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Selling creativity
rich history
bright future
                                             Be ijing
                                             C h icago
                                             C incinnati
                                             D u b ai
                                             G e ne va
                                             H am b u rg
                                             H anoi
                                             H ong Kong
                                             Jakarta
                                             Lond on
                                             M e lb ou rne
                                             M e xico C ity
                                             M ilan
                                             M os cow
                                             M u m b ai
                                             N e w York
                                             P aris
                                             S an F rancis co
                                             S e ou l
                                             S h angh ai
                                             S ingap ore
                                             S yd ne y
                                             Tokyo




                750 p e op le , 23 office s , 1 7 cou ntrie s
Selling creativity
hello,



         let’s chat
         Section 1    The truth about creativity

         Section 2    The power to influence
                      I.     Rapport
                      II.    Confirmation Bias
                      I.     Story Versus Facts
                      II.    Asch Effect
                      III.   Fear and Courage
                      IV.    Fortitude and Determination

         Section 3    Creativity in action
the truth about creativity
Our clients need
creativity more
than ever
What is
creativity?
creativity




“The capacity to bring together
knowledge and imagination”
Frank Barron, Psychologist
“Original ideas that have value”
Sir Ken Robinson, Education and Creativity Specialist, author and speaker
Principles
of Creativity
Forget titles, job descriptions,
                 and hierarchy—creativity is not
Creativity       a skill set; it’s a mindset, an
                 opportunistic orientation that
is in Everyone   resists habitual thinking and
                 invites courageous exploration.
                 To be human is to be creative.
The contradictions of creativity
                 contribute to the mystery
                 surrounding it. Creativity is
                 intelligent, yet requires a
                 willingness to ask questions and
Creativity       be open to possibilities. It is
                 inspired by playfulness, but
is Paradoxical   disciplined toward an end.
                 Passionate but objective,
                 energetic but reflective, individual
                 as well as collaborative—these
                 are just a few of creativity’s
                 contradictions.
Creativity is generative, productive
                  and open to many alternatives.
Creativity        But at its heart, it seeks to make
                  a difference. Creativity values and
is Constructive   celebrates imagination and
                  mandates the practical application
                  of its output.
Creativity values imagination over
                image. It requires a willingness to
                let go of certainties and think
                expansively; it also demands a
Creativity      strong dose of determination and
                self-belief. History proves that new
is Courageous   ideas and concepts are often met
                with apathy, ridicule or even
                hostility. This is why courage and
                creativity are brothers.
Seeing and perceiving are two
                different things. Sight is visual and
                concrete; perception is individual
Creativity      and interpretive. Highly creative
                people have a well-developed
is Perceptive   ability to see things in new ways,
                detect patterns and make
                connections that others may miss.
Environments that allow the
                  freedom to explore, exposure to
                  stimulus and time to reflect inspire
                  individual and collective creativity.
Creativity        Imaginative thinking can be
can be Inspired   suppressed by excessive rules
                  and regulations, siloed thinking,
or Suppressed     stigmatization of failure, hyper-
                  focus on efficiency and the
                  elevation of conformity over
                  originality.
Children tend to be less self-
               conscious than adults and this
               natural naïveté leads them to ask
               more questions and think more
               laterally. Adults’ experience, and
Creativity     expertise can lead them to
               prematurely shut down new routes
is Childlike   of thinking. Creativity is often
               served when we “think like a kid,”
               unfettered by all the reasons
               something might not work but
               inspired by what could be.
Human beings do not like
                    ambiguity; it makes most people
                    uncomfortable. The hallmark of a
                    creative thinker is a willingness to
Creativity          accept ambiguity, embrace
                    discomfort, and focus on the
Accepts Ambiguity   promise of possibility. Rather
                    than rush back to what is familiar,
                    the creative mind lingers, trading
                    comfort for potential.
The Truth About Creativity

It would be nice if great work always sold itself.
Sometimes it does

More often it doesn’t
The Truth About Creativity

All of us spend a great deal of our lives tapping into,
driving and building our capacities for creativity

We invest in it so that we can harvest it for our clients

We spend hours, days, nights and weekends
generating great creativity, brilliant ideas,
winning strategies, beautifully executed
campaigns, designs, promotions
We often spend very little time thinking about
how we are going to share this creativity
This is not
just about
selling
This is about
influence
It’s about inspiring
your clients to see the
potential in the work
you have generated
Imagine
the future
Application versus Arrogance

If you think about it, there’s arrogance in the notion
that clients should be able to “see” the brilliance

And again, sometimes it is obvious

But when it’s not, you need to be as creative about
how you present the work, as you were in its
conception
creativity
courage & creativity

This session is all about arming
you with the knowledge and
strategies that will put you in a
position to more effectively
overcome the obstacles that
creativity faces
Selling creativity
the power to influence
Selling creativity
Rapport



          you must work to truly
          understand your client(s)




          you must have empathy for
          them and their situation




          that means suspending your
          own agenda and thinking
          about their central issue
Selling creativity
“When you have rapport with someone,
they are paying attention to what you have
to say. Without rapport they are not”
Stephanie Palmer, “Good in a Room”
Without rapport,
it is very hard to
influence others

