The Accidental Creative

by Todd Henry

  Productivity blogger Merlin Mann calculated that if on average we work an 8-hour day, 50 weeks per year, and check our e-mail every 5 minutes—just to see if anything is there—we check our e-mail 24,000 times per year. That’s not responding to e-mails, and that’s not doing anything about what’s actually in the e-mails. That’s not even thinking about the contents of the e-mails. That’s just checking to see if the little mail icon is bouncing in our dock.

  Let’s take this a little further. Let’s say that each time you check your e-mail—just glance down at that little icon—it takes you 10 seconds to do so and then regain your focus on what you were working on before the Ping stole your focus. (That’s pretty conservative, given that many experts would say that it takes anywhere from 30 seconds to 3 minutes to regain concentration after even a momentary interruption.) This means that over the course of the year you spend 66.6 hours just checking to see if there’s anything that would be more stimulating than what you’re doing right now.

  What could you do with 67 hours per year of focused, concentrated time? Do you think you could get something done? Do you think you could get moving on a project or generate a few business-changing ideas?

  When we allow the Ping to rule our life, we allow it to rob us. And we don’t even notice it happening because the Ping is robbing us of our focus 10 seconds at a time. Fortunately, the right practices can refine our focus and keep us deeply engaged in our work for longer stretches of time. You don’t need to get rid of technology; you just need to use it in a way that increases your capacity to do what matters to you. You need to set priorities and home in on them rather than living in a state of continuous partial attention. You can’t do your best and most insightful work when you allow the Ping to rule your life.

  Question: Where do you find the Ping at work in your life? Do you find it difficult to maintain your focus on what’s in front of you because you’re always scanning the horizon for something more entertaining? List a few ways you think you could mitigate this in your life. Some methods might include occasionally (and strategically) leaving your smartphone at home, logging in to your e-mail only at predefined times, or setting aside specific times for entertainment so that you don’t feel entitled to occasionally zone out in the middle of times when you need to be deeply focused. (If something makes you feel a little nervous just thinking about it, that means you’re probably on the right track.)

  DRIFTERS, DRIVERS, AND DEVELOPERS

  As you strive to gain focus, there are three modes you can fall into in your work. In order to work effectively you must broaden your focus enough to allow you to see potential connections, but not so much that everything seems random and you are unable to gain traction.

  A Drifter is someone who does whatever work they feel like from moment to moment. In this mode, a creative floats from objective to objective and task to task without really thinking about how any of them connect. You might be answering e-mails one minute, writing a few words on a proposal the next, and then making a phone call or two. Your work is fragmented. While you might get things done, there’s no overarching sense of purpose behind how you approach your work, and you don’t really have a prescribed plan for how you will get things done.

  To the Drifter, finishing a project feels a lot like pushing a wall forward because you have no priorities—your efforts and attention are spread thin across everything you need to do. You waste effort on task switching and may have a difficult time deciding what to do next. This is not to say that you’re not productive; Drifters can accomplish quite a lot. But your approach is so scattershot that you aren’t able to leverage critical opportunities. While no one wants to think of themselves this way, many of us stumble into Drifter behavior from time to time.

  When we realize that we’re drifting, we sometimes overreact and slip into the second mode: the Driver. This is when you become very focused on outcomes. From the moment you receive an objective, you map out a workflow, break the larger goal into tasks and subtasks, and structure your work schedule in order to get it done as efficiently as possible. You become driven by checking tasks off lists and probably carry tons of data around just in case it will come in handy.

  Drivers have a very strong sense of what they’re trying to do, and they typically follow a prescribed system for accomplishing their work. But in their effort to drive to the end objective, they often overlook or discount opportunities. Drivers have a narrowfocus horizon. They are too microscopically focused on the objective (as they saw it from the beginning) and are often reluctant to redirect their energy when new opportunities emerge in the course of their work. They’re simply too busy trying to get through the project to respond to new insights that—they fear—could lure them off track.

  The third, and most desirable, mode is the Developer. Developers have a strong sense of the overall objective and have a sense of purpose and priorities in navigating there, but instead of just plowing through the work with their noses down, they purposefully approach each task or element of a project as an opportunity to develop new connections or potential ideas.

  Developers are world makers. They are able to take a lot of disparate-seeming elements in their work and weave them together into something useful because they are not too hyperfocused to recognize the patterns around them. They have cultivated the skills necessary to focus intensely for a period of time, then release their focus in order to assess the lay of the land. This allows them to iterate rapidly and quickly redirect their efforts. They also treat their work activities like investments. They are trying to maximize return rather than simply get through the work as efficiently as possible.

