RMV 25 Dr. Kyra Bobinet: You Can Design An Iterative Mindset Transcript

Dr. Kyra Bobinet  0:00  

Habits only become habits through repetition because you're sending that repeated signal to the brain like, Hey, I'm serious about it. Hey, this is me. This is my new me.


Tracy DeLuca  0:09  

results may vary as a podcast and a community to help you design your life. Through our work in the fields of design, innovation, and executive coaching. Chris Kati and I have learned that the creative problem solving strategies we use to help organizations tackle tough challenges apply to people challenges to the design process is universal. Gaining empathy and taking action is useful for every industry and individual alike.


Katia Verrensen  0:39  

Our hope is that by sharing stories from people who design their own lives in unique ways that you can take this useful and apply it on your own. So tune in, take note, try an experiment and then try another. We're all born creators, and everyday is a whole new chance to create.



Tracy DeLuca  1:01  

Today we're excited to welcome our first results may vary repeat guest and author of well designed life Dr. Bobinet. Her specialty is combining brain science and design thinking to serve the health of whole populations of people and challenge them and herself to live healthy, fulfilling lives physically, mentally and spiritually. Dr. Bob Annette has spent her career working in the healthcare industry building programs and algorithms to change behaviors at the million person scale. Today she is the founder and CEO of fresh try a simple sustainable behavior change approach based on the brain science of habit formation. Let's listen in as Kyra shares her thoughts on the brain behavior gap and why it's so dang hard to do the things we all know we should and how adopting an iterative mindset can offer you a more successful and compassionate approach to habit change. We are here today with Kyra Bobinet Dr. Kyra Bobinet. And we last left you About five years ago when you had just released your book, well designed life. And I'm really curious to have you catch up our listeners on what you've been doing since then.


Dr. Kyra Bobinet  2:21  

Yeah, so it's so interesting how the universe works, right? Because Well, first of all, thank you for having me here. And it's really, really one back, I'm really glad that you're that you're back doing this because it's such a powerful podcast and just such a great topic and pulls together all the amazing people in the world. So I had, you know, done the book and went on this kind of tour, if you will, of keynotes and one of my keynotes was in Boston, and a gentleman in the audience was from Walmart. And he approaches me after my talk, and he says, Hey, you know, I want to do something different. I want to like disrupt this whole world of employee wellness and health promotion and disease management, can you help me? I said, Yeah, like, that's my dream. And he said, Well, how would this if you could build this thing? What would you build? And I didn't even know the answer question, but it just kind of popped out of my mouth and said, I said, I have an engine. And he's like, what is it? Yeah, because in the book, you know, I talked about fast brain, slow brain, and you know, for yourself past self kind of designs as frameworks, and also the ability to do your design thinking as a lifestyle, you know, have that designers mindset, that, that way of just, you know, kind of versioning yourself into success. And he's like, let's do it. Let's, let's figure this out. So my team and I went to the areas of the country that have the most health challenges the southern states, Texas, Louisiana, Mississippi. And we basically sat and watched first of all the store and how it ran, we didn't introduce ourselves until day two in each of the stores. And then the day two, we started interviewing and talking with associates, and we were both observing their unconscious behaviors, you how they held their body that you know, the woman who's talking to us folding the children's clothes, she was tugging this big thing of coca cola and telling us about her health. And so those kinds of observations and and you're the disjointedness between what they said and what they did, you know, and kind of getting those, those things to come to light. And what we realized is that, really, it sounds kind of stupid, easy to say this, but food is the great unifying factor of health that everybody inevitably has to do. Nobody has to work out. Nobody has to do many things. Maybe sleep would be another one. But food is sort of, you know, you can't not eat. And so it has to be dealt with. And it is such a driver for everything mental health, physical health, chronic diseases, everything that you, you know, feel during the day, you know how much energy you have all that kind of stuff. And so we decided to take on this project of designing for food and figuring that out. 


Tracy DeLuca  5:26  

You know, I'm really intrigued by this idea of a habit engine. Yeah.

But I also wanted to talk a little bit about just the realities of being human. And you said, you know, it's like, what we say about our health and what we actually do. And I feel like, that's another common experience that we all share, where, you know, we do have beliefs, and then we have actions, and they don't always align up. And it's not because we're bad people, or because we're trying to, you know, present ourselves a certain way, what do you think is behind that gap?


Dr. Kyra Bobinet  5:24  

So I like to call that the brain behavior gap. Wait, I know what I should do, I just don't know why I don't do it, you know, and that was actually the words of somebody in a clinical study that I did, that really, you know, kind of was like my life calling, you know, solve this, figure this out. And so there's a couple of things that are sitting in that gap. One is what I talked about, with the fast brain, slow brain, you know, your, your slow brain sets this goal to let's say, you know, get to a healthy weight, your fast brain shoves the pie into your mouth, I literally bought a peach pie three nights ago, I've been somewhat feeding off of it, much like a lion feeds off of a carcass for multiple days. And, and so but but, but I'm controlling myself, in certain sense of, I do in the middle of the day, I take some cinnamon afterwards to kind of do some damage control. So I know behavior design, and how to prevent myself from doing what I used to do, back before I knew these techniques, is I used to eat the whole pie, then I would feel horrible about myself. And that I would feel so horrible that I would get another pie and then I’d eat that whole pie. And that, that world is what I wanna rescue people from. 



Habits are the only like, legit unit of behavior change in your brain, if you were to say, a brain before it changes behavior, and then a brain after it changes behavior, the neuroplasticity around the habits and what became automated is what we are talking about. But it's not the single transactional behaviors, it's not I remind you to go get vaccine, or I remind you to take your pills. That is not if the brain can't carry it as a mindless habit. Ultimately, you have not changed your behavior. How do we do that? It's through habituating, everything we can into true behavior change.


Katia Verrensen  7:58  

Yeah, one of the things that I often talk to clients about his behavior is going to be 100% of your information. So you're telling yourself a story, and you perceive things a certain way. But when you really track behavior, you really get the truth of your starting point. And that just noticing that starts to be a revelation for them. I'm curious about this habit engine you're talking about? Could you tell us more about it?


Dr. Kyra Bobinet  8:21  

Yeah. So we basically we started out as a design a behavior design firm. And as we finished this project in the southern states, for Walmart, we came back to headquarters, and we talked about, you know, targeting food as medicine. And we started to do some prototyping and figure out, you know, what, what is it that people will respond to what, what's kind of the DNA of behavior change, people are no longer tolerant of monolithic, you know, one size fits all programming, right? They need personalization, they need it to fit, who they are all the little quirks about them, and that sort of thing. So when we started to think about how do we create, how do we target food habits? How do we deal with something that is so new, even from childhood, we needed a way to make it simple, and to make it very bespoke to the person and to really deal with the sensory component of how the brain thinks about food too, as well as the heuristic, which means like how your brain takes shortcuts versus how my brain takes shortcuts. I'll give you an example. The menus that we created inside of our prototypes, we're offering things around, you know, adding vegetables or reducing portions and things like that. And what we found is that certain people tend to gravitate towards a heuristic of this needs to be adding because maybe that person has a deprivation trigger or something that, you know, kind of bums them out if they feel like they're taking away if you're taking away options. And so they apply that same brain shortcut or heuristic to choosing which food habits they would find acceptable to change. And maybe over time, they'll get to the harder ones. But even my own behavior as I've, as I've worked with the software that we're building, I found that I started out with add vegetables, and that was kind of my, my layup, you know, and I would always that was my home base. If I was, you know, getting my butt kicked with portion control, which is my worst category, I would go back to add vegetables kind of build up my confidence for a while. Retone, if you will, that habit that I had built up, and then go and challenge myself, right. So what we did was we created this prototype, we created these versions. And as and just one thing led to the other and we're, you know, getting more and more traction, more more success, more and more input. And we ended up building a software called fresh try and late last year, we just said, Hey, you know what we're gonna go all in on fresh tried, because we also got a CDC contract to turn habits habits out of a big curriculum called the Diabetes Prevention Program, when we did the research in the southern states, and then we expanded that out to Walmart associates, nationwide found these people who had lost a ton of weight, kept it off long term. And in the face of two jobs, Single Parenthood, no money, no time, all the stress in the world, they were able to do this heroic thing and sustain it. We wanted to understand how could you sustain this? Because you know, I grew up in Oklahoma I know what church potluck tables look like, in that area of the country. And everywhere you know? So I was fascinated with this when we start interviewing them. And what we found is that they all had, this was only one thing in common because they had different demographics, different circumstances, different ethnicities, different cultures, different food preferences, and different things. So they were trying different programs, they were trying different wearables, they were trying. And what we found is that they only have this one thing in common, which is what we're calling the iterative mindset, which is a kind of a new naming, if you will, of the designers mindset. Designers will understand what designers mindset is, but the typical person in the world doesn't know that and putting the word iteration in, it really captures that mindset as a distinct and unique type of mindset to use



Tracy DeLuca  12:25  

And what do you think allowed people to have that mindset? Is that something they inherently had? Or do you think they learned it along the way? Or like, how did they have it and others not? What, uh, what did the rest of the people need to do? Or no? 


Dr. Kyra Bobinet  12:40  

Yeah, I've been asking myself that question. I think that they probably the the nature side of the thing is, they were probably an inherently born MacGyver or designer, you know, and they didn't, they just grew up in an area where design wasn't a career option for them, they didn't know anything about it, or didn't have access to that. So they just kind of do that with their life. But they're super clever. And they're super creative, right? My mom's one of those people. And then the other nurture aspect of it might be that by force of circumstance, somebody who becomes an I was a single mom, 14 years, when you're a single mom, you got to be frickin, you got to hustle. And you got to be super savvy, you know, so that savviness those those environmental pressures and getting things done for, hacking your life, hacking your kids trying to get some vegetables into your kids, when your deadbeat tired, those kinds of things might force people to become more creative in their approach, and maybe even have more pressure to become more time efficient, too. And money and money saving too. So those kinds of pressures, I think are probably, at least with the folks that we met in Walmart, probably the force of circumstance that might have evolved them in that direction as well.


Tracy DeLuca   13:58  

Because of, because that sounds like amazing adaptability and creativity and the opposite of perfection. I find that people who want to be perfect, or want to control have a really hard time on that. They're not naturally iterative.


Dr. Kyra Bobinet  14:15  

That's right. And actually, you know, my recent Aha, there was a article at the beginning of this year in Harvard Business Review. And it really was a light bulb that went off for me because they did this comparison of growth mindset and fixed mindset, which is the most famous pairing, but they also have this other one called learning mindset and performance mindset. 


So I dug into their bibliography and I read this gnarly, long paper around different you know, goal orientation mindsets. And this performance mindset, as near as I can tell, is basically the behavior change operating system that is predominant right now, at least in health and well being type solutions and you may not recognize it, by that name, but what it is, is goals and tracking. So setting these hard goals, smart goals, those kinds of things, and then tracking against those goals or tracking your calorie intake your steps every day, all that kind of tracking behavior. It's all components of performance mindset. And it was kind of an import from business, which came out of education and higher education at that. And the performance mindset and learning mindset learning mindset kind of evolved. Carol Dweck was one of these mentees of the person who first saw articulated performance versus learning mindset. And she took it further. And then she evolved that into growth mindset, which is a belief that it's not over for you, like you can learn you're, it's, you know, you're not, and you don't have to be perfect, you can, you can always learn. The difference between growth mindset and iterative mindset, though, is that iterative mindset is more action oriented mindset, it's try this thing, practice this thing, experiment with this thing.


And then Part two is iterate, when you need, you know, when you get bored, when it doesn't lift off when you Ace it, and you need a new challenge level, you know, so so it's a very much instructional mindset in that way, because you know, what to do, you know, so performance mindset, going back to that, really good for simple tasks, this is from the literature, performance mindset goes and tracking really good for performance for simple tasks, I want to go the grocery store, you know, it's very good in sales, you know, I want to reach a sales goal, I want to be the top selling person this year, salesperson this year. And, you know, once I achieve that, you can't take that away from me, so and it's an area of high self efficacy. So that's the second criteria for performance mindset is that it needs to be only used when you have an area of high confidence, high self efficacy, well, food habits and weight loss are not generally an area where anybody feels confident. And so it's really poor match for that, and health, health changes as well. And then the third thing around performance mindset, where it works is something that's not reversible. So if I go get a college degree, and I use performance mindset to drive myself to do that, then I graduate, you can't take that away from me, you know, and, and so it's permanent. But weight, can always be regained. Yeah, something like that, that can go back or they can reverse is not appropriate for performance mindset, because you risk these failure events. 


Katia Verrensen 17:39  

That makes a lot of sense. I'm very curious, I remember that you'd mentioned that for behavior change, you need both the motivation, and then a strong emotion. As you were speaking, I was thinking about exercise, which is also a trigger for people. And I realized that the minute exercise became pleasurable, I started working out every day, it just became a no brainer. But if it came from a punishing emotion, which was the way it used to be before, it was much, much harder for me to work out. What are your thoughts are based on your experience around the strong emotions that we need in order to get to the behavior change?


Dr. Kyra Bobinet  18:17  

Yeah, I mean, emotion is the decision, fuel, so you cannot make a decision without emotion. And you can't feel strongly about it, it won't, it won't have what's called salience in the brain, which is kind of lights up your self image, like, Oh, that's me, you know. So the stronger match to I am a person who works out that you have, the more emotion juice that you have around that, the more likely it's going to be to become a habit, because you will invest in it, you will repeat it, you know, that there's no way around it habits only become habits through repetition, because you're sending that repeated signal to the brain, like, Hey, I'm serious about it, hey, this is me, this is my new me, this, you know, make sure you pave this with smile. And because you know, I'm going to use this a lot. I'm going to do this a lot, you know, and so the brain at some point takes you seriously makes it easier and more automatic, and then it becomes your new default. Right? So the emotion is the sort of first aid in the in the beginning to make that happen. And then after it becomes a habit, then your emotion dies down because it's so expensive for the brain to sustain. You know, passion around everything. Once you integrate it into kind of a cruise control automated system as a habit, then your brain doesn't need the emotion to fuel it every time. 