It would be easy if we could
simply tell people what to do
Facts are seldom enough
Reason isn’t always enough
Brilliant work isn’t even
always enough
Creativity
                          is Not Enough


Creative thinkers must
navigate dynamic social
networks in the drive
to actualization
These dynamic networks
are easier to navigate
with rapport
Great work
is not sufficient
It must get produced
And getting it produced
takes guts and a lot of
influence
Connections must be
made to get great work
produced                    Creativity is
The more revolutionary      Constructive
the work, the more
important the connections
obvious mandatories to getting great work produced


Meets project objectives              Competitively strong



Grounded in consumer
                                      Meets success criteria
understanding


Relevant to intended
                                      Beautiful
audience
Unfortunately, even
surmounting all of these
hurdles is seldom enough




                           Connections
                           must be made
Others need to feel and
believe in the influence
of the work




                           Others need to
                           believe in you
Stephanie Palmer, “Good in a Room”
“When someone with a great idea doesn’t present it
effectively, it not only hurts them, but all of us as well.
Why? Because mediocre ideas will get purchased and
produced if superior ideas aren’t pitched well enough”
Stephanie Palmer, “Good in a Room”
“My point is not that pitching is everything. Rather, it’s
that good products deserve good packaging and great
ideas deserve a great pitch”
Stephanie Palmer, “Good in a Room”
rapport and likeability
Likeability is a crucial ingredient

in building rapport

“Quick! Someone save the cat!”
Selling creativity
Predetermination


Predisposition
To determine, decide or
establish in advance
None of us walks into a room
without firmly established
ideas and opinions already in
our heads
We come in with knowledge,
experiences, biases and
opinions
predetermination

People are biased toward confirming their existing beliefs




People regularly display a phenomenon called confirmation bias,
first noted by Francis Bacon almost 400 years ago. As he noted,
“The human understanding when it has once adopted an opinion ...
draws all things else to support and agree with it.”

This is a type of selective thinking whereby one tends to notice
and to look for what confirms one’s beliefs and to ignore, not look
for, or undervalue the relevance of what contradicts one’s beliefs.
Research shows that providing
                                 reasons for change to those
                                 who disagree with you only
                                 serves to entrench them more
                                 deeply in opposition to what
                                 you are proposing.

                                 —Francis Bacon’s Confirmation Bias
                                 Charles Lord and Stanford University on
                                 capital punishment




Stephen Denning: “The Secret Language of Leadership”
Why are people seemingly
                                                       so unwilling to reevaluate their
                                                       positions even when presented
                                                       with credible, factual evidence
                                                       that would seem to refute their
                                                       views?
                                                       It would seem that a rational,
                                                       clear– thinking person could be
                                                       influenced by credible evidence
                                                       Drew Weston and Emory University study




Stephen Denning: “The Secret Language of Leadership”
typical presentations

 We typically start meetings
 and presentations by:
 Defining the problem
 Analyzing the problem
 Recommending solutions




Stephen Denning: “The Secret Language of Leadership”
typical presentations
 “This is a rational appeal
 to reason and, if the
 objective is to share
 information with an
 audience that wants to
 hear it, this is effective.


 “But if the objective is to
 get people to change what
 they are doing and act in
 different ways...[or be
 open to different
 solutions]...it doesn’t tend
 to work as well.”




Stephen Denning: “The Secret Language of Leadership”
Selling creativity
story versus facts
Story can help you overcome the confirmation
bias in a way that facts alone seldom can

Most business people persuade via conventional rhetoric

It is intellectually based and cases are built
using facts, statistics and credible references
This is rational, but not creative


Defining the problem
Analyzing the problem
Recommending solutions


Stephen Denning: “The Secret Language of Leadership”
presentation story

A creative presentation
should start with more than
facts. A more powerful
method of persuasion is
uniting an idea with an
emotion, and the best way to
do that is through a
compelling story, arousing
emotion and energy.
Storytelling is creative,
insight-driven and
imaginative and a great way
to deliver your idea.

Robert McKee
The Storytellers International
Storytelling Center
presentation story

“Stories can help people       Even if you do mange to          Facts are often pushed
learn, absorb, remember and    persuade your audience,          out, but stories can pull
share information and ideas.   you’ve done so only on an        people in
Stories motivate, persuade,    intellectual basis and people    But, your story and the
inform and inspire”            are not inspired to act by       way you present it must be
You need facts. You can        reason alone-remember the        truthful
                               fMRI studies
use facts and they are and                                      Truth is more than factual
can be persuasive.                                              accuracy


                               Robert McKee
                               The Storytellers International
                               Storytelling Center
Truth is more than factual accuracy

“Seven hundred happy
passengers reached New York
after the Titanic’s maiden voyage.