  The more you can cultivate a Developer mind-set, the more likely you are to experience unexpected creative insights that move a project forward. Developers lock in on the heart of the problem quickly (define), establish their game plan and center their activities around their most crucial priorities (refine), and organize their work so that they’re minimizing distractions and staying on course (cluster). However, unlike the Driver, they are able to occasionally take a few steps back and redirect their efforts as needed rather than simply following their predefined plan. For the remainder of this chapter we will look at a few practices that will help you cultivate a Developer mind-set.

  DEFINE: USING CHALLENGES TO LOCK IN ON THE PROBLEM

  Despite the lip service that managers pay to the importance of setting good objectives, I frequently encounter creatives and teams who are unclear about what they’re trying to accomplish. While the general direction of a project may be apparent, the specific objectives are significantly less than clear. For example, many managers will throw out meaningless objectives such as “increasing our client’s market share” or “refreshing the brand identity” without giving concrete examples of what that means in practice. As a result, many creatives have to not only solve the problems posed by the project itself but also overcome the dissonance stemming from a total lack of clarity. Much of this churning and confusion happens on a subconscious level, and it’s a waste of creative brainpower that could be harnessed to more effective ends.

  Inventor Charles F. Kettering famously said that “a problem well-stated is a problem half-solved.” We can spend a lot of time spinning our wheels if we’re not clear about what we’re really trying to do. There’s a difference between having a sense of where the project is headed and truly understanding the objectives, and this is where many of us go off the rails. We may know enough about a project to get moving on it, but we never really stop to think deeply about what we’re trying to accomplish and how we’ll know when we’re done. So we set off in a vague direction fueled by vague objectives. This often means that we waste valuable time and energy trying to gain clarity later in the project or course correcting when it’s much more expensive and stressful to do so.

  I once had a conversation with a designer about the importance of setting good rails in his creating. He shared with me that he had simply lost his passion for his work a
nd that he felt like much of what he was doing was simply rehashing old ideas over and over. I asked him if he had ever taken the time to write out objectives for his projects, and he replied that he’d never thought to do it. I continued to probe and asked him if he’d ever thought to write objectives for his personal life. Again, the answer was no, but I could see that our conversation was unlocking something for him.

  After some time, I checked back to see how things were progressing. It was as if something had unlocked in him simply because he’d taken the time to write down clear objectives for his projects and for other areas of his life.

  Having experienced painful, late-project course corrections many times, I can comfortably say that the most important work of a project happens at the very beginning.

  In any project, there is the main problem we’re trying to solve, but there are also many subproblems. One effective way to gain traction quickly is by positioning project objectives in the form of questions designed to surround the problem. We call this establishing “Challenges.”

  When I sit in on client brainstorming sessions, I’m surprised by how often the stated objective is obscured by complex language or corporate jargon. While the lingo might impress upper management or reflect the latest overhyped buzzwords from business gurus, they only make it harder to solve the problem we’re facing by obscuring the discussion.

  When we phrase our objectives simply and in the form of a question, we lead our minds directly to solving the problem. For example, when the Accidental Creative team was developing Idea Traction, our online collaboration tool for teams, we divided the project into several Challenges: • What are the key functions teams need to collaborate online?

  • How do we enable remote creative direction for leaders?

  • How can team members share inspiration for projects?

  • How can team members most effectively share opinions and collaborate around ideas?

  • How do we give leaders a quick look at their team’s progress?

  The common approach would be to write “Idea Traction” on a whiteboard and say, “OK . . . anyone have any ideas?” Because we defined the problem with clear, specific questions, we could focus our thinking, thoroughly explore the problem, and analyze aspects we would surely have missed otherwise.

  One of a leader’s most critical roles is to identify the Challenges for each project. Setting out four to six Challenge questions for each project will help the team surround the problem and ensure that all critical aspects are given adequate attention. The more quickly you can focus your mind on what you’re really trying to do, the faster you gain creative traction.

  If you’re like most creatives, you’re probably currently juggling several work projects, each of which is at different levels of priority and completion, and you probably also have many personal projects you’d like to get moving on at some point in the near future. When there are this many priorities on our plate, it can be difficult to zero in on what’s really important as the swirling complexity causes us to lose our sense of focus. In addition, bridging the gap between a project’s stated objectives and our daily work is often difficult. By dividing each project into four to six Challenges, you allow your mind to do what it does best—identify useful patterns.

  The more quickly you can focus your mind on what you’re really trying to do, the faster you gain creative traction.

  Make a habit of blocking off about thirty minutes at the beginning of a project to clarify your objectives and establish Challenges. List each project that you are currently working on. Under each project’s name, list four or six questions identifying problems to solve in order to complete the project successfully. For example, you’re charged with developing and releasing a product called “X”:

  ▶ PROJECT: “X”

  CHALLENGES: • What is the unique functionality of “X”?