Katia Verrensen 19:45  

Because it's been now it's a habit. It's on autopilot.


Dr. Kyra Bobinet 19:45  

Exactly.


Katia Verrensen 19:45  

It's an identity level, that I am this kind of person. It's now my identity. So I don't have to it's difficult.


Dr. Kyra Bobinet  19:51  

Yeah, it's your default. It's me. It's made it into the me category. And so you'll automatically do it because it's part of what your brain thinks is you


Tracy DeLuca  20:00  

So a lot of people talk about, you know, 30 days to a habit or, you know, some somewhere around that area. And, and if you can just cross that barrier, then you won't ever go back. And you deconstruct that a little bit more.


Dr. Kyra Bobinet  20:16  

Yeah. So, you know, we kind of have this urban myth, if you will, came from a plastic surgeon in the 1960s, who noticed that his patients who had a nose job took about 21 days or three weeks to get used to their nose. And that became more than all habits and all behaviors and everything that you get used to takes 21 days, when in fact, it takes about a year to fully construct the neural plastic network that you need for that to become your new default. And then you have to keep toning it after that you have to, you have to tone those habits, after they become your default to keep them, like, like maintenance of a road. You know, like, if you think about a road, and you're building a road, if you do 21 days of building that road, you've only got maybe some clearing of the area that you want to build the road in. And so when people give up, it makes me very sad. Because I was like, Oh, you know, you bought into that lore and you had these expectations. And now, now you feel like you failed, you know, you didn't fail. It's just that you weren't given the right information about how the science works.


Tracy DeLuca  21:25  

Yeah. And then when you say it takes about a year, then I think, Oh my god, Kyra, like, Please don't make me have to eat more vegetables for a whole year. Like how? So how do I mentalize that because I guess I feel like a lot of the things that we're asked to change our behaviors around or we know that we should change our behaviors around are inherently things that don't want to do, because they just don't feel good. So how do we shift that mindset?


Dr. Kyra Bobinet  21:55  

I'm going to switch that up. Yeah, I'm gonna, I'm gonna answer that unpredictably here in a second. Okay, one thing that caught my attention is that you basically said, Oh, no, well, if you're gonna go- Oh, no, about something that is not your starting place anyway. Because if you're agonizing through something, you're not in the right spot, and that's something that I think, you know, has come with performance mindset, that kind of grit it out, you know, no pain, no gain kind of mentality is a performance mindset spell that has been cast upon everybody. And I just want to undo that and put it in its proper place for its proper uses. It's like using antibacterial cream for a fungal infection, it's never going to work out, you know. So we have to use the right methodology with the right mindset, which is this iterative mindset. And if you approach, you know, just like, as a designer, if you were designing something that was just not had no signs of life, you would abandon that in a hot second, right? So when you apply that same philosophy to your own self behavior change, then you start to see, Oh, that's, that's wisdom.




Katia Verrensen 23:00  

I love how you talked about that, that no pain, no gain, that's that that's really I have such an issue with that, too. And I always have to distinguish with people and explain, listen, there's a difference between hacking and the beauty, and the joy of creating from a constraint, and just being blinded by the grind. And those are not the same emotions, and those are not the same mindsets, and you're not going to get the same results.


Dr. Kyra Bobinet  23:26  

You know, it's, it's just really, and if I could just deviate a little bit off of that, like, it's our relationship with gentleness, you know, I have this, you know, I grew up really getting it, like, I had a dad who was, you know, tough it up, you know, like, you know, tough it out, suck it up. And Oklahoma is not a kind place for little girls who cry, you know, when they're little, you know, turtle dies or whatever. And so, you know, we all kind of have our own version of this. And we have to change our relationship with gentleness, kindness, and really understand how effective that can be. And I I am definitely in some sort of rehab around that because I was somebody who worked out until it hurts I was somebody who wouldn't go to a massage therapist until unless they bruised me. I was somebody who, you know, went to tough schools and tough careers and, and did tough things. I like hard things to do and hard problems. And yet, we really have to question what is most effective, because if we're just doing that, and we're getting all kinds of rebellion, self sabotage, as a nasty, subconscious way of, you know, alarm bells going off like, Hey, stop, stop abusing me, stop hurting me, you know, I'm your body, you know, take care of me, then we really are going to end up with some sort of disease that's going to dial that to 10 and get our attention that way. Right. So we have so many warning shots before we get there,


Katia Verrensen  25:02  

I agree I've actually seen that in in with executives, if if their body will start to signal, they have to change their behavior. And, and then we get into meeting resilience with self compassion, which is a wonderful tool.


Tracy DeLuca  25:18  

I feel like though we also live, we live in this performance driven world. And Kyra would I think is so fascinating about your work is that it makes so much sense. And then when I go out into the world where I do behavioral change projects, and work with clients who are focused on this, and they've got all these brilliant minds, I feel like they're doing the opposite. They're doing that goal and task oriented pursuit, and there's no talking them out of it. And then I feel like it has such an impact culturally on all of us, because we're putting products and services out into the world that are perpetuating this approach, and we're continuing to fail and continuing to fail. And so what do you feel like needs to happen in order for us to really be open to this more gentle, compassionate approach for behavior change?





Dr. Kyra Bobinet  26:10  

I think that we need to have a long conversation, you know, this whole 140 character or 240, character, whatever life does have its role does have its place. But I think we're realizing with podcasts and relationships, and a lot of things in our culture, that sometimes the long form is required. And I believe in people's learning curve, meaning that I know there's enough people out there who've been burned by misusing performance mindset for the wrong thing, ie healthcare, behavior change, that, that I can see the scars, the scars, you know, they're battle worn, you know, they're like, Why? Why has no country in the world reversed today? Why are we all going off a cliff with our health? Why are we you know, being so disparate in ethnic disparities of health? Those kinds of questions, and perplexities are causing people and I think influential people to start to look for something different, or start to look for something else. And that's kind of metaphorical for me in how I do horses these days, because I have a horse. And I grew up, you know, shame. shamefully, I'm going to admit here, that I would hit my horse on the neck when or on the butt when he wouldn't do what I wanted to do. Because I was taught that that's how you treat a horse because they're big, and you have to dominate them. And I'm sure a lot of people were taught the same thing. But as I grew older, and I and I had 30 year break from horses, and then I wanted to have horses back in my life, I really instinctually could not bear the idea of hitting an animal. And so I found a woman who does a specific type of not only natural horsemanship, but horse communication, where you really are working on the mindfulness of the horse, are they with you? You know? Or is there are they carrying out their thoughts somewhere else. And when you're training a horse in this way, training with them, and they're teaching you as much as you're teaching them, they will make the slightest effort towards what you are wanting. So you make a request or an invitation. And they go Is it like this, you can see like, maybe they'll move their home just slightly, or something like that. And my teacher says, You praise that because it was it was a tiny gesture in the right direction, and you can build on that. But if they don't see praise, or they don't see some feedback loop, you know, ding, ding, ding, then they will get discouraged and give up. And then you've got a horse that from a human perspective, looks resistant, looks rebellious, looks aggressive, looks shut down. Looks like they won't do what you want them to do. You know? So it's a real, it's real metaphor for how we as humans, train ourselves. Any little gesture like Yes, good direction, directionally positive, and being able to catch those within ourselves and really pause and praise ourselves, frankly, to get that encouragement happening on a subconscious level.


Katia Verrensen  29:30  

Yeah, a lot of, that is that's so so important and so accurate. And and one of the ways when I'm working with people in their teams is to have them do you know really celebrate the micro wins. Really, if you're going to go out and invent the future, you need to validate what you've already done so far and build on that momentum. Even the micro wins and that will shift a team so fast. It's it's really phenomenal. I wanted to bring up a point that you speak of a lot, and I think is really key you were mentioning in your book, that the three steps for change involve really understanding that I'm not a bad person, that others are experiencing this too, and that there's a way out. And I find that across the board that I'm not a bad person is just this horrific shadow side that so many people have, and really takes people out in terms of achieving their goals. It fundamentally feels like there's this sort of toxic societal, cultural groupthink, that says, Yes, everyone should feel like they're wrong or bad. It's just it's such a reality distortion. 


Tracy DeLuca 30: 58 

And yeah, leaving that really stops people from designing the life they want for it from really shifting behaviors. And I was wondering if you could speak to that, or how we might make that right. Again, this inner goodness, this, this just being very objective and neutral with yourself, right, 


Dr. Kyra Bobinet  31:11  

Right, what also doesn't work is you can't just say, hey, Katya, you're actually good inside, right? 


Katia Verrensen 31:17  

No, yeah, that's the same binary, right? Yes. Get out of the duality. Yeah, yeah,


Dr. Kyra Bobinet  31:23  

it's a real journey. And, and I actually, I actually did a camping trip or a solo wilderness track, once when I was 30. And I went to the four corners area of Colorado, New Mexico, and did a 22 mile hike. And when I was going in my, my intention was, I want to understand self love, I want to understand what that means. Because it sounds like such a corny, cheesy concept. But it was reflected back to me by my friends and my loved ones, how much me being critical of others and myself was being toxic to them and and to everyone around me and including myself, because I didn't feel good about myself, because I did feel like I was fundamentally bad or wrong, or I imperfect or those kinds of things. And so what I realized in really questing for self love, is that you need to quest for it, you have to want it, it's the it's like the holy grail, you have to go on that search. And just the searching energy, conjuring that up in yourself of, okay, so I may not believe that I'm not bad. But I want to not believe that I'm not bad, you know, that I'm bad. And so I want to be free of feeling that I'm bad. And so I need to just start setting an intention of show me Show me how to get out of this feeling, show me how to move one step further towards what other people call self love. Even if I don't believe in it, even if I'm skeptical, even if I'm so mired in my childhood grief that I don't know where to start, you know, and that's where people are there. It's just childhood grief, and no baby would ever if you grew, if you didn't interact with any other human and it was raised by wolves would ever think that they were a bad person. It's put into them by other human beings. And so it's a quest of how to shed those layers, how to shed those injections into your bloodstream and get those out cleanse your system of those toxic messages that you took in and that you believed and that you operate from. And and, you know, it's it may not be obvious, so I'll just point it out. The people that you're working with, because they are high performers, they have been using performance mindset forever. That's 







Tracy DeLuca 33:58

Oh, absolutely.

Oh, yeah. Oh, and 


Dr. Kyra Bobinet 33:58

so so one thing I know about high performers is that they are running from this they're running from they outperform because they don't feel right or they don't feel they have impostor syndrome, or they don't feel like you know, and there's a lot of just running from the pain that drives somebody to be in that performance mindset and also drive somebody to perform at that level. When I got to UCSF for medical school, I looked around my classmates hundred 40 of us. And I said and I after I met them for a while and I spent about a year with first year before I concluded this as like, oh, what we all have in common is just we flogged ourselves to get here we flogged ourselves to to do the extra things and to jump through those hoops and to to become superhuman, so that we could have acceptance so that we could be somebody so we can have an ego trip so that we could have status, whatever the case may be or power You know, and that's what's driving everybody.


Tracy DeLuca  35:03  

What do we how do we look at that from a positive direction, like leave us with some, some hope for the future around changing that, that mindset and walking away from imposter syndrome?


Dr. Kyra Bobinet  35:18  

Actually, there is no hope.

I'm just kidding.


Tracy DeLuca  35:22

I love it!


Dr. Kyra Bobinet  35:23  

The hope the hope was, the hope was embedded in my my description of the iterative mindset, or designers mindset like you iterators never fail, they never stop. And if I had one wish, for everybody it was to it would be to render them unstoppable. Because you know, once you understand that there's an area of your brain that have vendula, that detect failure, you will think twice, about putting yourself in situations where you will think you failed, and you will think twice, about putting in place a mindset and rejecting the performance mindset. In that case, because the iterative mindset is safer, it's more protective of you, it'll keep you safer long term in your efforts will keep you in effort long term. And at the end of the day, the only hope I can offer is that you need to stay in some sort of exploratory search iteration mode, as often as you possibly can get yourself to do that. And I don't mean grid out, I don't mean just like, just keep trying, I mean, solve problems, experiment, play with it be creative, you know, be be, hack it.  You know, like those kinds of things. That's how you feel better. That's how you feel more capable, more, more of a base of, Oh, I have confidence in myself. And I have faith in myself. And I, I love myself for getting myself out of these binds all the time. And I just like me with the peach pie. Like, I know, I'll get out of that. I'm actively relapsing, I am admitting this outwardly, to a bunch of people I don't even know. And yet I know, because I've adopted this iteration methodology that I cannot be stopped, and I will not gain weight during COVID. And I will, I will be okay at the end of the day. And that that loop with yourself creates that love and that confidence and appreciation and, and really rewires you completely.


Katia Verrensen  37:17  

And that's really going from a controlling perfection mindset to actually a creative mindset, a mindset of possibility and iteration. 


Dr. Kyra Bobinet  37:27  

Yeah, I mean, that that's why I think, you know, having the words iterative mindset is so directional and guiding on just inherently in the words. It's like, Oh, I need to think about iterating here.


Tracy DeLuca  37:39  

Yep. Beautiful. I love it. Kyra. I could talk to you for days and days and months.


Katia Verrensen  37:46  

I know, I was thinking, of the same thing. 


Tracy DeLuca  37:51  

I love it.


Tracy DeLuca  37:52  

Thank you so much. Yeah,


Dr. Kyra Bobinet  37:54  

My pleasure, my pleasure, ladies. And thank you so much for doing this. Like I said, it's such a great conversation. I'm so thankful for the, the audience that's being gathered around this really important discussion. 