“It’s the authentic truth, including
everything that’s relevant to fully
understand the story”
Stephen Denning: “The Secret
Language of Leadership”
Story is a powerful pull
strategy of influence. If
your story is good enough,
people of their own free
will come to the conclusion
that they can trust you and
the solution you bring
Annette Simmons, The Story
Factor: Inspiration, Influence and
Persuasion Through Storytelling,
Get Attention
Define the Problem
                      Inspire Desire for
Analyze the Problem
                      Change
Recommend Solutions
                      Reinforce with
                      Reasons


                      Stephen Denning:
                      “The Secret Language of
                      Leadership”
Selling creativity
Solomon Asch
The Asch Experiment




Gregory Berns: “Iconoclast: A Neuroscientist Reveals How to Think Differently”
“Most subjects caved                                                            “When asked how often they
                                                                                 went along with the group,
 to group pressure at
                                                                                 even the most conformist of
 least 1/3 of the time”                                                          subjects underestimated the
                                                                                 number of times he went
                                                                                 along with the herd.”
 “Without the group giving                                                       “We know what we see,
 the wrong answer, 95% of                                                        we know right from wrong,
 the subjects performed                                                          but with enough social
 without a single error.”                                                        pressure, we give in to the
                                                                                 fear of standing alone.”

 With the group, only 25%                                                        “Conformity is exerted at
 were able to maintain this                                                      the decision-making stage
 perfect performance                                                             in a capitulation to the
                                                                                 majority”




Gregory Berns: “Iconoclast: A Neuroscientist Reveals How to Think Differently”
“A willingness to take risks...and the capacity for
independent judgment...are common
characteristics among highly creative individuals”
Frank Barron, psychologist, 1988 “Putting creativity to work.” In Sternberg (ed) The nature of creativity.
But many people        Especially those with
lack a capacity for    less than well-
independent judgment   developed creative
                       capacities
Selling creativity
There is a fear/stress
response innate in all
of us, and it usually
serves us quite well

Millions of years of
evolution have
produced a very active
stress system that can
actually override every
other system in the
brain (amygdala)




Gregory Berns: “Iconoclast: A Neuroscientist Reveals How to Think Differently”
“The stress system is not rational. It reacts when
provoked, and the reaction is powerful enough to
derail even the most innovative thinkers out there”
Edward de Bono, “Lateral Thinking: Creativity Step by Step”
The inability to tame
the stress response, is
a design (innovation)
inhibitor
Fear can paralyze
action and inhibit new
thinking and responses
to new thinking




Gregory Berns: “Iconoclast: A Neuroscientist Reveals How to Think Differently”
In this context, it is easy to
see why “decision-makers
                                 And to see the
display a strong bias
toward the status quo”           challenges that
                                 new ideas, designs,
Stephen Denning,                 innovation face
The Secret Language of
Leadership
“Think of fear like alcohol. It impairs
judgment. Don’t make any decisions
while under its influence”
Gregory Berns, Iconoclast: A
Neuroscientist Reveals How to
Think Differently
familiarity

Human beings are comforted
by the familiar. The human
brain comes to like that with
which it is familiar
From the perspective of the
brain, it’s not that familiar
things are more pleasurable
or rewarding; it’s that
unfamiliar things tend to be
alarming and potentially
dangerous.
Familiarity quiets the
amygdala




Gregory Berns: “Iconoclast: A Neuroscientist Reveals How to Think Differently”
familiarity–the mere exposure effect

In a famous 1960‘s experiment,
Dr. Robert Zajonc proved that
familiarity influences what we
like. He flashed pictures of
irregularly shaped octagons to
test his subjects, but the pictures
were flashed so briefly, the
subjects were cognitively
unaware of having seen them.
Gregory Berns: “Iconoclast: A Neuroscientist Reveals How to Think Differently”
He then asked his subjects two questions:
Gregory Berns: “Iconoclast: A Neuroscientist Reveals How to Think Differently”
How confident are
you that you’ve seen
this picture?
Gregory Berns: “Iconoclast: A Neuroscientist Reveals How to Think Differently”
How much do you
like this picture?


Gregory Berns: “Iconoclast: A Neuroscientist Reveals How to Think Differently”
People sometimes
have skewed views
of what courage
really is
Courage is sometimes confused
with daring and/or impulse

Daring is often lack of attention
to likely outcomes


“There is a big difference between
rushing ahead blindly and knowing the
danger and acting anyway.”
“Action upon reflection adds a
seriousness to courage that impulse
fails to demonstrate.”


Dr. Robert Terry
courage and creativity are brothers


                                      “Creativity requires the
                                      courage to let go of
                                      certainties”
                                      Erich Fromm


                                      “Creativity requires taking
                                      what Einstein called ‘a leap
                                      into the unknown,’ putting
                                      yourself on the line as you
                                      ‘suffer the slings and arrows
                                      of ridicule.’”
Courageously bring               Courage can and
passion to the presentation      should be shared
of the work




Courage requires                 “Fear extinguishes
authenticity (truth) and         leadership; courage ignites
invites action (actualization)   leadership.”

