Let's Fight About Making Mistakes. Or Let's Not.

Another mantra in the performance improv world is the celebration of mistakes.

In our classes, we want to get people past the point of editing things, and worrying about their ideas and just get them to go - to make a decision, to make a move. To that end, we "celebrate" mistakes. Participants can take a circus bow, saying, "I Failed!" and everyone will applaud wildly. This comes from a simple need: if we wait for the perfect thing to say, nothing will ever be said. Let's practice on going with our first idea, and if the idea turns out to be terrible, so much the better. We laugh about it and move on.

In our own performance ensemble, we laugh and often roll around on the floor at mistakes made within scenes or games. Even better, sometimes these mistakes result in new ways of doing things and new game ideas. Mistakes are opportunities for laughs and sometimes for growth. We love mistakes!

So, naturally, we carry the concept forward into Applied Improvisation.

Almost everyone who teaches in Applied Improv brings this "celebration of mistakes" forward into their work. This seems like a great fit, especially as people are just figuring out how to work in the games and exercises. It starts to become (or at least seem) less of a fit as our clients think about applying the lessons of the workshop to their work lives. "We can't be making mistakes all of the time," one told me recently.

Paul Z Jackson, President of AIN is trying to get practitioners to ease up on the celebration of mistakes: "People keep telling me they learn from their mistakes.  And I’m pretty sure they are mistaken." Read Paul's blog post here.

I've worked with more than a few clients who bluntly tell me they cannot make mistakes. Some of them, like 9-1-1 operators (that's 9-9-9 to our friends in the UK) and front line employees at a blood-testing laboratory service, are probably right. We don't want avoidable mistakes in their work - the results could literally kill someone.  

In those jobs, the time for making mistakes is in practice (or training).  Once the whistle blows, and we're on the clock, we need precision and error-free work.

I look at mistakes in Applied Improvisation the same way. Our workshops are practice, where people can learn new skills and figure out that errors won't kill them, or even hurt them at all. My teaching is that mistakes are part of the process of learning new skills. You can't learn something new without messing up a lot. Our workshops are a great place to mess up without consequences. "In life, we are the players who live with the consequences of the actions," says Paul Z Jackson, "Context is so important."

When we're afraid to fail, we can become paralyzed.

When we're afraid to fail, we can become paralyzed.

We want to learn to be OK with ourselves for making mistakes, but often, we're still not supposed to make them in real life. Lots of "people and organizations create high stakes environments across the board, rather than leaving room for learning and innovation. It seems like skillful leaders are those who can be purposeful about creating spaces/processes where mistakes are valued." (Jim Ansaldo, Director of Camp Yes And at Indiana University)

When is a mistake not a mistake?

"We've seen numerous scientific and technological discoveries that were the unintended consequences of other pursuits. In the Design Thinking world, the concept of "rapid prototyping" suggests that a trial and error process using stakeholder feedback is the quickest route to operationalizing great ideas." (Jim Ansaldo)

Perhaps the word "mistake" isn't even the right word for every instance of unintended results.

So, what ARE we teaching?

In Applied Improvisation, I think we are actually teaching people to be better to one another. We know mistakes are a part of doing business, so let's minimize their impact on people on our team.

My Five Pillars of the Improv System are:

  • Listening
  • Accepting
  • Supporting
  • Taking Competent Risks
  • Letting Go of Mistakes

Mistakes are going to happen, but are we going to let our team become dominated by them, or could we:

  • Own and accept it
  • Fix it as soon as possible
  • Share it so others learn
  • Move on

If we create a culture where we own it, fix it, share it and move on, we'll spend less time and energy and reduce the paralysis that comes from fear of making mistakes. Wouldn't that be a more pleasant place to work? Wouldn't that also make our customers happier? (In a Design Thinking environment, we might substitute "use it" or "analyze it" for "fix it".*)

The key thing for me in our vendor relationships is what happens when something goes wrong. It's easy to provide "good customer service" when everything runs smoothly. The response when something doesn't go right is what separates great vendors from the rest. Own it, fix it, share it and move on.

In the operational side of our own company, I'd like to be one of those great vendors, providing value and keeping things simple, but when something goes wrong, own it, fix it, share it and move on. 

Of course, we don't want to see the same mistake over and over. We don't want people deliberately messing things up. What we really want is for people to forgive each other easily for mistakes, make the problem right, have the organization learn and move on. We also want to stop the paralysis that fear brings to teams.  The world is changing too fast to let fear hold us back.