Tracy DeLuca  38:07  

Kyra is so amazing. I love like last time she was on the show was an amazing show. This time is an amazing show. I've heard her on other shows. And she just always brings such incredible depth of knowledge about the brain that I feel like is so relevant and relatable. So, So glad for her to be on the show. And so glad to have a chance to do this episode with you. Katya.


Katia Verrensen  38:32  

Yeah. And what a powerhouse she is. And I loved how, well, being so impactful in the world and the way she was raised and all of that she's created. I just was so moved when she talked about our relationship to gentleness, hmm, that was a true treasure.



Tracy DeLuca  38:53  

We don't hear that enough. I mean, it's the opposite. It's to be strong and powerful and dominate. 


Katia Verrensen  39:00  

And that's not really how things work. Absolutely. And so it led me to, it leads me to believe that that might be the next wave of her journey. So it'll be exciting to hear where that goes. But it made me think a lot of you know, in the US, we often have this thing about productivity and to do lists. And in France, we have this thing about gentleness and -tout doux- which means all things gentle, and, and relationship. Yeah.


Tracy DeLuca  39:28

What? There should be a list of gentleness. I love that.


Katia Verrensen  39:33

All things, you know, I'm designing around a very optimized, nervous system that feels safe and mattering and performing at its best in that way. So ..


Tracy DeLuca  39:51  

yeah, that's just so interesting. I, um, this past week, I've been trying an experiment that my business coach gave me where she said Instead of making a traditional to do list to sort of, I'm calling it a monkey mind to do list where I wake up in the morning and I just like allow my anxiety to create the list like, Oh my gosh, I have to do this that that. And it turns it into something that's actually more playful than like a real to do list, which I think of as, you know, oh, I have to be responsible. And I have to get all of these things done, lets me include my emotions in it. And then I found that one, it takes things out of my short term memory and does put it on the page. So it's easier to remember. But to it also just helps me get through it because it feels playful. So I'm curious about like the gentleness that seems like another layer to take it down to how do I look at it from that perspective,


Katia Verrensen  40:48  

I think that's a really fun exercise. And if you if we take it to behavior change, which is a lot of what we talked about, with Kyra, I loved how she mentioned that behavior change really sets in, when it becomes part of our identity. I am I am this kind of person, I am gentle with myself, I am etc, etc. And that's a good reminder.


Tracy DeLuca  41:11  

Yeah, I just in her conversation. And then also another podcast I was listening to was talking about that part of the brain and just how powerful it is. So I'm curious to explore that concept more of just identity and how do I make something be more me? 


Katia Verrensen 41:29  

Mm hmm. Really only that. I so loved her real explicit explanation about performance mindset versus iterative mindset. Boy, was I happy she shared that.


Tracy DeLuca  41:41  

Yeah, I think that also ties back to the like, strength and competition side where, you know, it's like, how do we look at that differently? So what what stood out to you about that one? Well,


Katia Verrensen  41:52  

In my worldview, this performance mindset tends to put people in fight or flight. And so I loved how she explained. In some areas, it's good to use it right? If it's if it's a simple task, or if it's a place of high self confidence. So there's a place when you can use it. But the truth is the iterative mindset, and as a designer, you're so familiar with it, it's how you breathe. That's an I am for you. Yeah. But that, you know, with an iterative mindset, you will always get to your destination. Yeah. And then if we add gentleness to that, well, you can get to a destination and enjoy it.



Tracy DeLuca  42:34  

Yeah, I also, I thought that, you know, looking at food, food is such a fraught topic for people. And the reframe that she made for me was thinking about, you know, food is the perfect place, like your plate is the perfect experimentation platform, you get so many tries over and over and over again, daily basis, to adopt new behaviors, to experiment with things to iterate what you want to eat, and how you want to eat and how you want to feel from the food that you consume. And that just, I had never thought about that before. I only have thought of it through the lens of, you know, restriction, and just the whole diet culture and the United States and around the world, too. And yeah, it just makes me hopeful about the next meal.


Katia Verrensen  43:23  

That sounds really exciting. Really exciting.


Tracy DeLuca 43:27  

Yay.


Tracy DeLuca  43:29  

All right, anything else? Oh, you know what? I feel like all of these, like, I feel like all of these ways that we've been taught the world works are being dismantled. So when she was talking about when I asked her about the 21 days to break a habit, Mm hmm. And saying that that was formed off of like, how long it takes you to get used to your new nose when you have a nose job like


Tracy DeLuca  43:59  

Like that is so crazy. Oh, that is what


Tracy DeLuca  44:01  

we have based entire companies and organizations and strategies on around behavior change, like, Oh my gosh, just silly.


Katia Verrensen  44:13  

That's something I really enjoy about Kyra is how deep she goes into her research. Yeah, and so um, I typically say to people listen, test your assumptions, like where are they coming from? You know, and and that's what's so satisfying about this interview is how deep she goes and and how much truth comes out. Totally.


Katia Verrensen  44:34  

Awesome. All right. Well, that's it for today.


Tracy DeLuca 44:37  

Yay.


Katia Verrensen  44:38  

Thank you.


Tracy DeLuca  44:40  

All right. That's a wrap. One more. We'd love to have you participate in the conversation we're having about life design by joining our results may vary podcast Facebook group. That's where we'll share more tips, tricks and inspiration and where you can share your own experiments with fellow community members who also No and believe that we're all born creators, and every day is a whole new chance to create. And as always, thanks so much for listening to Results May Vary!




RMV 20 Barbara Knickerbocker Beskind Transcript: You Can Design Aging

Full transcription:

Tracy: In this episode, we introduce you to Barbara Knickerbocker Beskind. Barbara has been designing her life for almost a century, with a stint in global design firm IDEO, starting when she was just 93. After seeing founder David Kelly featured on an episode of 60 minutes, Barbara wrote to the company offering to help design for aging and low vision populations. hailing from the field of occupational therapy after training through the US Army's war emergency course and serving for 20 years before retiring as a major in 1966. Barbara's own experience with macular degeneration led her to design glasses to help her and others with the condition. In this episode, Barbara shares her fascinating story of personal reinvention, and how rather than allowing her illnesses and advanced age to hold her back, she simply used them as new constraints to redesign her life around.

Barbara: My name is Barbara Knickerbocker Beskind. I am an employee at IDEO and have been here for three years, almost three years. I'm in my early 90s. I was my facial therapist for 44 years and source 20 of those 44 were in the military service. I was an army occupational therapist for 20 years. I retired from the military in 1966 as a major. I finished my career after 44 years and started school to learn to be a writer. I really enjoyed abstract art and the history of abstract art in the Russian avant-garde.

Tracy: Were you an artist yourself as well?

Barbara: As a therapist, you always are expected to be able to render suitable designs and we're always developing the piece of equipment. That's how I really started my background in design and developing in equipment for physically handicapped people from war injuries after World War Two, Korea, and Vietnam.

Tracy: What was the design industry like then what what are their processes that you followed? Like now we talked about design thinking and the design thinking process, but what was it like back then? 

Barbara: You fly by the seat of your pants, there was no plan. You just developed it according to need. You watched how it worked or didn't work and then went back and start over again. Simple designs, they were not complex, but they met the need to make it possible for people with orthopedic injuries or neurological injuries to be as independent as possible in their living, daily living tests.

Tracy: I was gonna ask what were some of the things that you worked on? What were some of the designs that you created?

Barbara: I worked a lot with the polio patients and there were very widespread epidemics. I was at Walter Reed Army Hospital following my six months at Georgia Warm Springs Foundation for Polio Rehabilitation, which was a wonderful experience. And after six months of graduate training there, then I was stationed at Walter Reed for three and a half years and worked with many, many polio patients. The most important thing that we used to do was we used to have overhead arms sliding so they could lift their arms if they lost the muscles to do so. And also we used to make some splints to hold the thumb and it was a plastic molded split to hold the thumb and position so that you could hold a pencil that was important for young children. We had many, many children who had polio. And then we also did, we had to learn to fit braces, hand braces so that the brace makers could then make them out of aluminum. And they were wrist and hand braces so that the fingers could be elevated because they lost the power to do so. 

Tracy: So it sounds like you've had a long and varied career, could you tell us how you came to be a designer? 

Barbara: Well, that's already the story. First of all, in January of 2013, after I had moved here from New Hampshire to Peninsula, to be closer to my family who lived in another Peninsula, I saw David Kelley on 60 minutes. At that time, I couldn't contact IDEO because I was recovering from breast cancer surgeries and radiation so I had to get my strength back. And then in order for me to come to work, I had to come by public transportation, I did not want to ask my daughter in law to bring me to work, I would never apply for a job if that was the case. So I had to learn, I had to go through a vision. Since I have I have low vision. And at this point, I'm legally blind in both eyes. At that time, I was only blind in one eye. But I did visit visual rehabilitation so that I could walk safely to cross streets along the sidewalks, get on city buses, get on the train, and maneuver. I came by train this morning to work as I do, every time when I come to work and go both ways. By train, I walked to the office about three and a half blocks. That time in June of 2013, I finally had finished polishing my letter, and I sent it by snail mail, which probably got their attention because they don't get many applications to work by snail mail. And my letter said the background of my experience. And I said that I felt that I had skills that could contribute to their company. And I most of all wanted to be among people who had an energy of creativity and problem solving, that I could interact with and provide a perspective from my point of view.

Tracy: So what inspired you to decide to take another job at this point in your life?

Barbara: Well, I live in a retirement community and there are many lovely people there. But I wanted to find people who could, who were still very active in the business and engineering communities that were creative. And yeah, I can engage in thinking I could hear their ideas. And what's great about IDEO is that I'm working with people who might be six decades younger than I am. And that's all the more exciting because that's where I get my energy. And most of all, they come from countries all over the world. They bring their perspective, which is very enriching. And it's been a wonderful, wonderful experience, I wouldn't have missed anything. This is one of the best adventures of my life.

Tracy: So I mean, when we met, we were working on a magazine together called Designs on Aging. And every, maybe once a year or so idea puts out this magazine, and they have a different theme. And I was really struck by your story because I felt like you took a big risk really in reaching out and I wonder since we met that was probably two years ago.

Barbara: It would have been December or January 2014.

Tracy: Yeah, so just about two years ago. And I wonder how, how has your life changed since then? What's happened since we last met for you here?

Barbara: Well, after the magazine you mentioned went online. At that time, they were offering a contest worldwide of all the employees to develop and design things for the aging. And since I was too late getting in to enter any idea myself, they came to me and said, would you be one of the 12 or 13 judges, which I agreed to do. And then the article you were interviewing me for unbeknown to me, I was being honored because they were dedicating the magazine to me. So when that went online about February or March of 2014, then Tim from the Wall Street Journal noticed it and asked for an interview and that interview was printed on May 6 2014. After that, it kind of just ballooned from there. It was interviewed by NPR on growing older, that was in September 2014. When that was picked up, then I was invited to be interviewed by NPR for all things considered in January of 2015. And after that, everything mushroomed. My next engagement was the Today’s Show in February. That was on my first day, actually, they filmed that and after that, it's just been like a snowball.

Tracy: It seems like you've inspired a lot of people to think about how to design aging, really, and how to design for the actual people who are going to be using the products and services that are out there.

Barbara:  Yes, I think too many times people designed for us and not with us. And this is my model designed for not what it is I wish for us. That was one of the quotes that were actually picked up in the White House Conference on Aging, and quoted by the next panel that spoke at the White House has been picked up. In other media, I think this is the important thing that people who are aging have experienced from the perspective that they can lend to a product and to the design of products so that they really are functional. And if you if a product makes life easier for an older adult, then they will use it. If it is only an accessory, you'll find it gathering dust. 

Tracy: Yeah, I was recently speaking with somebody who had accessibility issues. And he was also talking about a similar thing, which is that most people think that they should design for, and they're not inviting the people into the conversation that they're actually designing for and they're not inviting them in even here, right like at IDEO, we would go out and we'd have interviews with people and kind of understand their wants and needs, but rarely or more rare than would be desired. We don't invite the people in to do co-design with us or to have people on staff who have the needs and the wants that we are designing for.

Barbara: But I think the perception is that once you're over 75, you no longer think and so how would you have anything to contribute? I personally find that by my loss of vision. It's an inconvenient truth. I wouldn't have chosen to lose my vision. But I think it enhances my ability to understand what elderly people who have serious vision problems as I do, what their needs are, and how they have to cope.

Tracy: What are some of the things that you do to cope?

Barbara: Well, for instance, I used the ski poles. There are adapters so that I have a hand grip that's very comfortable that I made myself. I've had to use rocker bottoms on the bottom of the ski poles so that I can get a push-off. So walking is much easier than just walking without any and I wouldn't use a cane. I don't need that. And I don't certainly don't need a walker, I like to use it because the handles are vertical and they keep my posture upright and in good positions. And also I can use an alternating arm like a gate. And that's terribly important for maintaining good muscular strength, especially in the lateral hip muscles. And as you lose more vision, you have to depend more and more on your proprioception, that is the skin, the muscle, and the joint information that comes from weight bearing joints. So I adapt by using my walker but I do not want to use a walker because if you lean on, your posture becomes very very impaired. But what I started to say is, we have two steps in front of our building in one entrance. And when I go up those steps, I put my ski poles in my left hand, grab the railing with the right hand, as I get to the top of these steps, I do not use my ski poles immediately. I make a right-hand turn before I grab both before I use both ski poles because if by chance I ever lose my balance, it's at least not as serious if I just lost my balance on a flat surface versus losing my balance down two steps.

Tracy: Absolutely and I know that you mentioned a little bit about the walker. And obviously, that's ubiquitous. For folks who are losing their mobility. Could you talk a little bit about why that is not a great design?