                                 Robert Terry
Selling creativity
creativity/invention/
design can face
great adversity
Selling creativity
You will be
 fortitude         questioned
 & determination



                                 You have to have stoic resolve
                                 and unwavering determination
                                 to do what needs to be done to
                                 actualize the best work



You will not                     Barron analyzed ego strength
always be                        and defined it as the “power
popular                          to rally from setbacks and
                                 hardships”
The application of
great creativity

Fortitude and determination
Not short-term focused
Iterative and many chances
along the way to lose resolve
But creativity is committed to
effecting positive outcomes so
the struggle is worth it
Creativity requires
Tenacity
“There’s too much waste in banking.
Getting rid of it takes tenacity, not brilliance”
Carl Reichardt, former President of Wells Fargo
From Systems Thinking to Systemic Action by Lee Jenkins
Sometimes the
                   ideas come
 fortitude         naturally or
 & determination   easily; other
                   times not


                                   Sometimes the work sells
                                   itself; often it does not.
                                   Hopefully you now feel better
                                   equipped to help shepherd
                                   your work through what can
                                   be a maze of challenges

Creativity is
not for the
fainthearted
                                   Now for some real-life stories
creativity in action
Many famous people have changed
the course of history. Some were
great orators, others used their own
special skills to persuade their
audience. What’s important is that
you find your most compelling
characteristics that help you to
persuade your clients to buy the
kind of work Mary has talked about.


So what lessons can we take from
these great persuaders?
Martin Luther King was the youngest
person to receive the Nobel peace prize.
Few people can forget one of the greatest
speeches of all time, which started with
four simple words: “I have a dream”. He
was a great, passionate speaker who
showed people a vision of the kind of
future they aspired to.

But not everyone is as powerful a speaker
as Martin Luther King. In contrast, Bill
Gates is a something of a geek, with little
stage presence. But he has turned that to
his advantage. A very sincere man, mild
mannered and totally committed to his
cause, he displays deep emotion and is so
passionate about his subject that it is hard
not to be won over. The point here is that
you should never try to be someone you
are not. But rather to think about the
qualities that will help you influence and
persuade when you need to.
Elizabeth I used her powerful skills of
persuasion in a different way. A woman who
laid the foundations of the British Empire in
the 1600’s, she had a hugely skeptical
audience to win over. She was brilliant at
recognizing her troops’ fears and addressing
them head on. She acted thoughtfully when it
mattered most and said to them when
preparing for battle in 1588: “I know I have
the body of a weak and feeble woman, but I
have the heart of a king, and of a king of
England too.”

Nelson Mandela provides us with great
lessons in inspiring enormous trust, being
completely honest and clear in stating his
objectives. He took people with him,
whatever their persuasion—even reaching
out to those who had kept him in prison for
27 years. What he does best is appeal to
people’s innate sense of what is true and just
through his personal experiences and
because people are interested in the human
condition, this technique can help build
rapport and empathy with your audience.
And finally, Steve Jobs, who is probably going to
                                                   go down as one of the greatest CEOs of all
                                                   time. He did all of these things at different
                                                   times. His great gift was to know when to be
                                                   personally humble and when a situation required
                                                   great showmanship and magic to be most
                                                   compelling. He learnt to be a great storyteller at
                                                   both Apple and Pixar. His other important quality
                                                   was total obsession with detail and preparation.
                                                   (Just think about how often we end up preparing
                                                   for an important meeting in the taxi on the way
                                                   to the client’s offices.)

                                                   He created a cult in every possible way, and he
                                                   walked and talked the talk better than most.

                                                   People couldn't wait for his next presentation
                                                   and the queues to get into any one of them used
                                                   to form days ahead of time.

                                                   In complete contrast, his address at Stanford
                                                   University displayed enormous humility and a
                                                   completely different approach (he had already
                                                   been diagnosed with cancer by then) when he
                                                   simply said: “Today I want to tell you three
                                                   stories from my life. That's it. No big deal.
                                                   Just 3 stories.”

                                                   Think about how you make sure your clients
                                                   feel the same way: excited about what you
                                                   will bring them next time.
Image courtesy of creative commons member acaban
Finally, 3 examples of different
approaches to client
presentations that created the
kind of theatre that was truly
inspiring for our clients:

One where we created the
drama in a meeting room at our
offices. One where we found an
authentic setting in which to
stage the presentation.

And one where we had neither
of these luxuries. . .
Selling creativity
Captain Morgan is a great
example of displaying
courage and creativity in
presenting work to a long
established and client for a
traditional and somewhat
conservative brand.

We created the Captain’s
Table aboard ship to bring to
life a dark tale that inspired a
wickedly clever bottle. We
hired candelabra, feather
quills along with inkwells, and
we created beautifully found
personal writing stations for
each client.
Selling creativity
Selling creativity
Telling the story of Espolòn meant telling the
story of Mexico. But consumers were tired of
hearing the same boring old stories from
premium tequila brands about heritage and
the distilling process. So we took them on a
journey. Telling the story in a way that
brought the work to life, this time we found a
real Mexican restaurant as the stage upon
which to present our work.

