of creative questions, which is what we talk about in the book.

Now, Pete, this is we talked about generating lots of ideas for solving a problem. You can use that same principle to generate lots of creative questions. So, if you’re coming up with creative questions, just differ judgments, strive for quantity, seek wild and unusual questions, combine and build other questions. And when you get those out, once again, 30 questions or so, look through those, find the best one, and then you’re going to to be much more on target for generating ideas.

So, I would say that’s one of my favorite things for your listeners to take with you. It’s like don’t accept the initial definition of the problem. And in my entire career, as I’ve facilitated hundreds of groups of creative problem-solving, there’s been one time, one time only, that the initial definition of the problem was the real problem. The rest of the time, that wasn’t it at all. It was somewhere else.

Pete Mockaitis
And so, by asking, you’re brainstorming different iterations of the problem or question to be solved, and in so doing, you’re sort of following the same process of zeroing in on which one seems the most resonant, workable, compelling?

Roger Firestien
Yes. What we do is we have you phrase those questions beginning with a phrase as a question. So, we use words like “How might…,” or, “How to…”, “What might be all the ways to…” And what those do is they setup the question as a divergent question. In other words, they’re opening your mind to search for ideas. So, “How to reduce the cost…” is very different than saying, “We don’t have enough money, okay?” That statement blocks your thinking. “How to reduce the cost…” tells your brain to begin to start to look for some ideas. So, using language in that way really helps to open up your thinking. It also helps to diffuse a lot of arguments and stuff as well.

So, if you’re in a highly-charged situation and people have different points of views, well, just phrase your point of view as a “How to…” or, “In what ways might we…” you get it up there on the chart and people feel heard, they feel valued that way. That’s one of the other things about the idea-generating process when you’re using something like brainstorming with Post-Its, everybody’s idea is valued, everybody’s idea gets up there, everybody’s idea gets heard, and so that builds teamwork. And the best way to solve a problem or the best way to build a team is to solve a problem together.

Pete Mockaitis
With that, could you now share a favorite quote, something you find inspiring?

Roger Firestien
A favorite quote that I find inspiring? Yeah, yeah, I do have a favorite quote. Thanks. And this is one of my favorites. It’s from Create in a Flash, and I didn’t know this was by this person, but Mike Wallace, a columnist, I love this quote, he said, “If you don’t wake up in the morning excited to pick up where you left your work yesterday, you haven’t found your calling yet.” I just love that quote because if you look at creative people, if you look at people that are passionate about their work, that’s what they do. It’s like, “I’m ready to start tomorrow morning because I’m so excited to pick up where I left off.” So, that’s one of my favorite quotes, yeah.

Pete Mockaitis
And how about a favorite study, or experiment, or bit of research?

Roger Firestien
Ah, well, I’ve got a bit of research. Actually, this is my doctoral research that we did back in 1987. And what we did was we compared groups that were trained in creative problem-solving with groups who were not trained in creative problem-solving. We gave them a real-life problem to solve, we took them over to the television studio on the campus, and we videotaped them while they solved the problem. When we analyzed the videotapes, we found the groups that were trained in creative problem-solving methods, the things that we’re talking about, participated significantly more, they criticized ideas less, they supported ideas more, they laughed more, they smiled more, and they generated twice as many ideas as the groups who were not trained in creative problem-solving.

Now, when we gave those ideas back to the business people that gave us a problem to work on in the first place, we found that the groups who were in creative problem-solving outproduced the untrained groups by about three to one on high-quality ideas. And the output of this is that they had more, better ideas to choose from, so they had a much greater array of ideas that they could choose from. Henceforth, a much greater possibility of solving the problem.

Pete Mockaitis
Yeah, it’s so interesting. So, three to one on quality, and two to one on quantity.

Roger Firestien
Yeah, just about like that.

Pete Mockaitis
That’s intriguing.

Roger Firestien
So, again, Pete, what was that again?

Pete Mockaitis
So, you said it was three to one on quality.

Roger Firestien
On quality.

Pete Mockaitis
And two to one on quantity.