Barbara: Well, because it has a horizontal handle. And for people who have orthopedic problems, such as I did when I fell backwards off of a curb in New Hampshire, because my winter boots slid off at the sloping curved edge. I broke my pelvis in two places. And for eight hours for three months, I had to be on partial weight-bearing 25% weight. Well, that's the only kind of a walker you can use. And it was absolutely imperative that I use it. On the other hand, for people who are elderly people, for example, in my retirement community, when somebody new comes in, their family looks around, they say, Oh, mom, maybe you should have a walker, I don't want you to lose your balance. Well, that's one of the worst things they may be saying. That's not true. In every case. Some people absolutely need walkers for arthritic reasons and for other reasons. But in many cases, they start using a walker with the horizontal handles and they start leaning, and then they get a forward pitch to their head, their shoulders. And this impairs their balance even further. Whereas if they had vertical handles, so that they were fours, so it enabled them to maintain a vertical position, it would be much easier for them to maintain what I call ears over hips and hips over heels.

Tracy: Why do you think it is that walkers are so prevalent still today? if they actually make it more difficult for people to age? Well? Why hasn't your Schiphol innovation sort of been designed even earlier?

Barbara: I don't really have an answer to that. I think it's the culture, we have been brought up in a culture that focuses on the medical model of aging. Whereas currently, it's changing to be a much better health model of aging. So that we have preventive practice, we had I think that home focus will be more inclined to use something like ski poles or and walking sticks are all right, but sometimes they aren't high enough. You need the elbow level. I have an article coming out on the 29th of December, on Next Avenue. I was among the 70 people selected who were most influential on aging in this country. And then we were asked if you could do one thing to change, aging, what would it be? And then they came back and we answered in 144 words. And that essay focuses on posture and maintaining good posture and starting good posture and brisk walking from childhood on. And that's how I would hope that we would have a better posture going into the aging years.

Tracy: So you're saying that right now I'm just sitting up, munching over to talk to you.

Barbara: So that whole essay will be online on Next Avenue. And I've been told it was scheduled to go online on the 29th of December this year.

Tracy: Okay, so it'll be out probably before this episode airs. Wonderful. So you were talking a little bit about the change in mentality between the medical mindset of aging and sort of a healthy mindset. What do you think is at the heart of that shift, what's opened up? 

Barbara: I think the one very clear driving force is the fact that the baby boomers are aging. I think that statistics I heard at the White House Conference on Aging, and I didn't know the statistic, was 10,000 people a day reached the age of 65. Well, and these are healthy, active people who have been active in sports, many for many cases, in many instances, and they want to continue a healthy active life. And I think that's a driving force that is very, very important and excellent. And we in the design field should should meet those changing needs.

Tracy: Yeah, the entry that came up in the designs on aging contests that you were mentioning, I thought were there, they seemed pretty inspiring. And that was the first time that I'd really spent any time doing research or looking to understand the space of aging, although I'd done work in health and wellness. And I wondered, do you remember any from that, that really piqued your curiosity or that you thought were great ideas?

Barbara: Oh, there was one that was made and this is her saying he designed a walker that had a roller like a skateboard. And that had features that I I liked. And I think it will be relevant to the early aging or the people who are over 55 should they need a walker. On the other hand, I thought there were some risks to it. That was one of them. Also, there was one from Germany, it was a car that was very well designed, so that you entered from the back, as it was backed up to the curb, a wheelchair could be rolled into it and then turned around so that you drove away. I like to decide that very much. That's one of the big ones. I remember another one. To think about, it was a way that each person could put something about their life each year in a capsule and put a piece of rolled-up paper with their information on it. And it became a chronological history of their lives, for their grandchildren to have.

Tracy: Nice. I also wondered what things are out in the world today that you think are doing a great job of supporting design in aging?

Barbara:  Well, I think that Gretchen is certainly focusing on a new platform for aging products, I think that will be worldwide. And I think that as that comes into fruition and takes off I think that'll be very important. They will entertain ideas. I think aging 2.0 involves people who are entrepreneurs and engaging in helping them meet people who are potential investors. I've seen some very good designs there. I work with aging 2.0. I've worked with them at three different conferences.

Tracy: Do you want to talk a little bit about the work Gretchen's doing? I'm not as familiar with it.

Barbara: I'm not as familiar with it either. But I know that it's a new platform. It was introduced first in New York City, right after we were in Washington. And that was July 13. So the following week after that. It was introduced in Washington. It was introduced here in San Francisco, I believe in October. And its match at IDEO is partnering with a firm from Japan that we've worked with for a long time. I can't tell you the name of it and they are. I think they may be opening in Tokyo. You'll have to ask her about the details. But it has this wonderful promise because they no longer look at aging in terms of years. It's designed across the spectrum. So that good design is applicable regardless of age.

Tracy: Absolutely. And I think I wonder about, you know, for people who are starting to get up in years and they're worried about what life is going to be like, especially after retirement or big milestones like that. What sort of advice would you give them as they enter this next phase?

Barbara: I think the most important thing that has been supportive to my aging process has been the fact that from the time I retired, I retired five times.

Tracy: You're like Michael Jordan.

Barbara: Right. From the time I turned in my certificate, my registration, and occupational therapy after 44 years, during that time I always engaged in long lifelong learning. I was living near Dartmouth at that time in Vermont, and Dartmouth had a wonderful program called Elliot, when I moved to New London, New Hampshire, there were adventures and learning with Colby Sawyer. So, I counted up one time I think I am. I can't tell how many years but from Nigeria, I returned 89. From that time on, I think I had taken 50 courses. And to me, the most important thing is to learn new things, engage with people while thinking, share your own expertise, either by teaching or participating in classes, reading new information, new books, new things that are introduced, that I would have no idea.

Tracy: And how do you? How do you find the things that you're going to take classes in? Like, what are your interests?

Barbara: Well, I'm very interested in history. I'm very interested in science. You know, between that it was always a, it's there were 35 courses offered, there might be three that were very difficult to choose from if they were doing around, we're on the same day. At the same time, or offered at the same time of the day. That was my biggest problem.

Tracy: What are some mistakes that you see people making as they age? And would you have any advice for them on what to do differently?

Barbara: I think the people I feel most sympathy for, and I use the word sympathy and empathy and sympathy are the people who as wonderful housewives and mothers, scout leaders, church, group leaders, have done so much for children all their lives, and for their church and community. But who has not had an outside career in a professional career or business career, or worked outside the home, where there was a discipline that is not true in your own home on your own when you're your own boss. That doesn't mean you don't have demands on you, you have many demands. But I find the people who have not had an outside living experience. And mine was certainly rich by being in the army and being overseas. So I've had such enrichment just the experience by profession brought me to that I feel that people who have not had it don't have to have that much experience, but just have an outside exposure to people's thinking disciplines. expectations, structure time. deadlines, they've got deadlines at home. There's no question about that. But just a different experience. And I think those people come into the aging process with less to draw. And it's more likely that they will focus on their past experiences which are fine on their grandchildren's exposure experiences and accomplishments, which is fine. or sports. And I think that's one of the things that really invigorates many people in the aging community.

Tracy: Sports? Oh, that's surprising.

Barbara: Watching, not participating.

Tracy: Yeah, but even still.

Barbara: Yeah, they have their favorite games and people never miss a Giants' game or just sports, I can't name any team other than Oakland. Isn't that terrible?

Tracy: I'm not that into sports, either. It's fine.

Barbara: That's where my limit comes.

Tracy: So I mean, that's interesting. It does. It makes a lot of sense. I wonder for somebody who has had that as their experience. What are some things that they should be looking to do to gain a little bit more exposure?

Barbara: Well, and the place where I live, they have wonderful lectures, and people do various debates and those, they have art classes, and they have lots going on. We have trips. And when I first moved here to California, having never been to California, except a week at a time as a tourist, the trips were wonderfully important to me to learn geography in the area. So I think if the more they engage in the things that are offered, the better it is. We have movies once or twice a day, they movies every night, sometimes in the afternoon. Some of them, some of those are very good. But very often people kind of life in the past, past old movies, old songs, or performers, which is fine. But it's not as engaging for somebody like me. And it's hard to, to participate in that kind of focus and interest.

Tracy: So the transition to living in a community with other elderly people seems to be difficult for people, some people, not everybody. And so I wonder if you could talk just a little bit about your own community and what you think works well, and what you wish to change?

Barbara: The most important thing is to be a participant in the decision making or make the decision on your own. And the people who take the longest to adjust, in my experience are those who have had it picked out for them. And I don't mean necessarily foisted on them, but circumstances to set the agenda. If you wait until an emergency dictates that you do have to move. That's much more difficult. In my case, yes, I had an accident when I was at 87. It was when I fell in and broke my pelvis. And after that, I decided that I should look in Arizona where my younger stepson was living when I looked there at possible places I would be comfortable if an emergency came up. That was the way I started. Because I didn't want them to have to pick out a place for me, and I might not be happy about it. But I came here to California and I looked at six places, I found two that were most acceptable. I came back and spent a month living here so that I could measure every wall. And coming from New Hampshire, you don't want to bring anything heavy across the country that you aren't going to be able to use when you get here. So I made sure every wall I knew exactly what pieces of furniture would fit and what I could bring, and it was the easiest transition I could possibly make. But everybody has the trauma of downsizing, leaving their homes and sometimes 50 and 60 years, for many of these people. Having been in the army I've moved around so many times I can move it on a dime. So I think that the more often the elder person has a voice in the decision making. But if they can make it on their own, if they can make the decision on their own, they'll be much happier. And too at times, people wait too late until circumstances require it. Loss of a spouse, loss of hearing or sight loss of ambulation that requires that they have to move into a facility that gives services.

Tracy: I'm interested to know what advice you have for young designers, people just sort of coming on the scene with all of your wisdom and experience in the industry.

Barbara: I would say that if it would be possible and I know there are some facilities that allow this. I would say that if you could get a residence for a month to come and live and go through all this structure and they see all the good things that can be done. See what helped you be available if you need help. See the problems of the people who are failing. Talk to people, engage them and if you ask them, well, if you could design something, what would it be to help them? That's not the way to go about it. Because they'll say, I've done this. And I wondered why it didn't work. And Gretchen laughed, and she said, you didn't ask the question the right way. Well, I've never gotten around asking her. What should I have asked? But when I ask people, what would you like, if you could have something designed for you? Oh, I don't think. So they're not geared to thinking you don't ask them that way.

Tracy: Well, they're also not designers. So I mean, that's not their, their crappy. Yes. So um, I think it's interesting, the idea that, were you suggesting somebody who should go live in like a nursing home is indeed, absolutely, that would be amazing. 

Barbara: I know that. There's one very large company that allows for residences, residency, so they call it like an internship. Yeah. And this particular person is designing some very important features. I can't remember exactly what it was. But I know that she was. I think there were applications that were selected, she was selected for this particular opening. And I think they may have had multiple applications somewhere in the Carolinas where she could go and spend a month as I did when I came out here for the month and really live the life of an elder person, or a group of elderly people. I think that's one of them. That's the richest experience you can possibly have. 

Tracy: I would agree. That's an extreme empathy building. I mean, we go and talk to people for an hour or two at a time when we do our design work, but to get a chance to really live with the population you're designing for, to be incredible.

Barbara: Well, I'll tell you, having lived in a nursing home for three months. In rehabilitation, I can tell you, it's no fun, right? And I would stay out of a nursing home if I could. That doesn't mean that it isn't important for people who can't. But it gave me so much understanding of people who were a lot more elderly than I are more incapacitated than I, I at least knew that I was going to get out of there. But to go through night after night, once a day, what's it like to live there the night was no fun, it's noisy. They put people to bed at six o'clock, they give him a sleeping pill. They feed him at 430 give them a sleeping pill at six and then wonder why they can't sleep. Wow. And it's noisy that the cars are going up and down and people are yelling in the hall sometimes. And it's not a joyride. And if I had to be there for the rest of my life when I was exposed to it, then it would have been a very depressing experience. So I think that has given me a lot of empathy.

Tracy: Yes, it also points out a huge opportunity to redesign that experience. 

Barbara: Yeah, no one asked me, they would want my opinion.

Tracy: I think your opinion would be incredibly valuable. I think I love that, you know, you're helping to lead the charge. Gretchen is as well as some other folks at IDEO and design firms around the world, looking at this problem, the challenges involved in aging seriously. 

Barbara: I mean, their aging populations are so much larger than ours. And they have fewer people to help them.

Tracy: Right. And they also look at older people differently. They do they have more respect, and

Barbara: It was very much home. And now was when I was in China with a one-child population. If you lose a child, you're really in trouble. And even that child may have gone elsewhere to work. Well, it's not the same demographics and social structure that they are used to.

Tracy: Yeah, things have changed. Well, I wanted to be respectful of your time. It's been about 40 minutes. So thank you so much for taking the time to share your insights with us today. You're as lovely and as engaging as I remember from before and I'm so glad to see you thriving.

Barbara: Well. Let me tell you one thing, Tracy. Every time I have an occasion to discuss things, I think of something new and from a different perspective, and that's very enriching to me. 

Tracy: Same for me. Thank you.


RMV 19 Kristen Berman Transcript: You Can Design Your Behavior

Full transcription:

Tracy: In this episode, we introduce you to Kristen Berman. Kristen studies how people actually act in the marketplace, as opposed to how they should or would perform if we were completely rational. In 2013, she co-founded Irrational Labs, a behavioral product design company with famed author Dan Ariley. She also co-founded Common Cents Lab, a Duke University initiative dedicated to improving the financial well-being of low to middle-class Americans. And on today's show, she talks to Results May Vary about experiments and strategies she's used in her own life, and how to use behavioral economics to experiment on your own.

Chris: Great, well, why don't we start with a little bit about you where we're excited to talk to you today, and would you mind telling us the Kristen story and how you arrived at where you are, and maybe a little of what you're known for?