Legend says that on one bright morning in
Mexico, the shrill crowing of Ramon the
rooster was heard throughout the land. In
homage to the brave men and women who
fought fiercely to create a free and
independent Mexico, we created characters
invited by the original posada engravings
that tell stories of the struggles and joys of
everyday life in Mexico. Each bottle label
depicts a scene that captures a particular
moment in that colourful history.

The brand launched on Cinco de Mayo 2010
and the results have been maravilloso.
Selling creativity
Three world famous London Hotels are
              the subject of our next case.

              If you can't get the client to come to you,
              and hiring a restaurant just isn't going to
              hack it, and the client has no time, and
              the odds are stacked against you, there



At landor we
              is still no excuse. You create the mood
              virtually.

              The CEO had to see the work
              immediately at her offices, and she only
              had 10 minutes for us. So we had to find



believe
              a way of bringing the idea of “nocturnal”
              to life as quickly as possible. Why
              nocturnal? Well, hotels are pretty
              standard during the day, but it’s at night
              that they become charged with sexual
              possibility, an air of mystery, even



that our heritage
              danger and thrilling discoveries. So we
              needed to bring that sense of romance
              to life—and quickly. We placed a
              perfectly formed chocolate truffle in her
              mouth, seated her in a sensual and
              sleek brown suede chair and then we



is our future
              blindfolded, painted the perfect picture
              of what pure and unadulterated luxury
              would feel like and taste like...for the
              Maybourne Group of Hotels.
Selling creativity
Selling creativity
At landor we
believe
that our heritage
is our future
thanks
Any
Questions?

