In basketball there are five set positions: point guard, shooting guard, small forward, power forward, and center. Rather, there were five positions. As data increases our understanding of sports MIT student Muthu Alagappan analyzed just one position – point guard – and found there was actually many “positions.”
When comparing data about [All-Star point guards] [Chris] Paul, [Steve] Nash and [Jason] Kidd, Alagappan found that Paul stood out as a defensive stopper and a midrange shooter, Nash shined as a skilled passer and expert at the pick-and-roll move, and Kidd excelled as a rebounder with some above-average post-up ability, whose shots came mostly from the three-point range. For three players who play the same position, that’s a highly divergent set of skills.
What applies to basketball players can also apply to the rest of us. Instead of “positions” many of us have job titles. Just like Alagappan uncovered more data, we now can discover more about one another beyond a title. I can look at your Behance profile, your blog, your LinkedIn page and learn much more about you and your skill sets than a title could ever convey. Developer Michael Lopp believes that this is one of the reasons that job titles may soon be a relic of the past:
It’s these types of artifacts [like Twitter] that give me the beginning of insight into who you are. It’s by no means a complete picture, but it’s far more revealing than a bunch of tweets stitched together in a resume.
Titles, I believe, are an artifact of the same age that gave us business cards and resumes. They came from a time when information was scarce. When there was no other way to discover who you were other than what you shared via a resume. Where the title of Senior Software Engineer was intended to define your entire career to date.
Leo Babauta of Zen Habits suggests the secret to successfully achieving goals is working up to them level by level, video game style. The idea is that you make incremental changes to your existing behavior over a period of time, pausing along the way to master each level before progressing to the next. He took this approach to losing weight:
Like a video game, the way to changing your health habits is by starting out at the first level, and only going to the next level after you’ve beaten the one before that. The problem is that most people start at Level 10 and fail, and wonder what happened. Most of us want to skip several levels, but we’re just not ready.
So the secret is to start at Level 1, and only advance once you’re done with that level. One level at a time, you’ll master the game of losing weight and getting healthy….
1. Start walking just for a few minutes every day.
2. Reduce your eating by a little bit. A very little bit.
[D]on’t go to this level until you’ve had a streak of seven days of doing Level 1.
1. Walk every day for a few minutes more. If you’ve been going around the block twice, make it three times. Or add 5 minutes to your walking.
2. Eat a little less than in the previous level. Just a little less — not really noticeable.
If you’ve successfully done Level 2 for another week, you’re ready to add more:
1. Walk a little more.
2. Eat/drink less of something that’s empty calories — less soda, sugar, bread, pastries, sweet coffee drink, chips, cookies, pizza. Don’t drop any of these completely, just eat less of it.
And so on. Minor tweaks collectively add up to major changes. The trick is having the patience and diligence to stick with those small shifts and implement them week after week until you’ve achieved your ultimate goal. To stay motivated and track your progress, try using a goal-centered app like Coach.me, LittleBit, or Chains.cc or a more analogue system like Jake Lodwick’s Standards self-management technique.
There’s no bonus round in real life, so make the one you have count.
Creatives are no stranger to experiencing crushing disappointment. No matter your medium, it’s easy to equate your work with yourself, since your product is a reflection of your inner humanhood. Whenever you’re disappointed in something you’ve produced, or else your failure to actually produce that thing, that feeling of frustration may bleed into general dissatisfaction with yourself as a whole.
Of course, self-disappointment does nothing but further quash your motivation and productivity. If you feel like what you create is worthless or falls frustratingly short, you lose your inspiration to create anything at all. Leo Babauta of Zen Habits offers a few poignant suggestions for overcoming this feeling of not living up to your own standards, including:
See the Greatness of the Present
Let’s turn from the self we haven’t been, to the self we have been. This self might have “failed” at X, but it has also succeeded in lots of other ways. This self has tried. It has gotten a lot done. It’s not perfect, but it has good intentions. This self has been the best it can be, even if that means imperfection. This self has cared, has loved, has strived for better, has made an effort, has wanted the best for others. Not always, but it has. This self deserves that kind of recognition, and love for being the best self it can be….
Work with Curiosity
[G]oing forward, let’s practice tossing out our expectations of how we’re going to do today (and in life in general), and instead adopt an attitude of curiosity. We don’t know how we’re going to do at work, or in our relationships, or with our personal habits. We can’t know. So let’s find out: what will today be like? How will it go?
Be curious, in an attitude of not-knowingness.
It’s fun to find out things!
Yes, expectations will come up for us, and we will fail to live up to them, and we will feel frustration and disappointment again. This will happen, and this too will be a bit disappointing, because we want to be perfect at being curious and present. We’ll have to repeat the process when we notice this happening. That’s OK. That’s how it works — constantly renewing, never done.
But as we get better at this, I promise, we’ll learn to see things with a new curiosity, with a gratitude for every moment that we meet, and with a more loving and kind view of constantly failing but constantly striving selves. These selves are wonderful, and that realization is worth the ever-constant journey.