  • What would make “X” appealing to twentysomethings?

  • How can our messaging differentiate “X” in the marketplace?

  • How can we keep production costs for “X” low?

  Before, you may have seen “X” as a giant mess of issues and problems to solve, with no clear sense of priority or purpose. With these Challenges, you give yourself permission to home in on one problem at a time. You’re also able to identify new opportunities as you recognize patterns between your responses to various Challenges that you wouldn’t have otherwise seen. For example, your exploration of how to make “X” more appealing to twenty-somethings (“communicate authentically and transparently”) may give you insight into a unique functionality “X” needs to possess (“create a feature that shows total cost of use over time”). Your life becomes a series of concrete problems to be solved rather than a series of vague concepts (“guard the brand identity,” “increase market share,” “make new employees feel welcome”) that you’re responsible for. This helps you stay attuned to potentially useful ideas throughout the course of your day because you are focused on specifics rather than generalities.

  This practice is also effective for personal projects and career and life planning. You can use the practice of establishing Challenges to identify opportunities in your life and to help you work more effectively on personal creative projects. (We’ll talk more later about how to use Challenges to pull all of the practices together and get moving on what matters most.)

  REFINE: THE BIG 3

  On my office whiteboard you will see “The Big 3” followed by a short list of my current creative priorities. The Big 3 refers to the three things I need to gain creative traction on right now. They aren’t necessarily my biggest projects, though they often are. Rather, the Big 3 is best described as the three most important “open loops” in my life and work. They are the three most important items that I’m still looking for critical insight on.

  The Big 3 is a constant reminder of where I need to dedicate my creative bandwidth. While I may have other projects on my plate, the list is a reminder of the more important creative problems that are still outstanding. When I read a book, I’m looking for connections or concepts that are relevant to my Big 3. When I have a conversation, I check it against my Big 3 for possible new insights. When I watch a movie, I’m on the hunt for anything relevant to my top priorities (while, hopefully, enjoying the flick). When I meet someone new, I stay open to how they may be able to help me with my Big 3.

  Many times I’ve glanced at the Big 3 and five minutes later had a conceptual breakthrough simply because my creative priorities were top of mind. If they hadn’t been, I may have missed those insights because I wasn’t looking for them.

  Your mind is a wonderful servant but a terrible master. If you don’t refine your creative priorities on a regular basis and focus in on a few things at a time, your mind will go into a full retreat, and you will become overwhelmed with all that’s left undone. By choosing what you’re going to focus on, you’re relieving your mind of the pressure to resolve every creative problem simultaneously. You are giving yourself permission to lock in on only three problems at a time rather than the dozen or more that may be on your plate.

  This also applies to a team context. Clarifying the top creative problems yet to be solved helps the team know where to put its energy and eliminates the guesswork often required to establish priorities. One of the greatest gifts any creative leader can give to their team is to regularly refine focus by utilizing the practice of establishing the Big 3.

  It’s important to note that the Big 3 is not necessarily determined by level of urgency. Some items are urgent but are chugging along fine and don’t require top-of-mind focus; others may have a long horizon but require traction sooner rather than later in order to do your best work. A few things to keep in mind:• The Big 3 is not a to-do list. In other words, it’s not the place where you put your urgent daily items or overdue projects. It’s the place for your open conceptual loops, projects where you’re still looking for a key insight, like the name of a new product or a new marketing st
rategy.

  • The Big 3 is not a wish list. You don’t put your lifelong dreams and vague ambitions on it. It’s a practical tool to help you focus on your current work.

  • The Big 3 is not your project list. There will always be other things you’re working on. This is just intended to be a way of prompting your mind about your most important creative priorities right now so that they’re top of mind to help you identify potential connections.

  How to Establish Your Big 3

  Begin by listing all the projects in your life, both work and personal. (There is no difference between the two—if something is on your mind, it’s on your mind.) Then go through the list, asking yourself which require some kind of conceptual breakthrough in order to move forward? Which are in stasis until you set the strategy? These are your candidates for the Big 3.

  Of the remaining candidates, which three are most pressing? Which weigh the heaviest on your mind, keep you up at night, or incite the most conversations among the members of the team?

  Keep the list in front of you as much as possible. I’ve developed the habit of writing my Big 3 on an index card and keeping it in my notebook or in my pocket. As I mentioned before, I also write them prominently on the whiteboard in my office as a reminder of the projects that are still missing a creative breakthrough. Seeing my Big 3 on a regular basis reminds me of what’s most critical right now and helps me to filter the stimuli I take in each day through the lens of my most important creative priorities.