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Selling creativity

  • 3. bright future Be ijing C h icago C incinnati D u b ai G e ne va H am b u rg H anoi H ong Kong Jakarta Lond on M e lb ou rne M e xico C ity M ilan M os cow M u m b ai N e w York P aris S an F rancis co S e ou l S h angh ai S ingap ore S yd ne y Tokyo 750 p e op le , 23 office s , 1 7 cou ntrie s
  • 5. hello, let’s chat Section 1 The truth about creativity Section 2 The power to influence I. Rapport II. Confirmation Bias I. Story Versus Facts II. Asch Effect III. Fear and Courage IV. Fortitude and Determination Section 3 Creativity in action
  • 6. the truth about creativity
  • 9. creativity “The capacity to bring together knowledge and imagination” Frank Barron, Psychologist
  • 10. “Original ideas that have value” Sir Ken Robinson, Education and Creativity Specialist, author and speaker
  • 12. Forget titles, job descriptions, and hierarchy—creativity is not Creativity a skill set; it’s a mindset, an opportunistic orientation that is in Everyone resists habitual thinking and invites courageous exploration. To be human is to be creative.
  • 13. The contradictions of creativity contribute to the mystery surrounding it. Creativity is intelligent, yet requires a willingness to ask questions and Creativity be open to possibilities. It is inspired by playfulness, but is Paradoxical disciplined toward an end. Passionate but objective, energetic but reflective, individual as well as collaborative—these are just a few of creativity’s contradictions.
  • 14. Creativity is generative, productive and open to many alternatives. Creativity But at its heart, it seeks to make a difference. Creativity values and is Constructive celebrates imagination and mandates the practical application of its output.
  • 15. Creativity values imagination over image. It requires a willingness to let go of certainties and think expansively; it also demands a Creativity strong dose of determination and self-belief. History proves that new is Courageous ideas and concepts are often met with apathy, ridicule or even hostility. This is why courage and creativity are brothers.
  • 16. Seeing and perceiving are two different things. Sight is visual and concrete; perception is individual Creativity and interpretive. Highly creative people have a well-developed is Perceptive ability to see things in new ways, detect patterns and make connections that others may miss.
  • 17. Environments that allow the freedom to explore, exposure to stimulus and time to reflect inspire individual and collective creativity. Creativity Imaginative thinking can be can be Inspired suppressed by excessive rules and regulations, siloed thinking, or Suppressed stigmatization of failure, hyper- focus on efficiency and the elevation of conformity over originality.
  • 18. Children tend to be less self- conscious than adults and this natural naïveté leads them to ask more questions and think more laterally. Adults’ experience, and Creativity expertise can lead them to prematurely shut down new routes is Childlike of thinking. Creativity is often served when we “think like a kid,” unfettered by all the reasons something might not work but inspired by what could be.
  • 19. Human beings do not like ambiguity; it makes most people uncomfortable. The hallmark of a creative thinker is a willingness to Creativity accept ambiguity, embrace discomfort, and focus on the Accepts Ambiguity promise of possibility. Rather than rush back to what is familiar, the creative mind lingers, trading comfort for potential.
  • 20. The Truth About Creativity It would be nice if great work always sold itself. Sometimes it does More often it doesn’t
  • 21. The Truth About Creativity All of us spend a great deal of our lives tapping into, driving and building our capacities for creativity We invest in it so that we can harvest it for our clients We spend hours, days, nights and weekends generating great creativity, brilliant ideas, winning strategies, beautifully executed campaigns, designs, promotions We often spend very little time thinking about how we are going to share this creativity
  • 22. This is not just about selling
  • 24. It’s about inspiring your clients to see the potential in the work you have generated
  • 26. Application versus Arrogance If you think about it, there’s arrogance in the notion that clients should be able to “see” the brilliance And again, sometimes it is obvious But when it’s not, you need to be as creative about how you present the work, as you were in its conception
  • 27. creativity courage & creativity This session is all about arming you with the knowledge and strategies that will put you in a position to more effectively overcome the obstacles that creativity faces
  • 29. the power to influence
  • 31. Rapport you must work to truly understand your client(s) you must have empathy for them and their situation that means suspending your own agenda and thinking about their central issue
  • 33. “When you have rapport with someone, they are paying attention to what you have to say. Without rapport they are not” Stephanie Palmer, “Good in a Room”
  • 34. Without rapport, it is very hard to influence others It would be easy if we could simply tell people what to do Facts are seldom enough Reason isn’t always enough Brilliant work isn’t even always enough
  • 35. Creativity is Not Enough Creative thinkers must navigate dynamic social networks in the drive to actualization These dynamic networks are easier to navigate with rapport
  • 36. Great work is not sufficient It must get produced And getting it produced takes guts and a lot of influence
  • 37. Connections must be made to get great work produced Creativity is The more revolutionary Constructive the work, the more important the connections
  • 38. obvious mandatories to getting great work produced Meets project objectives Competitively strong Grounded in consumer Meets success criteria understanding Relevant to intended Beautiful audience
  • 39. Unfortunately, even surmounting all of these hurdles is seldom enough Connections must be made
  • 40. Others need to feel and believe in the influence of the work Others need to believe in you
  • 42. “When someone with a great idea doesn’t present it effectively, it not only hurts them, but all of us as well. Why? Because mediocre ideas will get purchased and produced if superior ideas aren’t pitched well enough” Stephanie Palmer, “Good in a Room”
  • 43. “My point is not that pitching is everything. Rather, it’s that good products deserve good packaging and great ideas deserve a great pitch” Stephanie Palmer, “Good in a Room”
  • 44. rapport and likeability Likeability is a crucial ingredient in building rapport “Quick! Someone save the cat!”
  • 46. Predetermination Predisposition To determine, decide or establish in advance None of us walks into a room without firmly established ideas and opinions already in our heads We come in with knowledge, experiences, biases and opinions
  • 47. predetermination People are biased toward confirming their existing beliefs People regularly display a phenomenon called confirmation bias, first noted by Francis Bacon almost 400 years ago. As he noted, “The human understanding when it has once adopted an opinion ... draws all things else to support and agree with it.” This is a type of selective thinking whereby one tends to notice and to look for what confirms one’s beliefs and to ignore, not look for, or undervalue the relevance of what contradicts one’s beliefs.
