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Facilitation Algebra

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Tabby Kittens

We have all attended events in which we had to yawn. The pace is slow and laborious. We are stuck in a chair listening the whole time, and the mind wanders to what is on the buffet table that we can nibble on.

Imagine if we assigned a rating for degree of engagement when we gather people together for group work. Let’s say we collapse, for simplicity, the difference between engagement of speaking, learning, or connecting, and just say engagement.

If I have forty people in the room and only one is speaking, the engagement of the speaker, I hope, is maximal. Some percentage of the room, depending on what is said and their interest, is in various states of engagement.  We might be able to calculate, if we knew those degrees, the sum of the level of engagement in the whole to what is being said (minus degree of engagement on other devices or to other topics in mind).

Let’s say the activity is introductions, and each person is speaking for 1-2 minutes about themselves, so the group knows itself. It will take 60 to 80 minutes to go around the room. It will also, usually cost, the facilitator energy to police the 1-2 minute limit unless they use a device like a pre-written 3×5 card to keep people brief. (I have used these cards to keep within intro time limits and then made harvest documentation by having them post to a wall using an association method, which can be quite helpful in knowing ourselves as a whole.)

Now, let’s say, instead, I ask those forty people, as part of their introductions to each other, to organize in space around the room as if it was a map of the world. I give them a compass point and four locations to work from. In 3 minutes the group has some sense of where everyone is from and who is near them. They all used their bodies, and had to talk with 2 or 3 others to be sure they were in the right relation to proximal people. What is the algebra of engagement of this activity? Assume there was no need to move chairs or change the room to do the exercise. In 30 minutes of these sorts of exercises (align yourself on a spectrum of interest in… or belief about…, for example). For documentation, you can have someone take photos of the arrangements.

The art of facilitation is the crafting of optimal processes for engagement and achievement of collective goals. There are no perfect solutions, and every group has needs to be addressed that shape the processes that can work. Facilitation is the art of creating process that moderates the flows of individual engagement and catalyzes the flow of necessary information leading to action.

Abra cadabra – work with the algebra of group energy to achieve outcomes to make magical experiences of flow and contribution.

When designing group process ask:

  1. who will be in active engagement during this process?
  2. who will be in passive forms of engagement during this process?
  3. is there another way to achieve this outcome that would change the active and passive engagement ratio?
  4. if each person’s time and attention has a numeric value, and I do the algebra, have I optimized the value in the group? Is there excess capacity that I could/should engage?
  5. how simply can I explain what the process is?

Creative Commons License photo credit: www.metaphoricalplatypus.com

Creative Productivity is not Mechanical

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I was an efficiency nut as a kid. I remember figuring out that 9 bites was the most efficient number of bites to eat, politely, a piece of bread or to cut french toast. I love being really, really productive. And I can be so quick and effective that the dishes are done and the kitchen cleaned while you slipped into the bathroom for 2 minutes.

However, being productive when we are talking about creative acts is completely different. It is not a matter of having a system to handle all the details of things to be done. It is not a matter of staying focused. So much of this seems to be left-overs from the factory world. Start the clock, run the system, get the output. Right, well the rewards for productivity of mechanical tasks need to be different than the rewards for creativity. So it shouldn’t be surprising that the productivity process for creative tasks differs significantly from mechanical tasks.

Creativity is a matter of grace and the muse. Yes, there are tricks to bringing the muse to you. I say muse, because this just seems magical. Not because it necessarily is magical, but because we just don’t know enough about it. So, what do you do about it?

Yes, you can just sit there until something comes out and keep working it until it gets decent. But that is, in my experience, a paltry second to the brilliance of the muse when she arrives. GTD is not going to help me get a poem written, an innovative approach to approaching my market, nor a creative solution to the challenge in my business. It will help me deliver on the tasks I put into my plan.

So I have other games and techniques. This is what works for me. Your mileage… may vary… of course.

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Take the pressure off

You know when you are trying to remember a word or reference and you can’t do it? Then you shift your attention elsewhere, and suddenly the answer comes to you? Yep. Take the pressure off. I walk, do the dishes, or otherwise occupy myself until the insight comes. Creativity seems to often be a background process – it isn’t about focusing the conscious mind on it. It is about letting the rest of the mind make the connections.

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Hold Space

When the slightest hint of muse is present, I put other things on hold and listen. I regularly juggle my tasks for the day to accommodate the muse when she arrives. If now is the moment to draw the graphic or write the article, then I do it now. If it doesn’t feel like now is the moment, I move onto other things until the feeling hits me to do it. I know that seems passive or irresponsible. Too bad. Do what works.

Last summer I got stuck trying to figure out how I wanted to facilitate an event. I was stumped the day before the plan was due. The client wanted a lot of work across different dimensions pushed into a short timeframe. I slept on it. I woke up still unsure. I walked away from my desk, and I did something else for awhile. I felt nervous that the idea might not come, but I decided to trust myself that it would. In my walk down the hallway back to my desk – boom, insight, and the whole plan came into my mind ready to be written up. It was done with an hour to spare. After the event, the client gave me one of the best testimonials I have ever received.

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Give Yourself What You Need 

If you are an introvert, and I am, then allow lots of being alone time before expecting anything creative to emerge. It can take a whole day. I know it isn’t in the planning calendar, but trust the process. If you are an extrovert, go do that.

Time and again when I try to force myself to get work done on the clock, and that work is creative, it seems to take three times as long. I can’t focus. I resist myself. I have learned to just allow myself the hour of doing something else so that I will cooperate with myself when I attempt the task.