This combination of mindfulness, self-compassion, and curiosity enables you to move forward in your creative process and continue thinking and making. To take it one step further, you can dig out of a self-disappointment hole completely, as you use the above tactics, by removing direct internal fault-finding from the equation. As Janet Choi comments on what psychologist Ethan Kross has found, avoiding the first person, and addressing yourself as “you” instead, can have powerful positive consequences in silencing that inner critic:
When you get out of “me,” “myself,” and “I,” you mentally gain distance from yourself and get out of your own head. Much like you can gain perspective on a piece of art by stepping back a few feet, you can gain added insight on your thought process by putting some mental distance between your present mindset and your typical nervous, anxious self.
As you’re focusing, per Babauta, on thinking about your next project with a sense of possibility and openness, do so by asking yourself, “Who are you most excited to talk to about this piece?” or suggesting in your head, “You should carve out an hour tomorrow morning to work on this first thing, while you’re fresh.”
Just as you require multiple artistic implements at your disposal to complete a creative project, you need a variety of self-help techniques in your toolkit to conquer inner disappointment.
As a talented creative, you probably shudder at the thought of purposely designing something badly. Why would you possibly do such a thing, other than out of passive aggressiveness towards an infuriating client? (Bad idea.) UX content strategist Jerry Chao suggests that purposely designing badly can be a great tactic for conquering creative block:
There’s a big difference between having no good ideas, and no ideas at all. Chances are, the more bad ideas you have, the more pressure you apply to come up with good ideas. In these cases, the best way to beat designer’s block is to get all the bad ideas out of your system.
Try designing a mockup in which you make all the wrong decisions on purpose. You may find it strangely productive.
For starters, you’re exercising your design muscles a lot more than just staring at a blank screen: designing badly is better than not designing at all. On a deeper level, designing a purposefully bad mockup forces you to think critically on the same topics, but from a different perspective. If you can figure out the worst place to stick a call-to-action, for example, that will shed some light on the best place. This kind of productive distraction allows you to think about solutions without actually thinking about them.
This process uses the same mental muscles as when an editor considers a piece of writing by placing it upside down or backwards, forcing him- or herself to focus on the bare bones of the work: paragraph structure, word choice, syntax. The technique makes it impossible to glaze over while reading, and can surface interesting patterns or qualities of the work.
Coming at a project from an intentionally awkward angle can offer a refreshing new viewpoint that affords that much-anticipated creative breakthrough. Just don’t publish your bad-on-purpose project to your portfolio–at least without an explanation of the exercise.
No matter your field, your communication style, or your organizational habits, you’re likely bound to the holy quartet of organizational work tools: email, conference call, chat, and calendar. On Blinkist’s blog Page 19, Caitlin Schiller diagnoses a lot of the wasted time and unproductiveness that plagues the modern working world as misuse of said work tools. Consider the common problems of workplace chat that likely plague you, as they do all modern professionals at one time or another:
The main problem with office chat is that people feel freer to write off-the-cuff questions because they’re not technically interrupting—the recipient can still choose whether or not to respond. The thing is, we’re reactive creatures, and we feel that we need to stop what we’re doing and attend to the people who ping us. Even though your intention with getting in touch by chat is to be unobtrusive, you have little control over whether your colleague’s work is interrupted. If she sees a message notification, chances are she’ll look. Even if she doesn’t respond outright, a portion of her focus will now be diverted by your remark or question. In general, chat should only be used for quick questions that are keeping you from moving forward with your work, or to set up a time with a co-worker to talk through a larger issue. Anything else, put in an email so you’re not disturbing your colleagues.
When in doubt, only chat if you would want to be chatted. The caveat, of course, is that, best practices aside, everyone has slightly different preferences and affinities when it comes to work tools. So: ask the handful of people with whom you work most closely what their specific inclinations are when it comes to using chat, and also email, phone call, or calendar invites, so you can maximize your collective productivity. One person may prefer that you email them even with yes/no questions rather than interrupt their workflow with a drive-by. Another may want to untangle a project snafu together over chat rather than phone so that there’s a written record he or she can refer back to later. For most creatives, especially when it comes to work tools, getting sh*t done is a team sport and there’s no one-size-fits-all uniform.
There’s never enough time. There never will be enough time. Time management is a doomed battle, especially for creatives who are constantly juggling a variety of projects.
In an article on Quartz, writer and psychologist Tony Crabbe describes how our modern obsession with time management grew out of the Industrial Revolution, when factories needed to coordinate hundreds of people’s shifts in synchronicity. That tidal shift from the concept of task management to time management is responsible for what has today become a monumental issue: We are all way too busy, scrambling to get way too much done, in an ultimately futile effort to clear our inboxes and complete our to-do lists often to the detriment of deeper, more meaningful output:
[W]hen we complete more tasks, all that happens is more appear to take their place—send more emails, get more replies. In essence, if we do more as a result of better managing our time, we don’t get it all done—we just become busier…. When we scatter our attention across a thousand micro-activities, we prevent ourselves from engaging deeply or thinking properly….