  • 48. Research shows that providing reasons for change to those who disagree with you only serves to entrench them more deeply in opposition to what you are proposing. —Francis Bacon’s Confirmation Bias Charles Lord and Stanford University on capital punishment Stephen Denning: “The Secret Language of Leadership”
  • 49. Why are people seemingly so unwilling to reevaluate their positions even when presented with credible, factual evidence that would seem to refute their views? It would seem that a rational, clear– thinking person could be influenced by credible evidence Drew Weston and Emory University study Stephen Denning: “The Secret Language of Leadership”
  • 50. typical presentations We typically start meetings and presentations by: Defining the problem Analyzing the problem Recommending solutions Stephen Denning: “The Secret Language of Leadership”
  • 51. typical presentations “This is a rational appeal to reason and, if the objective is to share information with an audience that wants to hear it, this is effective. “But if the objective is to get people to change what they are doing and act in different ways...[or be open to different solutions]...it doesn’t tend to work as well.” Stephen Denning: “The Secret Language of Leadership”
  • 53. story versus facts Story can help you overcome the confirmation bias in a way that facts alone seldom can Most business people persuade via conventional rhetoric It is intellectually based and cases are built using facts, statistics and credible references This is rational, but not creative Defining the problem Analyzing the problem Recommending solutions Stephen Denning: “The Secret Language of Leadership”
  • 54. presentation story A creative presentation should start with more than facts. A more powerful method of persuasion is uniting an idea with an emotion, and the best way to do that is through a compelling story, arousing emotion and energy. Storytelling is creative, insight-driven and imaginative and a great way to deliver your idea. Robert McKee The Storytellers International Storytelling Center
  • 55. presentation story “Stories can help people Even if you do mange to Facts are often pushed learn, absorb, remember and persuade your audience, out, but stories can pull share information and ideas. you’ve done so only on an people in Stories motivate, persuade, intellectual basis and people But, your story and the inform and inspire” are not inspired to act by way you present it must be You need facts. You can reason alone-remember the truthful fMRI studies use facts and they are and Truth is more than factual can be persuasive. accuracy Robert McKee The Storytellers International Storytelling Center
  • 56. Truth is more than factual accuracy “Seven hundred happy passengers reached New York after the Titanic’s maiden voyage. “It’s the authentic truth, including everything that’s relevant to fully understand the story” Stephen Denning: “The Secret Language of Leadership”
  • 57. Story is a powerful pull strategy of influence. If your story is good enough, people of their own free will come to the conclusion that they can trust you and the solution you bring Annette Simmons, The Story Factor: Inspiration, Influence and Persuasion Through Storytelling,
  • 58. Get Attention Define the Problem Inspire Desire for Analyze the Problem Change Recommend Solutions Reinforce with Reasons Stephen Denning: “The Secret Language of Leadership”
  • 61. The Asch Experiment Gregory Berns: “Iconoclast: A Neuroscientist Reveals How to Think Differently”
  • 62. “Most subjects caved “When asked how often they went along with the group, to group pressure at even the most conformist of least 1/3 of the time” subjects underestimated the number of times he went along with the herd.” “Without the group giving “We know what we see, the wrong answer, 95% of we know right from wrong, the subjects performed but with enough social without a single error.” pressure, we give in to the fear of standing alone.” With the group, only 25% “Conformity is exerted at were able to maintain this the decision-making stage perfect performance in a capitulation to the majority” Gregory Berns: “Iconoclast: A Neuroscientist Reveals How to Think Differently”
  • 63. “A willingness to take risks...and the capacity for independent judgment...are common characteristics among highly creative individuals” Frank Barron, psychologist, 1988 “Putting creativity to work.” In Sternberg (ed) The nature of creativity.
  • 64. But many people Especially those with lack a capacity for less than well- independent judgment developed creative capacities
  • 66. There is a fear/stress response innate in all of us, and it usually serves us quite well Millions of years of evolution have produced a very active stress system that can actually override every other system in the brain (amygdala) Gregory Berns: “Iconoclast: A Neuroscientist Reveals How to Think Differently”
  • 67. “The stress system is not rational. It reacts when provoked, and the reaction is powerful enough to derail even the most innovative thinkers out there” Edward de Bono, “Lateral Thinking: Creativity Step by Step”
  • 68. The inability to tame the stress response, is a design (innovation) inhibitor Fear can paralyze action and inhibit new thinking and responses to new thinking Gregory Berns: “Iconoclast: A Neuroscientist Reveals How to Think Differently”
  • 69. In this context, it is easy to see why “decision-makers And to see the display a strong bias toward the status quo” challenges that new ideas, designs, Stephen Denning, innovation face The Secret Language of Leadership
  • 70. “Think of fear like alcohol. It impairs judgment. Don’t make any decisions while under its influence” Gregory Berns, Iconoclast: A Neuroscientist Reveals How to Think Differently
  • 71. familiarity Human beings are comforted by the familiar. The human brain comes to like that with which it is familiar From the perspective of the brain, it’s not that familiar things are more pleasurable or rewarding; it’s that unfamiliar things tend to be alarming and potentially dangerous. Familiarity quiets the amygdala Gregory Berns: “Iconoclast: A Neuroscientist Reveals How to Think Differently”
  • 72. familiarity–the mere exposure effect In a famous 1960‘s experiment, Dr. Robert Zajonc proved that familiarity influences what we like. He flashed pictures of irregularly shaped octagons to test his subjects, but the pictures were flashed so briefly, the subjects were cognitively unaware of having seen them. Gregory Berns: “Iconoclast: A Neuroscientist Reveals How to Think Differently”
  • 73. He then asked his subjects two questions: Gregory Berns: “Iconoclast: A Neuroscientist Reveals How to Think Differently”
  • 74. How confident are you that you’ve seen this picture? Gregory Berns: “Iconoclast: A Neuroscientist Reveals How to Think Differently”
  • 75. How much do you like this picture? Gregory Berns: “Iconoclast: A Neuroscientist Reveals How to Think Differently”
  • 76. People sometimes have skewed views of what courage really is
  • 77. Courage is sometimes confused with daring and/or impulse Daring is often lack of attention to likely outcomes “There is a big difference between rushing ahead blindly and knowing the danger and acting anyway.” “Action upon reflection adds a seriousness to courage that impulse fails to demonstrate.” Dr. Robert Terry
  • 78. courage and creativity are brothers “Creativity requires the courage to let go of certainties” Erich Fromm “Creativity requires taking what Einstein called ‘a leap into the unknown,’ putting yourself on the line as you ‘suffer the slings and arrows of ridicule.’”