Kristen: Yeah, the Kristen story. So currently, I think about human behavior. 'll start with what I currently do, and then we'll get to how that happened. I work with one of the best behavioral economists out there today, Dan Ariely, who's at Duke, and we think about how to get people to do things that are hard for them that they want to do in the long run and in the long term for that are hard in the short term. So things like eating better where you really know that you should be healthy, and yet you have a muffin that's in front of you. And things like saving money, where you know that your retirement definitely will come and yet, spending on things in our world is just so easy, sometimes fun. So I think about these general problems, and do it from a way of applying technology. So basically saying, we have these problems in our world and one way you could change behavior is to write academic papers and hope that people read them and other ways you could think about policy, and the points of leverage that I start with is how would you get a company or develop a product or service that could basically change the environment such that people then change their behavior. The reason I started with that is and that's kind of the current hypothesis on the biggest point of leverage to change behavior is, I came from the product world. So I was a Product Manager at Intuit, right after school and basically spent the time doing the customer research and thinking about new features, and all that stuff you do as a Product Manager and realize that most people are just shooting from the hip that you as a Product Manager, designer, or any one kind of in charge of coming up with the vision or the product features. It's really a lot of trial and error. It's a lot of trusting your intuition and there was no great way to make decisions. And that was the first time I heard Danny Ariely speak and I was like, oh, my gosh, there is science behind this stuff. We can rely on something in order to make decisions. And we don't have to continue to rely on our intuition which was amazing, right? It's basically saying there the science of human behavior is being studied. And there's a lot of people studying it in the world. And as a designer and Product Manager, it now feels like our responsibility, right to read and invade, in the insights that are coming from academia around what people do, because as the whole hypothesis around behavioral economics is that the environment basically influences our decisions. In an ideal world, in an economic world, you'd say people are rational and make cost-benefit type decisions. They weigh the pros and cons of everything and they're very clearly defined preferences based on very logical things. And the behavioral economics and psychology social science world say that's usually not true. And instead, we have very ill-defined preferences and we're influenced by our environment. And so if you believe that, then the people who are creating forms and designs and all of these things that are creating our environment are some of the most powerful people out there. It's their responsibility almost to understand how the brain works and how we behave and why we do the things we do.

Chris: Great, great. Yeah. So just jumping right in, then I'm sure people listening to our show will want us to go right to it and just say, when someone on the street or a friend or a dinner party conversation turns to Kristen, how do I change my behavior? What do you respond with? And they just say, like, I'm just really struggling, whether it's food or finance, how do you respond to the, I'm sure, a common generic question is, how could you help me change my behavior? 

Kristen: I wish there was just like, one answer, I can be like, well, if you close your eyes and jump up and down three times, this is how it will happen.

Chris: That's what Tracy and I say most of the time.  

Tracy: I try that every day, still it doesn't work.

Chris: So I've been trying four times, and I think I'm getting a better response.

Kristen: It's five, it's on the fifth. I’m really context-dependent. So basically, there's no one right answer for all problems. So for instance, if you were to say, Tracy, you want to eat better tomorrow, and you want to make sure that you do that, what is the best strategy for you, we would go into your kitchen and try to design things that would make it harder for you to take junk food and easier for you to make healthy food but the reality is, how your kitchen is different than somebody else's kitchen. So there may be different interventions for you that would work that may not work for other people because of the way that the kitchen is designed. And so you think about the answer to that question. It's really asking people to think about how they mess with, hack their environment that they're living in, and in order to encourage the behavior that they want. So it's really not about thinking about educating yourself about all the great ways to eat healthily or save money. The answer really comes in understanding the environment and how it makes it really easy for you to mess up and your goals and how you can hack the environment to make it much easier for you to succeed. 

Tracy: I think that that's a really powerful point in our thinking about how you apply design to your life is that you can then move from that step and design it for yourself and so often people want an answer that is universal for everybody or they want the silver bullet all clients want a silver bullet all people want a silver bullet and design thinking is powerful in the fact that then you have some process or steps to take that can allow you to know if you're making good decisions or not as you're hacking your environment.

Chris: Yeah, I was gonna ask Kristen, if you would, could you share a story of someone you know, who has successfully applied some of these skills and maybe through an individual example? The theory we're all in, I'm just wondering if you could share an individual example. 

Kristen: The current person that I'm seeing did this to me. He basically flipped the paradigm. We've talked about the benefits of LASIK for a while and I wasn't doing anything about making an appointment or actually following through on my desire to get LASIK. So I was putting off the procrastination bug that had gotten me and so what he did was an email, without me knowing, emailing all of my friends. Not all of them but let's say 15 was about 15, that that actually participated and said, help Kristen get LASIK, donate some money and if she doesn't get it within and there were different time periods, so it was within two months, three months and six months, that she can't actually get your money. So people put in $15 to $100 and if I didn't get it within, two months, then I would lose a portion of the money if I didn't get it within three months, I would lose a portion of the money. And not only that, he had them send pictures of them shaming me as in what they would do, trying to get me to envision what they would do and how they would look at me if I actually failed to meet this goal and what this is, is basically a commitment contract, right? So it basically says it's really difficult for me. I wake up in the morning and prioritize making a LASIK appointment instead. Now I have a reason to do it today. Before it was like there was never a good day to make a LASIK appointment and all of a sudden, now's a good day to make a LASIK appointment and I actually got it within three weeks. Because it's very simple to get it all you have to do is call and make the appointment to go get screened. But procrastination was what was difficult? I think I think these types of things where you can get somebody else involved in your goals, is extremely helpful. And what he did was get other more people involved.

Chris: Right. 

Kristen: And make it not only use social pressure but accountability and commitment contracts, to kind of push me into doing something that I otherwise would have put off and still wanting to do. 

Tracy: Yeah, I wondered if it was like the loss aversion, the financial loss of the money that was saved up for you? Or if it was more the shame? Or was it the powerful combination of the two? What do you think, was so successful as it pertains to you?  

Kristen: I think for me, the idea of involving other people made it maybe accountability really high that I didn't want to not follow through and look bad in front of my friends. Right, but the reality is, you've just applied a lot of these principles, and we don't really know which one actually works. So I can post rationalize that I think it was something but that's a lot, a lot of why we like love controlled experiments. It's because when we actually know what worked and some of this stuff, so if that was a controlled experiment, and we said, let's go. There would be three different ways that we would try to convince Kristen to get LASIK, then we'd figure out if it was social norms or loss aversion, or how many people are the types of people that were included? But we're pretty bad at the post rationalization of why we think we did something. So yeah, I'm not sure.

Tracy: Well, and it seems like in our conversations before this, that you like to experiment in your life, very often and I wondered if you wanted to talk about some of the other life experiments that you're doing right now? 

Tracy: Sure. I think a nice place to start is a party that I used to throw and then we can kind of get into how that's evolved. But I used to, and I haven't done it for a while but used to gather folks and basically give them rules and if people didn't want to come to my parties and follow the rules, then they didn't have to come. And let me give you an example of some of the rules. The majority is what people could talk about, and then when they could show up and when they left. So what they could talk about basically what happens in normal house party gatherings is that you talk about, you have a long conversation or small talk. It's around the weather, it's sports, it's your commute, it's your last vacation. And now the question is, do people really want to talk about small talk? And likely the answer is no, but it is the easiest thing to talk about and if you were just to go up to somebody and ask them, what's your deepest fear? This actually puts you in a very vulnerable position. And so because you don't know if they want to actually talk about this, and that's not the norm. And so what we do is we go to the lowest common denominator, and we talk about small talk things that nobody actually really wants to talk about. And yet we all do. So one way to overcome that is to have social coordination and say, actually, for this, nobody can talk about small talk. It all has to be questions that are not big talk, but more interesting. So things around what's your feeling on the political campaign? What is your deepest fear? What are you thinking about right now? When's the last time that you cried? Things that you just don't have press play moments for. And what we mean by press play moment is something that you're very used to talking about. And so you don't really have to think about it. And that means you're not being vulnerable. And you're not, you may not be getting to know the other person. And so having these rules of the party basically prevents the tragedy of the commons from the conversation. It's not like I could just go into the party and say, I'm going to talk about this without the social coordination of other people. And so what's needed in those situations is somebody else to come in and kind of make a paternalistic rule about how people will behave at the party. I think this is a nice lesson for life of basically saying, it's sometimes you may want to do something but you need an external push in order to make it socially acceptable to do and to avoid the tragedy of the commons. So we have these questions I think I can publish if people want to throw their own parties, guide on how to do this. But it's a nice hack and that kind of goes into this idea of what we're currently thinking about, which is I'm gonna move into an 11 person house next weekend, which is basically this idea of avoiding the status quo of life. But that basically, sometimes you need to push in order to get out of what's actually the easiest thing. And with the 11 person house, we're trying to figure out how to do life design in a way that has to avoid complacency. So we're actually calling it Mutually Assured Non-Complacency, where we can help each other kind of reach our goals just by virtue of sharing goals with other people, just by virtue of being within proximity. And this is another way of having kind of social coordination around an ideal life design, right? Instead of saying, we're going to talk about small talk, or we're going to go into the conversation, but into the party, and just whatever happens happens. We're saying, actually, no, we're going to take a proactive stance on the future and at least the next couple of years on how we live, versus kind of letting whatever happens.

Tracy: And you'd mentioned too, that you're doing this with the person that you're currently dating. Can you talk about one of the reasons why you chose to move into a house with 11 people instead of just the two of you? 

Kristen: Yeah. I think the ideal progression as you get older is to meet somebody, date them for a little bit and then move in together. And what that creates, actually, is more and more isolation, and dependency on just the one person. So imagine that if we believe that proximity helps determine some of our relationships, our relationships, and who we interact with, then as soon as you move in with somebody, and you actually lose a lot of the other relationships in your life. And that's unfortunate because one of the biggest drivers of happiness is connection with other people. And what research is finding is that our society is increasingly dependent on our spouse as the one person that we're, um, that we could divulge. And I think they say like, that you could confide in. And in the past, it was that you could actually people had many more people that they could confide in, whether it be neighbors, or actually a lot of it was neighbors and, and by moving to a, by moving to have only one person, that means we're reducing the amount of connection in our life. So it's weird that we have this like an ideal version of life that says, go move and isolate yourself. And you're going to kind of cut off the one thing that is a big driver of happiness, which is the connection with other people. So we wanted to design a situation that would thrive and connect with other people instead of cutting it off.

Chris: It sounds awesome. I love what you guys are trying there. A lot of people probably Tracy and I included at times are trying to work on multiple things, either proactively or they're trying to change something that they don't like. You advise people on the amount of change. I don't know, what do you think about changing fatigue?

Kristen: Good question. A few ways to answer that. One is within savings goals. So if you think about saving, trying to think about your financial future, it's actually found more effective to have just one goal. So people, instead of saying I want to get a house, I want to reduce my debt, I want to have an emergency savings fund, it's more effective to focus on one thing, versus having multiple goals. The other big way that I think I've seen people create massive change in their lives is by changing their environment. As we said, if we think about some of the drivers of change, your environment really contributes to a lot of your decisions. So if you move, right, this is huge, all of a sudden, now you're going to a different grocery store, your gym is closer, maybe you're surrounded by new people. And these are ways that you can kind of hack your habits. So right now we're doing a lot of things on autopilot. And so as soon as you change your environment like a move we all of a sudden start to have to develop new habits and that's a really nice point of intervention. And so it may not feel like it probably you'll feel if you're moving like you're changing a lot of things. But it's a much easier point in life to do that very much more difficult. If you're trying to change a lot of things and you have the same environment, the same friends, the same people around you know, this is kind of why I'm in a really have you stopped hanging out with your old friends. Because they're contributing to your behavior, if you want to change something like an addiction like this, you really have to change your environment in a pretty strong way.

Chris: What do you guys get a really common request to do? Also, fill out your top categories? Or are there others? 

Kristen: Yeah, I think people are working on a lot of things. But health and finances are our big ones and then just general happiness. So how do you have more time in life? How do you feel more productive? Time, time management, productivity is another big one.

Tracy: Yeah, I was curious to hear your opinion on that. Because I do feel like it's so much in the public consciousness. And I wonder, I feel like sometimes feeling productive isn't actually productive. And, like, I see all these articles on 15 things to do to be more productive. What are some of the things that you've seen, actually work? Well, and what's your point of view on what productivity means as it applies to happiness?

Kristen: Yes. So I think this is right, people feel like there is a nice study that says we're happier on the weekends, even people who are unemployed.

Tracy: Really?

Kristen: And it's the feeling it's kind of releasing ourselves. And they theorized in this study that it was, that you feel like you should be doing more on the weekdays. And on the weekends, you don't feel as guilty for not doing as much as you don't have this high bar that you're trying to achieve. And you're everything you're doing is a bonus. So it's completely reframing work, right by saying, if you do anything on the weekend, that's productive. Good job, pat on the back versus on the weekdays, you're just not you can never do enough in order to make yourself happy.

Tracy: I totally relate to that.

Kristen: I think that's a little bit of what we try to do, right. We're just, we're we're optimists on our time. And so we tried to pack a lot of things into a small suitcase. And they just don't fit during the day. So, kind of having this to do list. And one way to say is, you could just realize that you'll never get your to do list done. And that's okay. But what we usually think about is think of ourselves as a failure because we didn't get our to do list done. And so I think being more realistic about the time that it takes to do things is helpful. And one way to do that is by calendaring. So, Danny really kind of took this idea of basically hacking your time management through the calendar. And that's because if you were to say this is going to take me 30 minutes, this is going to take me an hour, now you have some planning around what this thing on your to do list actually means in a tangible way. And it also gives you feedback loops, right. So it's all if you're putting stuff on the calendar for a half-hour, and you're learning that it's taking longer. Now the next time you have a better understanding of how long it takes you and you can you can plan. So I think the biggest hack for time management, generally is is to use the calendar to plan your exercise times to plan the times that you have with your significant other to plan your grocery shopping, all these things that sometimes Dan has a nice thing that he says is like if the calendar really should, the default is that it's empty right now. And in reality, it's full, you have all these things to do, it's completely full. And yet for whatever reason, it starts empty. So it makes it feel like we have all this time in the world. But in reality, we actually are over committed. And so putting more things on the calendar helps us realize our commitments, and in a way that could help with getting stuff done. 

