Maximization methodologies have long
been used in business to produce quantities of quality ideas, faster. Creative
writers who want to rapidly produce quantities of quality work should apply
these same principles.
a) Waiting for inspiration creates less
output than forcing inspiration. Simply engaging in the task
generates ideas. By defining the work process, the author can frame the mind
for the coming task and trigger the mind into searching for ideas on multiple
cognitive levels. Creative Directors identify a problem and set about finding
solutions, thus initiating the creative state. Similarly, screenwriters know
that they will come up with good ideas for screenplays while they are working
on the present one. Inspiration for projects comes while working on similar
projects.
b) Setting incremental targets and final goals
produces more output than a “do your best” approach.
Creative Directors may ask people to generate at least five problem
statements a day and come up with at least five ideas to resolve each problem
in that same day. At the end of a week, 20 people have generated a solid idea
pool that can be analysed. Similarly, writers who set themselves a target of
500 words a day produce more total output after a month than they would if they
had not set themselves that target.
By staging the process over a
week, the Creative Director i) forces output at regular intervals and ii)
allows the problem to incubate in the mind, thus allowing richer insights to
generate.
c) Story Structure Just as in business,
where models such as SWOT, PEST, Five Forces and a million others are used to
generate ideas for particular circumstances or for particular problems, so
stories themselves have such frameworks. Stories are built around templates.
The most famous of these is Campbell’s (1968) Hero’s Journey, around
which have been built some of the most successful ever films – Star Wars,
Spiderman, Shrek, The Incredibles and many more. Applying these structures
allows the writer to break a task into smaller arts and more precisely define
problems and generate better solutions.
The true value of Story
Structure is perceived after a few successful uses. It allows i) the creative
writer to quickly map out a story from an idea and ii) triggers idea flow
because blocks are overcome and competencies learned – it becomes easier
to visualise the idea in the final, fleshed out form.
d) Experience
curve, adaptive and generative learning. subliminal and unconscious perception
and learning. Commonly expressed in terms like “you have to
write a million words before you write anything good.” When a task is in
the early stages, relative lack of experience, knowledge and refined
methodology limits performance to sub-optimal levels. With time these factors
improve and productivity increases exponentially. Adaptive and generative
learning, subliminal and subconscious perception and learning all help the
author to get better at his or her endeavour.
In conclusion, by really
understanding and Managing Creativity and Innovation, the Creative Writer is
able to produce more quality work, faster.
This topic is covered in
depth in the MBA dissertation on Managing Creativity & Innovation, which
can be purchased (along with a Creativity and Innovation DIY Audit, Good Idea
Generator Software and Power Point Presentation) from
http://www.managing-creativity.com ABOUT THE
AUTHORKal Bishop is a management consultant based in London, UK. He has
consulted in the visual media and software industries and for clients such as
Toshiba and Transport for London. He has led Improv, creativity and innovation
workshops, exhibited artwork in San Francisco, Los Angeles and London and
written a number of screenplays. He is a passionate traveller. He can be
reached on
http://www.managing-creativity.com.