Roger Firestien
Yeah, two to one on quantity. Yeah, I’ve never really looked at it that way before, yeah.

Pete Mockaitis
So, that means that the average quality score, if you will, I don’t know, of a given idea was better still.

Roger Firestien
Yes.

Pete Mockaitis
As opposed to, “Well, yeah, they had more good ideas. They had 10 times as many so some of them were bound to not suck.” It’s like, I don’t know, the average quality was higher too.

Roger Firestien
You know, that’s an interesting way to look at that, a great way to look at that. I’ve got to write another study, Pete.

Pete Mockaitis
And how about a favorite book?

Roger Firestien
Well, come on, “Create in a Flash: A Leader’s Recipe for Breakthrough Innovation.” We just released it. So, I love this book.

Pete Mockaitis
And a favorite habit, something you do to be awesome at your job?

Roger Firestien
A favorite habit. Well, I think, yeah, let me give you a couple of things. One is I’m in a wonderful position to be able to kind of control my schedule. So, one of my favorite habits is naps. And if you look at folks that are highly creative, they’ve taken naps, they’ve taken refreshers. And so, if you can sneak in a short 20-minute nap sometime during the day, that gives you what I call as two days. Because you work for a certain pace for a while, and usually about 2:00 o’clock or 3:00 o’clock, I tend to slow down. So, a little nap, a little quick meditation just to refresh, then you’re good for the rest of the day. That’s one.

And then the other thing is just really be aware that you’re always coming up with ideas, and just writing those ideas down whenever they occur to you. So, when I’m out doing farm therapy, I always have my smartphone with me because 99% of the time, I’m going to come up with an idea there to help me with something I’ve been working on, because your brain is working on it all the time just on a deeper level. You just have to get out of the way with your judgmental thinking to let those ideas begin to surface.

Pete Mockaitis
And is there a particular nugget you share that really seems to connect and resonate with folks; they quote it back to you often?

Roger Firestien
What you think is the problem is not the problem at all. And I think that’s really one of the biggest nuggets that I can give to people that would say when encountering an issue, or a challenge, or a goal, or an opportunity, don’t accept the first definition of it. Challenge your thinking about it to see the other angles of it, to see this might be a symptom. This might not be the main issue. So, I guess I would say challenge your initial definition of what you think the problem is. And, many, many times, that’s going to really help you to come up with some brand-new insights, insights you wouldn’t have thought of before.

Pete Mockaitis
And if folks want to learn more or get in touch, where would you point them?

Roger Firestien
Go right to my website RogerFirestien.com, it’s German. And you can go there, you can take a look at the programs we have available. And if you find the Create in a Flash button, you can click on that and find all those videos for free to download, printable PDFs along with that brainwriting form that we talked about. So, RogerFirestien.com.

Pete Mockaitis
All right. And do you have a final challenge or call to action for folks looking to be awesome at their jobs?

Roger Firestien
Yes, I think the final call to action would be when you’re working on a challenge, step back from it, right? In other words, first, spend some time figuring out what the real problem is, don’t accept the initial definition of the problem. Challenge your definition of the problem. Step back from it and then be ready to capture those ideas whenever they occur to you. And that I think would be the biggest thing, because we’re coming up with ideas all the time.

And, oftentimes, I think you probably have, Pete, the occasion where maybe you’re falling asleep at night, an idea comes in, and you go, “Oh, I’ll remember that,” or you’ve taken a shower and say, “Oh, I’ll remember that.” Well, no, you won’t, okay? Get that idea down as soon as it comes to mind. So, the big takeaway to help people become awesome at their jobs is one of the things that we know is that when you’re away from work, that’s when you’re going to probably have some of your best ideas. Very few people tell me that they get their best ideas at work. When you’re away from work, that’s the time when the ideas are going to surface, so be ready to capture ideas whenever and wherever they occur to you.

Pete Mockaitis
All right. Roger, thanks so much for sharing, and I wish you lots of luck and many great ideas.

Roger Firestien
Thank you, Pete. This has been a delight. I really appreciate it.