Chris: Somehow, we've concluded that sitting at a desk many, many hours a week is socially normal. And that not exercising that much is pretty much socially normal and eating sweets is pretty much socially normal. And I'd love to. I've got a few questions on this path. One is, we tend to put a lot of pressure on the individual to buck these social norms that are the common path and so you've really got to be a standout individual to be the one that says, No, I'm actually going to do this differently, like your point about moving in with 11 people. But where do these social norms come from? Because ultimately, you start to scratch your head saying, what the app whose design is this? How do we all end up with this common set of social beliefs that are so debilitating for so many people, if you make it to 65 anymore, without a significant chronic health disease based on lifestyle, that a lot of people have blamed the individuals for I'm looking at it as more of a social societal norm that these people just kind of went with the normal flow? And this is what happened. So I'm curious to get your point of view on social norms?

Kristen: So you're you're right on and so they're kind of stuck. Because in a 2008 study they basically showed that 40% of the reasons why we die. And in America, I think it is study focused in America, we're human caused human related or our decision making. So things like smoking related deaths, drinking related deaths, lung cancer, from smoking, obesity, diabetes, all these things are things that we could decide not not to do and increase our lifespan and 100 years ago, it was just 10%. So you're correct, the world is getting much more difficult to live in a way that is, helps us be happier and healthier, and well off, but but a lot of it is just that it's much, much easier to go with the flow, right, and then take the donut and spend time on Facebook and not exercise. And so there's a few, we could say that it's just a kind of social norm and social norms are really difficult to change, which is true, but I would say easier, and more uplifting way to look at is we should really make it much easier to do the things that are good for us. So if you had more treadmills and offices wouldn't this increase the social norm but make it easier for people to work out during the day. And a lot of gyms, we visited gyms and companies, and they don't even have towels for people to take what is that that means you actually have to remember to bring your towel from home, you're gonna then have to take a wet towel back and dry it like like the idea of somebody doing this on a regular basis. It's just so far fetched. So how we design our environment, we just generally make it easier for people to do the stuff that's good for them where it will get to them that much better starting point than we have now.

Chris: Yeah, I think it gets back to your point about the responsibility and the privilege of those that have roles that are in experience architecture whether it's a product or, or a service or a thing. But it seems to me that those in those roles aren't doing a very good job of holding up their end of the deal.

Tracy: Yeah, I don't even say that most people who are in those roles don't understand the impact. And there's a lot of unintended consequences that come from it. Like I think about the food industry and the food deserts, it's like that happens because food companies are trying to get more people to eat their products. And so they're marketing to the individuals who they want. And suddenly, you've, you've got an entire generation of people who've lost the skill of cooking for themselves. And they rely on these quick fixes. And then next thing, there's no need for a grocery store, because Burger King would make more money there.

Kristen: So you're right one that the people who are designing our system, we aren't doing a great job. And that's not necessarily their fault. It's our incentives that are not helping incentivize people to look out to help consumers look out for their long term future selves, right? So that the individuals in these companies or the leaders of some of these companies actually just don't care about people, it's that our incentive system is not has not caught up to, to give to having consumers basically build products that help them in the long run versus increase active use in the short term. And there are things that product teams can do to change that to change their incentive system. So for instance, if you go to a product team, you usually every Monday morning, we'll look at some stats that don't have to be Monday, but on a regular basis, you look at stats about your users. And most teams are looking at active use time spent in product time returning to product and then time spent in product. And what we really should be measuring is what results product teams that are designing for success, success looks like getting you to spend more time on their product and getting you to come back. That means everyone's bullets are going to be firing to get that to happen. A better metric would be measuring the behavior that you want to change. It doesn't matter if they come back to your product or not. Right doesn't matter how much time they spend in it. It matters basically if your vision is to get people to be happier, healthier, wealthier, any of these good reasons that companies usually start. If you want to be there's revenue generating as well. But we want to measure the behavior that actually people want versus the how and I think we're creating an incentive system that each company could change, right? So I think there are some massive social coordination efforts that need to be made. But there's also a high opportunity within companies to change the incentive system.

Tracy: Yeah, it makes me think about working with food and beverage companies that talk about share of stomach and share of throat. And those terms always just really threw me off and just thought that everyone's competing for this layer of my stomach, because that means that another product can't be there. It's, it's fascinating.

Chris: And so I'm curious if what are you most excited about that you guys are working on just has you seeing some amazing deployment of this theory and a new paradigm for people to think?

Kristen: We're going into cafeterias, fitness centers, and clinics with Aetna, and I am helping them design a checklist that employers can use in order to make small changes in their design of their workplaces? Such that people will eat a little bit healthier, get the flu shots, go to the gym when they want to. And this is very uplifting, and employers are realizing that we're spending a lot of time in the workplace most of our days spent in the workplace and taking some responsibility for ensuring that the workplace is conducive to people's long term health goals. So things around moving how would you put that where you would put the salad bar? Where do you put the trays? How big are your plates, in order to kind of increase the likelihood that we'll eat a little bit less each day and uplifted about this? 

Chris: Yeah, that's great. The creative mind behind the CDC campaign for anti smoking where they're showing people in their hospital bed saying I used to smoke and not living with this disease. They're pretty, they're pretty raw. But he mentioned the insight that they came across, I thought was helpful is that most people feel like they would be fine dying early, knowing they had a good time. Like I smoked at a good time. I know, I'm gonna go early. But what did make them uncomfortable wasn't knowing that I might actually live with the disease that's really uncomfortable. And 30 years, so that was kind of the insight behind that campaign, which I thought was, was interesting.

Kristen: I got to do a program where you put people and have them hang out with old people for a couple days and basically, what you what you realize is that there are some old older folks, I was at art, I was at a place where there was 180 year old playing volleyball, right, and he's just really good. And then there's something that's actually right, can't walk and, they're 60. And they struggle to do basic things. And it is an extremely empowering kind of thing to see where you understand that there are consequences to decisions you make earlier in your life. And there's nice feature self research, where you look at yourself as an older person, and all of a sudden you start making decisions that are in line with how you would behave. So you save more money, you choose to eat better if you're if you see this future self. 

Tracy: Yeah, I love the idea of being able to build empathy for your future self in a really relevant way. Because I feel like we're so disconnected from that. That person, we can't, we can't really theorize them.

Chris: Let's get to the core of it all and talk about procrastination a little while as I think many many people have something that they'd love to do that they just don't want to get around. You gave a great example, about your own LASIK surgery. I'm curious, can you unpack procrastination for us and maybe share some insights around it that people might not normally think of?

Kristen: Sure. How about a night where Dan and I did a nice study with his students that kind of explained one way we can overcome procrastination but how we're all afflicted by it. He basically had one group. You're a student, you have an essay to write, in fact, you have multiple essays to write in this semester and he gave them the choice of either setting their own deadlines, or he would set the deadline for them. You say basically, one in one world, you could say that your deadlines or you could turn it in at any point, you have three papers to write, you could turn them all in at the very end. Or you could spread it out through the semester. Obviously, if you turn them all on the very end, this is probably the smartest rational thing to do. Because you then don't really you can't predict your time. You don't know exactly when you're going to be free when you're going to be busy. And so why would you pre commit yourself to turning them in early? However, we also know that if you leave all them to the end what would happen? You probably procrastinate all of them and they may be lower quality. So what he let people pick their own deadlines, or he gave them their actual deadlines, and what he found was that when he gave them deadlines, people got higher grades.

Tracy: Wow.

Kristen: And so I think some of this is basically realizing and procrastinating that many times makes sense in our head to put things off because there is good reason to not do it right now. And yet, it's very easy to do and may not be the best. So having an external deadline was shown to basically help people follow through on commitments in a way that the people that didn't you imagine they should have been able to predict their schedules, and it's not like Dan knew their schedules any better than they did. So I think we should realize that everyone has procrastination and, and by relying on our willpower to overcome it, it's very difficult. Even the kids in the Walter Mischel Marshmallow Study, it wasn't that they were extraordinary and their willpower and they avoided depletion, they did tactics that you look at the videos, the things that they did were like sit on their hands, they're actually employing tactics that help them resist eating the marshmallow.

Chris:  Yeah. And that explains a lot around why accountability is working in that it seems like that's where tools like Facebook can be very helpful to publicly announce a goal or to create that extrinsic social pressure to force the damn style deadline?

Kristen: So what are you guys working on anything? Are you procrastinating on anything that we can announce to people we would check in with you?

Tracy: Nice social pressure, I'm writing a book right now. And I keep procrastinating.

Kristen: How would you apply a deadline? Chris, Is there a way you could help her with the deadline?

Chris: Well, I think that was something as massive as a book. It's a huge undertaking. So how do we break it down into a smaller part? And I would say, Tracy, will you share 10 pages that you wrote with me in a week? 

Kristen: Yeah, now we're talking.

Tracy: I can do that. Because I already have 10 pages.

Chris: Total trickster.

Kristen: And one thing is to really either have the goal and the accountability is nice. But are there barriers that are preventing you, from writing those 10 pages, and maybe in any? If you think about rewarding yourself for progress versus outcomes isn't something where you can just say this week, I'm going to get my space set up. So that I have a space to write in next week, I'm going to write the title and the outline and then I'm going to, and then the following week, I'm going to do the 10 pages. So what are the barriers that would be preventing progress? And can you reward yourself for the process versus an outcome?

Tracy: Yeah, it's interesting, because I feel like the barriers are all mental, which I'm more than aware of, and have been and should do better, right. But once I start writing, it's fine. It's just getting to do it. Because I'm afraid that nothing will come even though I have 20 years of professional writing experience telling me that that never happened.

Kristen: So that's interesting, too, because then it's could you write about something that doesn't matter. So you can trust? Like, how would you bet because right now, I think sometimes what we end up doing is thinking that we have to choose one thing, and if we get it wrong, then everything's you know, then there's no other option? So some dating advice, instead of just trying to find your soulmate. You go out with like five people who you know, are wildly different from you. And you take the pressure off of trying to find this one true soulmate. Yeah. Because when you're then trying to find the one true soulmate, you may not be your most relaxed self, you text too early, versus going out with five people you understand that like, there's a lot of fish in the sea abundance is a wonderful thing.

Tracy: I love that. Another thing that I've done that has been surprising and worked well is I noticed that when I type something, I'm in the mode of writer and I want it to be well crafted. But it was keeping the thoughts I had in my head from getting onto the pages quickly. So I started dictating and interviewing my characters and dictating on my computer so that I could capture our conversation, which makes me sound really crazy, but it did a great job of that and then that wasn't necessarily the writing but I had the information They needed then to move to the writing step.

Kristen: Very nice. So you're removing barriers even there?

Tracy: Yeah, I feel like I should pay you money for this.

Chris: My mind's like Tracy's where I have to get into, we talked Tracy, not a great chat about this right after the new year is you could do lots of things in would accomplish so much more, if I didn't have the requirement of needing to be in a certain state to do those things, right. So if I'm going to sit down and write, write out a presentation that I think is going to just be like a white paper of something really revolutionary, then I need to exercise first have a cup of coffee, like getting this perfect mindset to settle down to the mode where I can actually do that, instead of just knowing that it's not always going to be the perfect scenario, just sit down and start doing some of it.

Kristen: Yeah. If you could do a focus on what's going well, so list, a couple of things around optimized it that went well during the day so that you remember to optimize those versus focusing on what the things went bad, because we tend to basically have a kind of a negative orientation on things that aren't going well, I'm forgetting the fact that actually, you may be 80% to your optimized state. And that's right. And 100%, better than most people I do. 

Chris: Yeah, the role of confidence. And all this is key. And I'd be curious about how the behavioral economic world thinks about confidence, momentum. So just achieving really small things and having that build up to the new things.

Kristen:  Sorry, we're doing a test on this. We're going to give people questions and then have to make sure that the answers that they get are yes, and 100%. And try to build up their confidence with these kinds of fake questions, and then see if we can get them to allocate more of their savings if they're more confident about their financial situation.

Chris: Like, wait a second. Why is my savings account going up? That's great.

Kristen: So, I have to go. 

Chris: It's been great talking to you. 

Tracy: Thanks so much for your time and your wisdom.

Chris: Of course, of course. Good luck in the house. We can't wait to hear this.

Tracy: Yeah, for sure.

Kristen: Yeah, I'm very nice talking to you. And I'll send pictures of our group living situation we don't have a name yet. So that's the only problem.

Tracy: So you need a name?

Kristen: I think we'll have to get inspired by something. So we're not acting like a pregnant woman who names their kids beforehand. We're going to birth the child. 

Tracy: I love it. Cool. 

Chris: Sounds good. All right, thanks for your time. 

Tracy: I'll see you soon. Bye.