  • 79. Courageously bring Courage can and passion to the presentation should be shared of the work Courage requires “Fear extinguishes authenticity (truth) and leadership; courage ignites invites action (actualization) leadership.” Robert Terry
  • 83. You will be fortitude questioned & determination You have to have stoic resolve and unwavering determination to do what needs to be done to actualize the best work You will not Barron analyzed ego strength always be and defined it as the “power popular to rally from setbacks and hardships”
  • 84. The application of great creativity Fortitude and determination Not short-term focused Iterative and many chances along the way to lose resolve But creativity is committed to effecting positive outcomes so the struggle is worth it
  • 86. “There’s too much waste in banking. Getting rid of it takes tenacity, not brilliance” Carl Reichardt, former President of Wells Fargo From Systems Thinking to Systemic Action by Lee Jenkins
  • 87. Sometimes the ideas come fortitude naturally or & determination easily; other times not Sometimes the work sells itself; often it does not. Hopefully you now feel better equipped to help shepherd your work through what can be a maze of challenges Creativity is not for the fainthearted Now for some real-life stories
  • 89. Many famous people have changed the course of history. Some were great orators, others used their own special skills to persuade their audience. What’s important is that you find your most compelling characteristics that help you to persuade your clients to buy the kind of work Mary has talked about. So what lessons can we take from these great persuaders?
  • 90. Martin Luther King was the youngest person to receive the Nobel peace prize. Few people can forget one of the greatest speeches of all time, which started with four simple words: “I have a dream”. He was a great, passionate speaker who showed people a vision of the kind of future they aspired to. But not everyone is as powerful a speaker as Martin Luther King. In contrast, Bill Gates is a something of a geek, with little stage presence. But he has turned that to his advantage. A very sincere man, mild mannered and totally committed to his cause, he displays deep emotion and is so passionate about his subject that it is hard not to be won over. The point here is that you should never try to be someone you are not. But rather to think about the qualities that will help you influence and persuade when you need to.
  • 91. Elizabeth I used her powerful skills of persuasion in a different way. A woman who laid the foundations of the British Empire in the 1600’s, she had a hugely skeptical audience to win over. She was brilliant at recognizing her troops’ fears and addressing them head on. She acted thoughtfully when it mattered most and said to them when preparing for battle in 1588: “I know I have the body of a weak and feeble woman, but I have the heart of a king, and of a king of England too.” Nelson Mandela provides us with great lessons in inspiring enormous trust, being completely honest and clear in stating his objectives. He took people with him, whatever their persuasion—even reaching out to those who had kept him in prison for 27 years. What he does best is appeal to people’s innate sense of what is true and just through his personal experiences and because people are interested in the human condition, this technique can help build rapport and empathy with your audience.
  • 92. And finally, Steve Jobs, who is probably going to go down as one of the greatest CEOs of all time. He did all of these things at different times. His great gift was to know when to be personally humble and when a situation required great showmanship and magic to be most compelling. He learnt to be a great storyteller at both Apple and Pixar. His other important quality was total obsession with detail and preparation. (Just think about how often we end up preparing for an important meeting in the taxi on the way to the client’s offices.) He created a cult in every possible way, and he walked and talked the talk better than most. People couldn't wait for his next presentation and the queues to get into any one of them used to form days ahead of time. In complete contrast, his address at Stanford University displayed enormous humility and a completely different approach (he had already been diagnosed with cancer by then) when he simply said: “Today I want to tell you three stories from my life. That's it. No big deal. Just 3 stories.” Think about how you make sure your clients feel the same way: excited about what you will bring them next time. Image courtesy of creative commons member acaban
  • 93. Finally, 3 examples of different approaches to client presentations that created the kind of theatre that was truly inspiring for our clients: One where we created the drama in a meeting room at our offices. One where we found an authentic setting in which to stage the presentation. And one where we had neither of these luxuries. . .
  • 95. Captain Morgan is a great example of displaying courage and creativity in presenting work to a long established and client for a traditional and somewhat conservative brand. We created the Captain’s Table aboard ship to bring to life a dark tale that inspired a wickedly clever bottle. We hired candelabra, feather quills along with inkwells, and we created beautifully found personal writing stations for each client.
  • 98. Telling the story of Espolòn meant telling the story of Mexico. But consumers were tired of hearing the same boring old stories from premium tequila brands about heritage and the distilling process. So we took them on a journey. Telling the story in a way that brought the work to life, this time we found a real Mexican restaurant as the stage upon which to present our work. Legend says that on one bright morning in Mexico, the shrill crowing of Ramon the rooster was heard throughout the land. In homage to the brave men and women who fought fiercely to create a free and independent Mexico, we created characters invited by the original posada engravings that tell stories of the struggles and joys of everyday life in Mexico. Each bottle label depicts a scene that captures a particular moment in that colourful history. The brand launched on Cinco de Mayo 2010 and the results have been maravilloso.
  • 100. Three world famous London Hotels are the subject of our next case. If you can't get the client to come to you, and hiring a restaurant just isn't going to hack it, and the client has no time, and the odds are stacked against you, there At landor we is still no excuse. You create the mood virtually. The CEO had to see the work immediately at her offices, and she only had 10 minutes for us. So we had to find believe a way of bringing the idea of “nocturnal” to life as quickly as possible. Why nocturnal? Well, hotels are pretty standard during the day, but it’s at night that they become charged with sexual possibility, an air of mystery, even that our heritage danger and thrilling discoveries. So we needed to bring that sense of romance to life—and quickly. We placed a perfectly formed chocolate truffle in her mouth, seated her in a sensual and sleek brown suede chair and then we is our future blindfolded, painted the perfect picture of what pure and unadulterated luxury would feel like and taste like...for the Maybourne Group of Hotels.
  • 103. At landor we believe that our heritage is our future
  • 104. thanks

Editor's Notes

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