Applied Improvisors struggle to get clients to take the leap of faith to work with us. Part of the struggle might be significantly reduced if we stop "celebrating mistakes" and tell you what we're actually talking about.

It's all in the context. It usually is. It's also in the words we use to tell people what we do.

Just to keep the controversy alive, Patrick Short would like to include this list of 40 Things You Can Learn From Mistakes. He would also like to thank Jim Ansaldo for helping to cut to the heart of the matter.

Positive Outcomes

From Bill Evans, now a ComedySportz Player with CSz Portland:

I was on the phone with mom on a Sunday evening in early April 2008, lamenting my lack of friends in my new home town, when she reminded me that I had always wanted to take an improv class.

Always began in 1987, in Chicago, when I saw Second City perform a sketch revue during a college visit to Northwestern. That show, and the improvised set that followed, made being on stage look so much fun.

A mere 21 years later, prompted by mom’s gentle reminder, I Googled ‘Portland Improv.’  Serendipitously, I learned that the CSz 101 class began the next night.  With no time to talk myself out of it, I signed up for my introduction to improv.

It was a blast! I didn’t realize it at the time, but the eight-week class was a life-changing experience. There was no ‘eureka’ moment, just two hours each week being present, laughing, exploring and connecting with like-minded people.

When the class ended, I began coming to weekly Minor League Classes, where I met even more people who enjoyed this form of connection. I had found my tribe. Almost instantly, I had a new circle of friends who were not only hilarious, but also agreeable, positive and extremely generous people.

That’s no coincidence. Those are all traits of good improvisers. Turns out these skills, practiced for the sake of good scenes, mold even better people. What a fortuitous turn.  And what a great group of people to help keep my head up during difficult times … my break-up … the loss of a job.  Improv always gave me something to look forward to, even when life was difficult.

How did it change my life? I am a happier, more positive person. I’m rich in friendships. I’m involved in the most satisfying romantic relationship of my life with a like-minded and generous improviser. I’m creatively challenged and I’m living life actively.  Improv has opened so many doors, allowing me the confidence to perform in front of audience, host shows, write and perform stand-up comedy, study sketch writing, teach, perform dinner theater, and write and perform scripted stage shows. I’m probably forgetting something.

All of those personal accomplishments, I dare say, were beyond my wildest dreams six years ago. None could have been achieved without walking into that introductory 101 class hoping to meet new people and have a little fun.

Mission accomplished.

Bill Evans plays ComedySportz. And Hockey. And works in social media and communication. Follow him on Twitter: @bevans10

The Yes, And Controversy

Yes, And has been the mantra of the improvisational performance community for a long time. By default, it became the mantra of the Applied Improv training community, too.

Along the road, improv performers discovered that what they know and the theories they put into practice are desirable in business, so we began offering what we knew to the corporate world. Many companies are trying to find the best ways to put improv into their own practice; the benefits are numerous:

  • People become more adaptable
  • People become more cohesive members of their teams
  • People develop more empathy
  • People treat each other better
  • People treat customers better

And so on. Each company that embraces it discovers how improv culture and skills have a positive impact on their people, in many different ways. These impacts can result in better employee engagement, lower turnover (which saves a ton of money), happier customers, better products and services and more money made. Sounds great.

Most of this training revolves around (or at least includes) the concept of Yes, And.

With Yes, And, we say "yes" to whatever our partner says, and then provide the "and", building on their ideas. They say, "yes", to us and build on what we say.

Improv nirvana results. Except when it doesn't.

Like everyone else, I fully embrace Yes, And. I teach it in performance improv classes. It's a centerpiece of many of the corporate engagements I lead. Yet, both my understanding and teaching of it have evolved.

On the performance side, I teach that PERFORMERS need to play using Yes, And. The CHARACTERS they are playing do not.

By that, I mean if their character thinks an idea or offer is misguided or wrong, they can say, "No". Performers don't have that right - they don't get to judge what another player is doing in the middle of the scene. What that player has offered is REAL and needs to be played with, even if that "playing with" means "NO, I won't do that".

I got quoted by author, blogger and teacher Pam Victor in her discussion of Yes, And, in which she claims that she doesn't even teach it any more (I think she does, but terminology IS important):

In a discussion online, General Manager of CSz Portland, Patrick Short, helped me further refine this subtle distinction in my mind when he said, “A character may say, ‘No,’ if that fits their character in that situation. The PERFORMER should not say no, which usually comes from panic, pushing their own agenda, or ignoring others' ideas.” 