RMV 18 Stanford d.school Civic Innovation Fellows Transcript: You Can Design Impact at Scale

Full transcription:

Tracy: In our last episode, community architect Sandra Kulli talked to us about fostering human connection through the design of extraordinary places. Today we're excited to share this very special episode of Results May Vary. We're featuring this year's Stanford d.school Civic Innovation Fellows. This event was recently recorded live as the fellows wrapped up their program and reflected back on their journey of learning design thinking. Fellows are restless experts in their field, accomplished professionals who are focused on accelerating large scale impact. Over the course of the year, they learned Human-Centered Design and use it to explore experiment and advance ambitious projects in their sector. You've already met one of the fellows, In Episode 16, Dr. Mick Smyer talked about his organization Graying Green, which is focused on tapping older adults as a resource for climate action. Today, you'll also be introduced to Angie McKee, the Director of Innovation and Strategy for San Francisco Unified School District's Future Dining Experience. Her project uses student input to reimagine and redesign the school dining experience in order to make it more equitable and enjoyable for all students. You will also meet Mark Brand, one of Canada's most recognized social entrepreneurs. Having successfully created 11 businesses in Vancouver, Mark and his teams are determined to breathe new life into marginalized and isolated communities through food training and meaningful employment. Mario Lugay is a one-time community organizer turned philanthropy entrepreneur. Mario explores bringing the best of technology to the best side of ourselves testing initiatives that will catalyze and support our society's single largest shared civic act, giving. And finally a fifth fellow Sydney Smith-Heimbrock was unable to join the conversation. But her work is no less than helping make our government a workplace that unlocks creativity to solve the complex problems facing our nation. within the federal government, she leads the Innovation Lab at OPM, where they teach Human-Centered Design through workshops and immersion projects with federal leaders and professionals. I had the honor of working with his fellows over the past year, and I'm pleased to introduce them to you today in partnership with the Stanford d.school. Enjoy the show.

Thomas: I'm Thomas Both, Director of the Fellowship. I get to lead this program with these guys. And I get to do it here at the d.school which is pretty cool like so many of you even in this room have been part of the experience of the fellowship for the fellows. So thank you all for doing that and be part of and thanks for being here. We get to invite amazing people here with their own expertise and their own domains and support them to take on a big project, learn design, and apply design a strategy to that project. So it's pretty fun. We're near the end. We've actually this is the last month of the fellowship this year. And so this is our final event. Thanks for being with us for that. And we're going to kind of hear about their journey through a couple of conversations, conversations with the fellows. We want to try to give you a glimpse into what is actually like to use these tools for these complex challenges was like to be in part of the fellowship was it like to be in the cohort as a fellow and do that kind of give you some stories and some conversation to give you that insight into it. So I introduce myself, I'm Thomas, Director. Nadia Romani, Senior Director, Senior Designer, and really co-facilitator of the programming of the fellowship we kind of hand in hand led the program this year.

Nadia:  I'll give you a little bit of intro into the program. So we invited this year five fellows, who you'll see you're gonna meet shortly, and you're gonna have to, they're gonna have a chance to have conversations with them and Thomas and with you all. And what we did is they are either social entrepreneurs where they're working on a complex challenge in the world or their systems intrapreneurs, they're working within a complex system, trying to have a social impact and bring innovation into that space. And the way we thought about it is we're giving them a chance to essentially slow down, come here take a step away from the day to day lives, in order to really pinpoint what they want to do, and then speed up their work after they leave. We've been working on developing the curriculum and really understanding the modules we're running people through. And so we have this vision just to give you guys a sense of if you can see it. So basically, we bring them into the majority of the work at the beginning is a lot of Human Centered Design, where we really get them digging into their work. And Thomas will talk a bit about exactly how we do that. And the goal is really to teach what we teach here, but really have them apply it to their projects. And then we also start to introduce strategy and systems thinking, the system's thinking is to get them to map out the complex space they're trying they're trying to work in, and that systems mapping stakeholder mapping, and really pinpoint their intervention, figure out where their intervention plays in the world, and then draft that into a strategy. So try and really create a really concrete theory of change, that helps them fine-tune their activities, their strategy, and their focus. And then the last part is we introduced communications design, because, in order for them to really get people behind their bold visions, they have to be able to communicate it clearly. And so that includes graphic design making, and really trying to visually communicate with infographics and others how they can bring their idea into the world. So those are the three components of the curriculum that we focused on over the two quarters.

Thomas: This year, we started in September, we end at the end of March. So we start with an orientation and then we kind of break up the fall into three cycles, DP 1, DP 2, DP 3. DP 1, we ask fellows to scope a piece of their overall project and do a full cycle on it. DP 2 is about deep ethnography and synthesis work. And then DP 3 is particularly about putting real experiments into the world and learning from those experiments is almost like a pre-pilot for their work and, and for the learning. As part of the DP 3, the fellows also pair up and do sprints together short, I think we need three days sprints together to be able to actually work on each other's projects. And through, I'll just say DP 4 this winter quarter, is really, there's a number of things that happen less structure than the first quarter, but a number of things that fellows are working on piloting their interventions and continue to advance the work the intervention itself, honing their strategy, and developing the vehicle for this thing to live on past the fellowship, how's things going to live in the world, throughout all of it, of course, they're doing the project work itself. They're working with allies, and we have what we call fellows studio. Those are the sessions we work on work together to learn and apply design to the projects. And then the other thing, another big part that we're doing is tangent sessions, which I mentioned, a time of Chrissa, bringing the Teaching Fellows project fellows together with experiences to kind of practice mindsets of design. And then backstories, we have a chance to get to hear everybody's backstory, why, what's happened in their life and what brought them to this moment. It's kind of a little overview of, what we did this year, we will go into the first conversation with Mick and Mario.

Nadia:  So Mario started as a community organizer, that's Mario, for people who don't know, in the northwest Bronx before entering into the field of philanthropy. He worked for several foundations and then he co founded the New America Leaders Project in 2010. It's the country's first organization dedicated training first and second generation immigrants to run for elected office. But he's focused here on leveraging tech to help cultivate people's giving both their money, their time and their talent and evolve and solidify their identity as givers through this through his project called the giving side. That's Mario's project. And he's going to talk more about that. And then Mick joined after being the Provost and a tenured Professor of Psychology at Bucknell. Now, he's an expert on aging, who's passionate about climate and came to the d.school to figure out how we can leverage untapped resources of older adults for climate action. His project is called Graying Green Climate Action for An Aging World. And during his time with us, he's been exploring how to move older adults from anxiety about climate change to climate action, and how they can be leaders in the social movement.

Thomas: So we got those intros of you but maybe we could just start with a little bit of start with you, Nick. What are you working on? Where do you come in with? And what have you developed?

Mick: Sure. Well, thank you, Nadia for that really nice introduction. So as not, he said, I'm working on a project called Graying Green Climate Action for An Aging World. And I came in with an idea, which was basically to link to global patterns, population aging, and climate change. And a first step at how you get people to think about that, which was an idea that everybody has a place that we care about. I used to start by asking people do you have a place you care about? And finally I realized, well, everybody answers, yes. And when I was at the copying machine here, one of those serial serendipity events in the d.school, most had we don't ask, just tell people picture the place you care about. So I know, I no longer ask, I say, picture of place you care about. So picture a place you care about. Now picture that place affected by either extreme weather, or climate change. Got the picture? Now picture what you'd like that place to look like 40 to 50 years from now. Now, what do you think it'll look like? What would you like to look like? Okay. So far, I think I have every one of you in the room saying yes. But now the hard question, but you're a d.school crowd so I know you'll do well. Picture, something you could do now, to work towards that vision of 40 to 50 years from now. I'm not going to ask you if you can picture that, because you're going to skew the statistics. But in most audiences, everybody says yes to the first three, and 85 to 90%. Say I have no clue what I can do about achieving that vision. Now, as a clinical psychologist, if I just left you anxious, that's great for business, but not really good for climate action, right. So the next step that I've developed here at the d.school and really coming out of DP 3, and moving into DP 4, is a simple card sorting task. I give people a deck of climate action cards, about 30 climate actions. And I asked them to sort those cards into three piles. One pile is things I already do. Second pile is things I might do. The third pile is things I won't do no way. Pretty simple. The three piles are actually important. First, I'm not going to bug you about things you're not going to do. But I am going to start by celebrating the things you already do. And I did this with a 73 year old woman recently, and she said I am delighted to see how many things I'm already doing. I didn't realize how much I was already doing. I did it this morning with another 70 year old woman, same thing, highly accomplished person who was thrilled at the number of things he's already doing. But the middle pile is the most important one. Because there I say to you, things you might do somewhere in there is your next step on your climate journey. Because you see, I assume we're all on a climate journey. We don't know it maybe. But when we realize that we are we feel better about it. So I take that mental pile, and I say, what's the next step for you. And I use basic goal setting basic behavioral economics and psychology. And I help you develop a goal around that. A SMART goal is to write Specific, Measurable, Achievable, Relevant and time bound. And we put that into a commitment contract, which has two parts. You tell me what your goal is going to be like this morning, the woman said, I'm gonna insulate the water heater in my house. big step and I'm going to do that over sometime within the next month. And then the commandment contract has two parts. Who else are you going to tell you're going to make a public commitment to and then the part that I really like? Pick an organization whose mission and aims and strategies you oppose? Yes, I know where you're going. Picture an organization whose mission values and strategies you oppose, and make a commitment that if you don't carry out that contract, in her case, if he doesn't insulate that water heater, she's going to give pick $1 amount to that organization. I know someone who lives in Lewisburg, Pennsylvania and is married to a former Provost who made an exercise goal during a political campaign and said I will give money to the opposing candidate. She exercised every day amazingly throughout the whole election campaign. So the idea is to move people from anxiety to action to habit on climate change. And why older adults because the age 60 Plus is a really important demographic overlooked by those in the climate space. So let me just stop there. But that's what I I came in with the idea of Yeah, let's look at those two patterns. And I'm now in the stage of having proven the proof of concept, the first two steps and next step is how do we get them to have it and how do we make that a sticky habit on climate action.

Thomas: You said you came in with this idea of picture place and your concept of combining the idea of aging and climate change. Can you think of a moment in the last seven months that you pivoted or that you that's memorable in where you've got to now?

Mick: Sure, a couple of human moments one, especially, I was in one of those troughs, everybody knows those troughs. You know, I went from well, I got a great idea to I got nothing. And I call up a friend of mine, who is a social media expert. He's been head of digital media for the White House for six years under a previous administration. And I called them up and I said, Megan, I have all these older people who feel really powerless, invisible and ineffective on climate change. What can I do about that? And he said, Well, you know, in a fire drill, you want an orderly exit, and I thought, where is this going? And he said, Well, here's the deal. How about if you reframe for people and help them see that where they are right now is like, rung four on the ladder of climate engagement. Now, he said, You know about the ladder of engagement, and Mario had taught me about the ladder of engagement. Two weeks before coming from his community organizing part. I said, oh, yeah, a lot of engagement. Sure. Yeah, yeah, I know that stuff. But that was a pivotal moment for me, because he helped me see that if I reframe this, it turns out ladders, not a great metaphor for 70 year olds, because they don't want to get on ladders. But reframing as a step on a journey, everybody resonates to that. So for me, that was a pivotal moment. Cool. Does that make sense?

Thomas: In test. Okay, hear from Mario, tell us a bit about what you've been working on, during the fellowship.

Mario: But I came in coming, as Nadia mentioned, from the social sector. And in the social sector, we actually center humans, kind of human interactions and human relationships. And even to the extent that not only in order to pull out insights, but we center humans as our place of accountability, what we keep coming back to right. And so actually coming into this project, I think I was more, I was more familiar with working with people less familiar working with product design. And so it was an interesting space to come here at the d.school, I also came in having worked on the project for a little bit. And, as I mentioned, it is called giving side, the shorthand we have, I use giving because more people give in vote, it is kind of our single largest shared civic act. However, giving seems to imply sacrifice, as committee organizers. Our goal was never to pull from our members sacrifice, or pain or suffering. But instead, our goal was to pull from them happiness and joy, but align with doing good and working with others, right. And so the real purpose of the project of giving side is how do we help everyday individuals align their happiness with doing good with the world. And that comes easily. And it's easily supported for people working in the nonprofit sector, people who work in places like the d.school that is about social impact, but not readily accessible to people who don't have that same privilege to choose their nine to five jobs, to be the impact they want to have on the world. And then in terms of what I learned while here, it's interesting that I think, and I'm not sure if this is correct, but these schools are often referred to as being multi disciplinary. In many ways, I feel like I walked around walking out of here, having learned discipline with its own kind of very specific language, its own kind of body of knowledge. And having introduced like a new perspective, every time I look at something, now I have the perspective of Human Centered Design. But because of the fellowship, it's the perspective plus the possibility that learning a skill set and, and several mindsets allows you to kind of feel like you see things in us and you could take action on it, right. And then in terms of what I'm walking away with, certainly new confidence in the project that we're working with, there were two tests that were happening, this whole fellowship. One was, were the tests that we were the various projects that we were working on testing the actual assumptions underlying assumptions of the work we are doing. But for me, the other test that was happening in parallel was the test of time. You know, Human Centered Design is really good at testing interactions. But the platform I'm working on is also about the integration of our generous selves, our impactful selves into our lives long term. And so seven months, having users on our platform for seven months also kind of provided a ton of insights that have really kind of strengthened at least the path that we're on in the decision to go on that path. And then the last thing I'm walking away with is, I've described Stanford as one of those money booths, you see, like talk shows where you walk in and they start blowing money in there, and your job is just to grab as much as It is possible and stuff in your shirt before they kick you out. And I kind of feel like that's what I'm doing. And you think that, you know, you could develop a strategy, but I've never seen anyone figure out how to get as much of that cash as possible and work out.

Thomas: Was that metaphorical or?

Mario: Well, let's test it out. Yes, we're gonna be handing out envelopes.

Thomas: Both obviously, behavioral psychology, community activist and organizing, coming here learning Human Design, what resonated with what you already do. And how do you think about integrating that into what you do going forward?

Mario: Well, for me, it's empathy. Right? So in organizing, empathy is a value that we believe in that we promote, because we believe the more empathy in the world, the better place it will be, with that fundamental kind of belief that we all do better, when we all do better. But it was always aspirational, right? We need to be more empathetic. And that was about it. And then coming to the d.school, it was empathy as a skill set and mindset, in some ways, really being deployed to develop better products. But within that what it provided and offered for the first time in my life was empathy, as tangible, and that I could have agency and control over. And so it's been the perfect compliment. And I do hope I know, Nadia has talked about it. And others have talked about it, about the ways that we bring those two worlds together and their use of empathy in a way that can kind of build it up with something more powerful, both in how it's deployed, but also in its underlying set of values, which it's used for.

