Made to Stick

Here's a book every designer should read. It helps you to go past aesthetics to make your (or your client's) message stick. By “stick,” the authors mean that your ideas are understood and remembered, and have a lasting impact — they change your audience’s opinions or behavior. This is not to say that every communication should be 'sticky'. As Chip and Dan Heath say: “At this point, it’s worth asking why you’d need to make your ideas stick. After all, the vast majority of our daily communication doesn’t require stickiness. “Pass the gravy” doesn’t have to be memorable.”

After reading ‘The Tipping Point: How Little Things Can Make a Big Difference‘ by Malcolm Gladwell two brothers Chip Heath (a Stanford Business school professor) and Dan Heath (a corporate education consultant at Duke) were inspired by Gladwell’s top selling book. After extensive research they found that the ideas that ’stick’ all share the following six principles (with a chapter dedicated to each principle):

PRINCIPLE 1: SIMPLICITY - Find the core of your idea.
This is done by finding what is the essential part of your message to the target audience. Think what their stakes are. Ask yourself what motivates them, ask yourself what part of your message will capture their attention. A successful defense lawyer says, “If you argue ten points, even if each is a good point, when they get back to the jury room they won’t remember any.” To strip an idea down to its core, we must be masters of exclusion. We must relentlessly prioritize.

PRINCIPLE 2: UNEXPECTEDNESS - Stand out of the noise.
How do we get our audience to pay attention to our ideas, and how do we maintain their interest when we need time to get the ideas across? Get peoples attention. Attract it. Hold it. How? Through surprise. Break people’s ‘guessing machine’ and then repair it. We need to be counterintuitive. Here's an example from the US FDA: "A bag of popcorn is as unhealthy as a whole day’s worth of MacDonald's" It makes you wonder why, doesn't it? Well, both have the same amount of hydrogenated fat!
But surprise doesn’t last. For our idea to endure, we must generate interest and curiosity. “The most basic way to get someone’s attention is this: Break a pattern. Humans adapt incredibly quickly to consistent patterns. Figure out what are the unexpected implications of your core message.

PRINCIPLE 3: CONCRETENESS - Make your ideas actionable.
Make your idea like Velcro. Hook them through concreteness. We must explain our ideas in terms of human actions, in terms of sensory information. This is where so much business communication goes awry. Mission statements, synergies, strategies, visions — they are often ambiguous to the point of being meaningless. Naturally sticky ideas are full of concrete images — ice-filled bathtubs, apples with razors — because our brains are wired to remember concrete data. In proverbs, abstract truths are often encoded in concrete language: “A bird in hand is worth two in the bush.” Speaking concretely is the only way to ensure that our idea will mean the same thing to everyone in our audience. “Abstraction makes it harder to understand an idea and to remember it. It also makes it harder to coordinate our activities with others, who may interpret the abstraction in very different ways. Concreteness helps us avoid these problems.” Make sure that your message contains a concrete call to action. And make the action as easy as possible with opening times, maps, everything.

PRINCIPLE 4: CREDIBILITY - Help people believe.
Honesty and trustworthiness should be glorified. Use authorities and anti-authorities. Vivid details boost credibility. If possible, use statistics that generate a human context. “How do we get people to believe our ideas? We’ve got to find a source of credibility to draw on. A person’s knowledge of details is often a good proxy for her expertise. Think of how a history buff can quickly establish her credibility by telling an interesting Civil War anecdote. But concrete details don’t just lend credibility to the authorities who provide them; they lend credibility to the idea itself.”

PRINCIPLE 5: EMOTIONS - Make people care.
Associate ideas with emotions that already exist in others. Bridge the emotional gap between your idea (that they don’t care about - yet) with something they already are emotional or care about. Place emphasis on benefits! Research shows that people are more likely to make a charitable gift to a single needy individual than to an entire impoverished region. We are wired to feel things for people, not for abstractions. Sometimes the hard part is finding the right emotion to harness. For instance, it’s difficult to get teenagers to quit smoking by instilling in them a fear of the consequences, but it’s easier to get them to quit by tapping into their resentment of the duplicity of Big Tobacco. “How can we make people care about our ideas? We get them to take off their Analytical Hats. We create empathy for specific individuals. We show how our ideas are associated with things that people already care about. We appeal to their self-interest, but we also appeal to their identities-not only to the people they are right now but also to the people they would like to be.”

PRINCIPLE 6: STORIES - Build the shared mythology.
Firefighters naturally swap stories after every fire, and by doing so they multiply their experience; after years of hearing stories, they have a richer, more complete mental catalog of critical situations they might confront during a fire and the appropriate responses to those situations. Research shows that mentally rehearsing a situation helps us perform better when we encounter that situation in the physical environment. Similarly, hearing stories acts as a kind of mental flight simulator, preparing us to respond more quickly and effectively. Get people to act. Use stories as stimulation (tell people how to act). Use stories as inspiration (give people energy to act). “A story is powerful because it provides the context missing from abstract prose. This is the role that stories play-putting knowledge into a framework that is more lifelike, more true to our day-to-day existence. Stories are almost always CONCRETE. Most of them have EMOTIONAL and UNEXPECTED elements. The hardest part of using stories effectively is make sure they’re SIMPLE-that they reflect your core message. It’s not enough to tell a great story; the story has to reflect your agenda.”