I love this differentiation between the improviser’s mind and the character’s mind. The character can say no, if that’s honest to their point of view. The improviser must say yes to the reality of the moment – this is exactly what “Yes, and …” means to me! (I bold faced it, so you know I mean it.) But saying yes to the reality of the moment is a subtextual, unspoken affair; which is why a blanket, out loud “Yes, and …” to every offer is so clumsy and ineffectual, because... it is like a dentist using a hammer as her only instrument.

The whole Pam Victor blog, a bit NSFW, can be found here.

So what does this mean on the Applied Improvisation side?

Yes, And means something different than "You're right!" My favorite distillation of the meaning comes from Sue Walden, who, in a workshop, summed up Yes, And as RESPECT (Yes) and INSPIRATION (And).

  • YES = I respect you as a person and I respect your idea(s)
  • AND = I will be inspired by your ideas and build on them

The power that our Yes, And training gives companies is that their people are very well-trained in "No" and "Yes, but...". Like our improv-performing friends, co-workers often respond with "No" out of panic, fear of the unknown, politics, status battles and agenda pushing. Working in Applied Improvisation training gives groups a chance to exercise their "Yes" muscles. Most of us are really ripped and toned with our "No" muscles. Yes, And gives us a chance to work on our "Yes" muscles. (Thanks to Andy Crouch for that analogy!)

And here's a wild thought:  There's a time and place for Yes, And.

Design Thinking folks use a double-diamond chart to define a process.  Starting from a point, they ideate and widen the diamond to discover the challenge. Then, they narrow it to define the problem. Development of potential solutions are another widening of the diamond, followed by a narrowing as we deliver the product or service.

The periods where we EXPAND the diamonds are the times for Yes, And. Accept all ideas, no matter how off the wall or wrong they may seem. You never know when one of those crazy ideas spurs a much better idea in another team member's head.

When we have reviewed our ideas, and are narrowing them down, we don't need to invoke Yes, And directly, except the connection to respecting our teammates. Companies are sometimes afraid of Yes, And turning into GroupThink and sending them over a cliff because no one will say, "No!" That's reasonable. There is still a place for standing up against bad ideas. It's just not in the Discover and Develop phases.

(The chart is from a cool article on design empathy, from Business 901. Check that out here.)

Yes, I still teach and lead with Yes, And.

On the performance side, working in CSz 101, I want to use Yes, And to help people get past the panic of "my mind is blank". Yes, And focuses you on responding to your partner. Saying yes first gets you started and away from the blank mind. It's also cultivating an attitude that your scene partner is a huge set of gifts to you (and you to them), just by being there and focused on THEM.

In Applied Improv, we need Yes, And just to get to a place where we are truly listening to and respecting each other. Past that, why not use Yes, And as our code of recognition? We can be secret agents representing a new way of thinking and getting things done. We can be Heroes.

Patrick Short has worked a lot recently with companies involved in sustainability. Because, Portland.

 

Bananas and Fishing Poles - Design Thinking & Improv

Can Improv training teach skills that help in design thinking?

Of course, WE think so. This is what we do. It does bolster one's case when an Intel professional feels the same way, and succinctly tells what he learned :

"Elevate the Team, not yourself.

Don't plan too far ahead.

Own your failures.

Listen completely.

These are a few of the insights I’ve taken away from my experience with improv. There are many more. Learning the basics of improv took me way out of my comfort zone (there were times when I couldn’t even see my comfort zone), but in the process I’ve become much more comfortable in my own skin, a better presenter and communicator, and more confident in my ability to deal with the surprises. Practicing improv is a great way to bring teams together and is a perfect complement to any team that needs to be creative and innovate on a regular basis."

How does improv culture, specifically Yes, And, help in Design Thinking?

"When product innovation teams are ideating to address user problems/opportunities, the ideas must be allowed to flow. “No” or “but” can put a stranglehold on ideation. It’s evaluating ideas before you need to do so. Most early ideas are just stepping stones in a larger journey — if you don’t acknowledge the stepping stones, the team will never be able use them to get to the BIG IDEAS. Once you’ve gotten a solid set of BIG IDEAS, then you can begin evaluating."

Don't get locked in too far ahead.

"Of course your business plan must start with a powerful idea and market to pursue, but if you only build and launch what you planned from the outset and don’t iterate with your users or be open to new directions based on their insights, how confident are you that you are really going to meet their needs? Some of the best ideas can come from your customer as they respond to the bad ideas you put in front of them.  Trust that your team can ride the insights to get to the right product, instead of hoping you can figure out every detail at the outset."

Roger Chandler's complete blog post can be found here:

Improv: What Do Bananas and Fishing Poles Have to Do With Design Thinking?