Research by Microsoft, for example, suggests that 77% of UK workers feel they have had a productive day if they have emptied their inbox. It constantly horrifies me to see the number of blogs and books which focus on the goal of getting to an empty inbox or zero tasks, as if either achievement was worthwhile. No business or life was changed by an empty inbox.
Here’s a (not “the”, but “a”) solution: first, stop measuring your personal success or productivity by the number of emails that languish in your inbox. Accept the discomfort that comes from letting some messages go unanswered for longer than usual.
Next, consciously carve out time every single day (i.e., ironically, put it on your calendar) to X out of your Outlook or Gmail, turn your phone on silent and put it in your pocket or face down on your desk, and remove any visible clocks or timekeepers from the vicinity. Luxuriate in the absence of time-tracking, and just immerse yourself in the deep creative, contemplative thinking that can’t happen when you’re even subconsciously, subtly aware of how many minutes have gone by. By doing so, you’re taking back the power to manage your actual work, not your time.
We can’t change the basic unwritten code of how the modern working world operates. At least for the time being, the email inbox and other digital message repositories (project management software, IMs, texts, Twitter DMs) hold us accountable based on a temporal structure. You wouldn’t be a responsible working adult if you just decided to answer only the emails you felt like answering, whenever, based on your level of creative inspiration. But you can create a functional balance between task management and time management that’s short of the incorrectly-hallowed inbox zero. Take back your tasks, and in so doing you’ll take back your time.
If you want to heighten the experience of your work, you need to appeal to more than just one of the five senses. Without realizing it, we tend to only cater to one of our senses in our work—for example, designers or web developers who focus on sight. Abstract visual artist Devon Sioui explains how incorporating even just one more sensation can change the overall experience:
My sister-in-law Faye [Harnest] is an author, poet, and braille transcriber. She always had this idea to incorporate braille in a visual way with paintings and texture… She’ll punch her poem in a braille machine on acetate and from there we will attach it to the canvas. Then there is a lot of paint layering overtop and incorporating the edges so it doesn’t look like it’s taped on… [we want] people to come [and] explore the paintings by touch… because you don’t ever really get to do that.
By engaging the sense of touch along with sight, Sioui and Harnest are able to enhance the overall artwork experience for both themselves and the audience. Besides visually taking in the dynamic colors and composition, the artwork takes one way the audience experiences the world around them and integrates it into another, heightening the senses.
Industrial designer Jinsop Lee started evaluating his life experiences based on senses by creating a graph with a scale from one to ten along the vertical axis and the five senses along the horizontal. Every time he had a memorable experience, he recorded it like a five senses diary. He found that the best experiences engaged more senses on a higher level than others easily forgotten. Once he was aware of what made for the best experiences, he began appealing to more senses within his design work. Lee challenges us to incorporate as many senses as possible to make any experience more memorable:
Now in the middle of all this five senses work, I suddenly remembered the solar-powered clocks projectfrom my youth. And I realized this theory also explains why Chris’ clock is so much better than mine. You see, my clock only focuses on sight, and a little bit of touch. Here’s Chris’ clock. It’s the first clock ever that uses smell to tell the time. In fact, in terms of the five senses, Chris’ clock is a revolution.
And that’s what this theory taught me about my field. You see, up till now, us designers, we’ve mainly focused on making things look very pretty, and a little bit of touch, which means we’ve ignored the other three senses. Chris’ clock shows us that even raising just one of those other senses can make for a brilliant product.
Of course, not every line of work will be able to add extra senses to a project—or at least, not without having to really sit and think outside of the box. Which in itself is the whole point: to expand your thinking about what’s involved in your work. Perfect experiences engage all the senses, so why focus on only one? See what other senses you could pull in. It could be what turns a good project into an unexpectedly great one.
Thanks to Cool Hunting, this week’s sponsor of Workbook.
Each year, Cool Hunting interviews hundreds of makers, inventors, and entrepreneurs that are just on the cusp of breaking out and becoming the next big thing. So when they selected their 25 most interesting innovators, we paid attention. The Cool Hunting 25 is a eclectic, diverse list of people that are pushing the boundaries of their field, like the chef democratizing gardening, and the recent college grade revolutionizing the way you’ll charge your phone.
You can read the entire CH25 list here. Below, the 99U Team picked three of our favorites that embody the ethos of making ideas happen.
A recent college grad, Perry is attempted to rid the world of one of its more annoying inhabitants: cords. Already receiving $10 million in funding and interest from major brands like Starbucks, uBeam might just end the tyranny of outlet.
As any city-dweller can tell you, growing a garden in an urban environment requires a bit of creativity. Stuffed in a window frame or planted in a nearby community space, most urban gardens aren’t as fruitful or as accessible as they could be. Enter Urban Cultivator, a self-contained automatic garden that can fit into most kitchens, giving you fresh eats on the regular.
In an effort to make performances more engaging Jonathan Sparks has been on a mission to improve the live instrument ensemble. His most unique invention: the Nomis.