If this gets you interested, I really suggest you read book. It's many examples help you make the book's ideas stick. My conclusion: making an idea stick is an essential part of creating critical mass for change, so I'll work on using the principles in my design practice.

Purple Cow

Many of my friends were talking about it, I had noticed many of them as successful innovation, and now I finally read it: the Purple Cow by Seth Godin.
The book hammers down one key point: just good doesn't cut it anymore. A product can't be sold by advertising. It should sell itself by being remarkable. Or as Mr. Schurman of Herman Miller says: "The best design solves complex problems but if you can weld that to the cool factor you have a home run."
Simply put: Safe is Risky and Very good is boring. I you design something that appeals to the general public you won't be able to sell it, since they are very good at ignoring you. You have to target the lead user, the niche, the people craving for the new, the better and the remarkable. The sneezers who start spreading the virus, who can create critical mass.
The good thing is that not many people will try to launch purple cows, so the playing field is all open. In good times, they say: "Safe is good enough." In bad times: "Let's play it safe in these bad times." We should take a break to produce a classic. Sit there don't just do anything. Marketing departments want to justify themselves.

So what I will implement in my design practice is this:
- I will devise a process or service to help clients find lead users
- I will use purple cow examples to convince clients to divert money from advertising budgets to the design budget, because it will be the better investment.
- Purple Cow questions are nice triggers in brainstorms: "How do we make this idea so remarkable it gets on the news? On leading blogs? How do we make this idea collectible? What would happen if we told the truth, like McDonalds France?"
- In my design practice we also have ambassadors, people who love our work. I'll invite them for brief sessions in strategic meetings and give them my home number if they're on to some business...
- Since remarkable products come from otaku's (some kind of deep fascination) I will be more alert on them and the people who have them, so I can call them for advice. I'll start with finding out all about the otakus of my collegues.
- I'll invite a couple of marketeer guest speakers to introduce our designers to the marketing practice.
- I'll set up a product or service teaching our clients 'design thinking' or visual thinking. It should help them identify better opportunities and it will help them to work creatively with the identities and websites we design.
- We also need a smart way to do research, since focus groups are a waste. How can we release prototypes to the interested public? How can we find them? How can we create an incentive to talk back to us? A point saving system?

Working at Warp Speed

I remembered Barry Flicker’s ‘Working at Warp speed’. Sadly only +after+ the deadline of the last stressful project. I have to stick his four core ideas on the wall again.
- “We’re in this together.” Stress in the team leads to adversarial positions. Before I slip into the uncreative defensive mode, I have to remind myself of this. Some ‘Aikido in everyday life’ can help me with this. It helps me to keep centered and creative even under repetitive verbal attacks from stressed out colleagues.
- “Slow down before you turn.” I have to make sure to be inclusive when taking the project trough a major curb into a different direction. Turning to fast leads to a lot of confusion. Also in review meetings I need to stay better focused, take time to take a step back. Otherwise things get sloppy. Would it help to change the music from hard rock to relaxing, to influence my state of mind? It is what Norman suggests in ‘Emotional Design’…
- “Am -I- the best one to do this?” I got pretty good at delegating the right stuff, but I have to coach the others.
- “Take time to plan.” I really appreciate those short daily kick-off meetings! Much better than diving right in. But again we didn’t plan in user and consumer feedback. This can be so powerful, but always gets crushed in the rush of tight deadlines.

Barry Flicker didn’t give any ideas on how to break away from old solutions and doing something really sexy when working at warp speed. I have to find a way get this in the process…

Emotional Design

Emotional Design: Why we love or hate everyday things by Donald A. Norman.
Here's a book that is a waste of time. While the topic of the topic of including emotions in the design process is currently very interesting, this book is a letdown. I expected interesting tools and thinking frames to incorporate user emotions in the design process. Instead I found an endless raving about the author's private collection of artifacts. It can be interesting and even delightful to hear people tell about the stuff they like, but Mr. Norman makes shallow generalizations of his experiences, unfounded extrapolations and likes to talk in absolutes.
After the rave, the second half of the book goes on about how robots and computers should have emotions, in a discussion that is totally irrelevant for the area of product design. If you want to hear about the future of robots and intelligence go read 'On intelligence' by Jeff Hawkins.

Two notions of the book were interesting - luckily they are on the first few pages so you can put the book aside after page 50.
One is the observation that people are more focused when tense and more creative and open minded when relaxed. Although this fact is mentioned in any book about creativity, it only struck me now that this notion can be used in product design: when good focus is required the designer can try to rise the tension in the interacting user. And vice versa.

Further Mr. Norman breaks the experience of a product down into three levels. This breakdown is really just a simplified version of the abstraction model described by Korzibsky and a similar one described by Hawkins. It consists of a first impression, an unconscious impression after interacting and a conscious reasoning about the product. Don Norman is too vague for my taste about the distinction between the first impression and the interaction. Much more interesting lecture on the subject is Blink. (See one of my previous posts).

Yesterday I was meeting a person who was knowledgeable in the area of greenhouse gases and carbon dioxide. I learned that the production of books has a carbon dioxide byproduct weighing two times the weight of the book itself. This book is 400g wasted carbon dioxide.