Not everyone has the luxury of doing this. And it does seem to me like a luxury. But I have learned to give myself that so that I can enjoy and be effective when I do the work.

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Follow the Seasons

I allow myself a “winter” to let things percolate while I appear dormant. Then I get excited in my “spring” with the bursting forth of new ideas. Next, I care for them over “summer” and harvest in the “fall.”

I have had lots of conversations with colleagues about the emotional dip after a creative surge. When I offer the seasons metaphor, there seems to be a giant internal sigh of relief. As if we expected ourselves to, once we create output, to continue at that level indefinitely. Or we expect ourselves to get emotionally high from it. However, that doesn’t take into account what motivates you to be creative. If you want recognition, then you might get the emotional high once the work is out in the world being acknowledged. But if your motivation is connecting with others in a co-creative process, then your emotional high might be in the middle of the effort. Learn what gives you the emotional high from creative efforts, nurture that, and allow yourself space for the other emotions that flow in the seasons of your creativity. Your flow. Not the expectations of others.

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Productivity-obsessed people seem to think they can have harvest season all year long, as if they are optimizing a factory. If they could just get the right mechanics in place, then they can perform at their top levels of creativity continuously. Nope. Not me. I don’t work that way. And I allow that and work with it. I think it brings my work freshness, aliveness, and vitality to not be pushed through some deadline-driven productivity machine.

Flash Collaboration Process

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or how Thrivability: A Collabortive Sketch happened.

People have asked: How did you get that done? So, I’ll tell you.

First and foremost, I lucked out. I worked with amazing, generous, patient, inspired, and brilliant people. 70 of them. I wish I could have included more, and yet, it is too much already.

Two of my advisors suggested the project to me in December of 2009. Mid-January, I had enough of a sense of it to put out a request to my advisors for contributions. As pieces came in, I became more bold. I joke that I am a compulsive recruiter. Really, I think it is an energy high of positive feedback loops. That drove me — even more — to want to honor what people contributed and nail our March 15 launch date at SXSW.

Here are my answers to some of the specific questions I have been asked.

What worked well with your book project?

  • Using social media to create buzz, encourage participation, and share thanks
  • Being a dictator about form, process, topics to cover, and who participates
  • Hand-holding those who get writer’s block

What challenges did you face?

  • Getting 70 people to all be on their precise task in a short time period
  • Getting people to meet their deadlines (even though it was all volunteer)
  • Scope creep – the book doubled in size from original intention for it – which I think made it too big to digest whole

How did you manage so many contributors? Deadlines/workflow/editing?

  • Used a modified personal kanban – each person/topic was a post-it note on a wall indicating (by wall placement) what they had done or needed to do
  • Put deadlines 2 weeks before I really needed them, so the slips would be okay (shhhh, keep that secret!)
  • Put everything into a google doc as it came in.
  • Didn’t let them edit each other’s pieces (although I did share samples of existing contributions to new contributors to give them a feel for what was there)
  • Note: I have been an editor for 15 years or so. I am used to the process of idea->draft->edit->revise->final->design->publish. I edited each as they came in. I brought in help for second/third pair of eyes. Only a few had major re-writes and a few went way over the 500 word limit.

How, if at all, did you incentivise contributions (and also people working to deadlines)?

  • Seeded it for momentum. The first contribution came in 2 hours after I asked the initial group (my ring of a dozen advisors). I tweeted my thanks.
    People were motivated, I think, by:

    • Social relationships (they all know me or someone else involved)
    • Uplifting concept (mission is bigger than me or you and aspirational)
    • Peer influence (who else had or was going to contribute)
    • It is possible people thought that being in the book would help with their visibility, but I think that wasn’t a real motivator (in hindsight).
    • People were asked to speak to something they know super well and feel “alive” about, so I suspect/hope they felt it was an “opportunity” to give voice to something vital in themselves.
  • Made it easy to be involved – just get me your 500 or less words. I will do the rest.
  • Made it clear what needed to happen and by when. There were no “ifs, ands, or buts” about it. No threats. No complaints. And an open door for anyone struggling with it.

What advice would you give to anyone thinking of crowdsourcing a book about sustainability?

  • If it is an ebook – keep it SHORT
  • Be firm in your structure and allow people to be creative and alive in the container you provide
  • Ask for small contributions that seem easy to achieve
  • Stick to a short window from request – draft – response – final – design – approval to publication
  • Don’t over-explain the process. What is the least they need to know about what is happening behind the scenes?
  • Consider how you want to manage copyright (we have a copyright on the collection – with each individual holding copyright on their specific piece)
  • Think of it as curation – you are creating a larger work by placing individual works in relation to each other, just as one would with an art exhibit of many artists. There is a grace to making that work well and be cohesive as a whole. (That would be a whole other conversation here)
  • Get multiple opinions on your draft and final draft so that you can find out if that piece that doesn’t strike your fancy is super compelling to someone else (and vice versa). Be careful not to let that feedback overly homogenize things – squeezing the voice and authenticity out of it
It is easy for a collectively written piece to:
    • Get diluted by having too many editors or an unclear vision/purpose
    • Seem like a random hodge podge (be sure to create cohesion through form/argument/story or something!)
    • Have an inconsistent standard or threshold of quality (especially when people volunteer, it is easy to simply be grateful for whatever they offer – but don’t. If they want to be involved, they want it to be good. So handhold folks if you have to – until it meets a high standard.)

How will you solve those challenges?

What questions do you still have? And what answers do you have for collaborations you have worked on?

Thrivability: A Collaborative Sketch

View more presentations from Jean Russell.