Thomas: Can you say a little more about just actually doing empathy worker ethnography work? What was your goal? Who do you talk to?

Mario: Sure, well, we used it specifically. I mean, I was using it specifically to test out how do people integrate being generous into their lives as an identity, right? And to realize that we have multiple identities, some people are runners on the side, or they're they, they're collectors or their consumers? And so what we're looking at is how do we develop an identity as a giver as an impactful person? And what we had to ask was the question of what would kind of lead you to start tracking your giving your generosity, so you had the opportunity, first to kind of be aware, then be reflective, then be intentional, and then create an identity, there is a hypothesis that the people who are most likely to kind of use my product were the people I knew best. And so when they didn't use it, this is when I deployed Mick in our partner sprints. It would have been awkward for me to go to my friends and be like, hey, how come you're not using the giving side? But it was awkward for Mick to do it. And so make went around to my friends who, you know, especially the ones who would do a lot of things for me, but for some reason weren't sending a receipt.

Thomas: And I was your enforcer?

Mario: Yeah, yeah, muscle, the muscle. And so he went around, and he did deep empathy interviews as to what was the barrier to them sending that first receipt or kind of tracking their giving. And what we found, and we presented a little bit of this, in that in our first midway point presentation, was the appearance or the feelings of shame, scarcity, and vulnerability, and not in these big ways, but enough, that it wasn't desirable to kind of see your giving reflected back. And, you know, through Mick, I just learned about all that.

Thomas: You want to talk about resonating with your expertise? 

Mick: Yeah, you know, I came in with a social science research background. So on the one hand, a lot of what is done in the d.school was familiar, but under different names. So empathy work might be qualitative research, that sort of thing. But on the other hand, there were differences. And it took me a while to sort of getting comfortable with that. What do I mean? Well picture the normal distribution. As a psychologist, I'm looking for a generalizable sample right in the middle of that distribution. As a designer, Nadia and Thomas are saying go to the extremes. Don't talk to extreme users and that, Okay, I'm going to trust the process. But okay, so that was pretty interesting, or things like designing by analogy, great concept. So I ended up talking to a friend of mine who trains Marines to meditate. And why did I do that? Because I'm interested in getting people to a habit, and she was training them in the habit of meditation. Their motto is to meditate and destroy, not a model. I want to embody but the very thought that I could go talk to her about how do you develop a habit of meditation. And I could translate some of those lessons into reaching out to older adults. As a psychologist, I probably I not probably, I would not have done that before. So I learned a skill set. And then I think for me, a big issue has been how to integrate. I actually had skills before. So how do I integrate what I knew before with this new skill set? So it's not either-or but both. And that's been part of what I've been doing this term.

Thomas: In your seven or seven months in now. But can we go back to the first week, what struck you from that week, like, what was unexpected that week, it was a moment that you remember just from coming here?

Mick: Actually, for me, one of the moments that stood out was at the end of that week, we did an exercise in a park with Patrick. Patrick led us on a walk, we learned that he was an animal tracker, as well as a former fellow. But at the end of that, he asked us to reflect, which is also part of the design process, right to step back and reflect on what we've been through. And at the end of that first week, I realized now that my metaphor of moving from anxiety to action to habit was really a metaphor for my experience in the fellowship. Because at the end of that first week, I was pretty high on anxiety, like, what am I doing in this place? But the reflection exercise got me to think, well, when have I had this feeling before? And for me, I'm a musician. And I've sat in with world-class musicians because they hadn't heard me play before. And I know that right before you start playing, there is this moment of anxiety, and you say, what the heck am I doing up here? And yet, I've had enough experience with that, to know that, if I just allow it to happen, I'm going to have a great time and good things are gonna happen. Not exactly sure where it's going. Because a lot of times those musicians don't tell me what tune we're playing, which is always exciting. But for me, at the end of that week, that analogy helped me say, oh, being in the d.school is like sitting in with really good musicians. I'm surrounded by people who are really good at this process. I'm not exactly sure where it's going to go. But that anxiety is part of the excitement, so go with it. And so, in a funny way, it was like anxiety, calming by analogy. And it made me feel and by Patrick's exercise really helped me frame that. To make me feel better at that point of anxiety and it worked out.

Thomas: Your wife is on the East Coast, you're out here. What do you tell your families you do here? I mean, I'm still working on that with my wife. I think my wife, Danielle knows at this point, but I don't have my parents exactly know. What do you say all the time? 

 Mick: Well I tell her, you know, I have the advantage of having been out here before. Last year, I was at the Center for Advanced Study in the Behavioral Sciences. And the difference here is I tell her, I'm really working on taking those ideas and putting them into action, you know, the bias for action, fail for when she gets that idea. She's seen me fail before and learn from it. So that's easy. But you know, I show her the work that I'm doing. You know, she's been one of my subjects, she has done card sorts and given me feedback on it. So I told her, hey, today, I went to a senior center and talked to folks about climate change. And it was pretty eye-opening, or whatever I tell her about the work I'm doing to try to share.

Mario:  My partner is a lawyer who works with homeless youth and at risk of homeless youth. So I just tore through the post-its all day and just laughed. But that's what we did the first day it was throwing post-its through. Which is all very confusing. No, but I mean, what I share is, is what I bring home, at least are the insights we get from talking with people, right? Because it's not only useful, but it really is a privilege to just have an excuse to engage the world over and over again, and have these stories about how people exist, how they approach different things. And you know, I'm super fortunate enough that my interaction with people because of my project is when bad things happen in the world, I get to see the other side, right, like I get to see the good that comes back. And so I'm full of stories about why we should look forward what hope there is, you know, and with our platform, like lucky enough to kind of wake up, you know, every Monday morning to see for kind of receipts coming back in from our one user who goes to church and gives to each of the collections and every 15th seeing maybe eight recurring gifts coming over and over again. And so seeing both kinds of random moments of generosity like after the Women's March, we got receipts from 10 different cities from El Paso to Denver, Colorado. But then seeing also the kind of regular This is who I support, this is what I do every month. And getting to share those stories is something that I feel like I also have a responsibility to do, right. Like it almost feels selfish not to tell the story of the kind of people doing good at integrating into their lives.

Thomas: At one point, you talked about product and product design. Sure. But both of you have very behavioral change projects, climate change, very complex, systemic issues. Maybe I don't know if you could talk a little bit about using human centered design, using design thinking, for your challenges, and for complex challenges that are at the system's level?

Mario: Well, I think for me a big another pivot moment was trying to see how making small changes or working on what seemed to be small steps can relate to a big issue like climate change, when you guys did our own individual journey and she gave me the task of saying, well, what are your next small steps and how does that relate to the big issue of climate change? It really helped me see, well, actually, if you start working on things that you can start to affect you can have and leverage those effects. For a big change, where I'm heading now is to move into a digital platform that can then be used to reach more people than I can do in workshops. I know I can get people to take action. I know I can get people to make commitments, and develop a habit if I get them in the workshop. And maybe if I give them one, I'm not sure if it's the wine or the workshop. But that's not going to scale. So for me, the challenge is so how do you do this the challenge that all of us face? How do you scale these efforts in a digital environment? That's what I'm working on now. On Andy, my ally and I first met, you told me to read Dan Ariely. He's Predictably Irrational. And I think how generosity kind of exists in people's lives mostly as a proxy for our relationships with others with causes we care about, in many ways, it's highly irrational. And part of our failures as society to engage more people in what is a beautiful kind of movement and struggle is that we treat it in a very rational manner, like, oh, if you believe in this cost, and you should be involved in this project. And that's it, right? But in fact, like, when I used to coordinate volunteers, people used to be like, how do you make sure people come back and I said, the number one predictor of people coming back to volunteer is not how strongly they care about the cause, or how engaged they are, it's whether they came with a friend, right? Which is not kind of what you'd like to imagine it is. But it is getting back to the fact that what we're talking about is very, very human. I haven't yet found the ways in which it's predictably irrational. And I think that's part of what eventually and what we need to do is scale, the work will start to uncover and what I'm most excited about this product, project and product doing is to show us the ways in which generosity and impact are predictably irrational, or the ways it is rational. And I actually was just to share, like, the moment I knew it was time to quit my job and pursue this full time was after reading a book called Dataclysm, which is written by the founders of OkayCupid, they basically said, we're writing this book because we now understand how people act around attraction when they think no one's looking. And that book had insights on race and ethnicity and gender, that I, as an ethnic studies major, never kind of found myself and, and I was like, Okay, this is fascinating, like, but what if we could have this same insight or the same accessibility to how people act around having an impact on the world or being generous, and thus giving side which is our opportunity both to develop pride in people's identities as givers and activists, but also to know, kind of how people act when they think no one's looking around their generosity impact?

Thomas: I would just add one thing, Tom, I was thinking about your question. And I think for me, a big moment was when my ally Tracy DeLuca, I'd been talking about this ladder of climate engagement. And she said, make the damn ladder, make a physical object. So I got my handy post-it notes and I made a ladder. And pretty quickly, I saw that my ladder was not her ladder. Composting is the first step. And she said composting, sorry, I said not if you live in Palo Alto, she said, but if you live in San Francisco, and but the point was making physical objects, which is obviously everybody in the room knows, okay, yeah, that's part and parcel of what we do. But getting out of my head and into the physical objects, and making that available to other people was a real big accelerator for my process.

In the fellowship, we tried to emphasize experimentation and distinguish between an experiment and a prototype. So oftentimes, especially if you're doing design thinking or humans are diminished in a shorter format, you kind of make something and you show it to somebody or you try to give them the experience of it. We were really trying to emphasize putting your idea out into the real world, the real system you're trying to affect, and seeing what happens. I think you both did that. Maybe just hear about that experience?

Mick: Can I just say a word about the experiment? Because this is one of the words that's sort of when I first heard it. You know, I remember saying to Nadia, experiment, really, I mean, experiment means you control things. And, you know, social science experiments have a certain meaning, totally different meaning here. I guess I have done a couple of things. One with Mario's good help. In the sprint, I developed a Facebook page called Old People Don't Care About Climate Change. And it was a takeoff on a funnier dive video by the same title. And what I was trying to do was to see if I could use Facebook as a platform to get older adults to share their climate memories? And what impact would that have? And in three days with Mario's great help, I got a Facebook page up and running. It's still there. I'm not curating it right now. But it's still getting likes, Mario. Thanks for checking in every day, I appreciate it. So that was an example of putting something out there to see what impact it would have. And more recently, I've been running workshops here, we're trying to look at the impact of how to structure that commitment contract I talked about, and would that affect the stickiness and the ability to move people from action to habit? 

Thomas: Is there anything that surprised you or that you got out of the Facebook experiment?

Mick: Yeah, one of the surprises was somebody had a member of my team now, Samantha Feinberg, who's the social media person on my team, who's done a lot of work with Project Happiness. Have you gotten your daily dose of happiness on Facebook? Samantha said, with your demographic 60 and above, you're not going to have to reach out to them, they're gonna find you on Facebook. And I really question that, she's right, you just put it out there and pretty quickly, they will find you. So it was reassuring in some ways. So that as we build out this, the media platform that we're developing, it's pretty clear Facebook, for my demographic, is really one of the key places to be in trying to reach the 60 plus population.

Mario: Our products up and live. I mean, I think the biggest thing for me is just focusing on the moments of surprise. And so because of that, my brother and I, who I work on, on giving side, we have a Slack channel where every time something comes in, that we're surprised about, we put it down, and then we come back to it every week because it's in those moments where our biases are challenged, or our kind of own set of assumptions are thrown into question that I think we had learned things. Yeah, and I feel like that's the biggest takeaway. And that surprise has actually been super, it's made certain things super difficult. The fact that I still can't predict from like, any of you are people in different environments who come onto my platform, who will use it most and who won't, in some ways made me question myself and my understanding of people. But it's also been this kind of inspiring problem of wanting to figure out why get to the bottom of all those questions, but also being okay with allowing those questions that kind of exist in the air. 

Mick: I would add one thing on it while I'm here, I've also been running a Social Science Research Project, with some folks at Columbia and the University of Colorado, Colorado Springs, looking at the difference between legacy induction and place induction. When I asked you to think of a place, psychologists would call it a place induction. And it turns out that asking you to think of a place has a much bigger impact in getting you to think about 40 to 50 years from now, than asking you to think about what your legacy is, why do I go there? Because for me being able to integrate that part of my expertise, and be able to inform the design that I'm doing here that says, Oh, yeah, that that place thing actually works, is really important to integrate those two. So that's been helpful.

Thomas: Okay, we'll leave it there.

Nadia: Sid is with us by Skype. And I want to take a second. So she is leading the Innovation Lab at the federal government's office of personnel and management at OPM. And she also heads up their Presidential Management Program, Fellows Program, and she would have the humble task of trying to bring innovation into and across the US government employee workforce. And others she was already doing this work before she joined us. Her time here was spent on figuring out how to which populations she wanted to work on and more focus on how to work with existing barriers and new ways to approach this challenge. So she's still working on that and has come a long way but will still join us again in the spring and talk about kind of how she's applying that in her work. So I'm now going to introduce Angie and Mark. Angie came to us as a Program Manager for SF Unified School District, a future dining experience. It was an IDEO-designed initiative of student nutrition services. And she's going to be leaving and going back to SFUSC as our Director of Strategy and Innovation for that program. She is deeply passionate about food and making sure students are well-nourished because hungry students have a really hard time learning. Angie is working on alleviating cultural and emotional barriers for students of color concerning school meals, that she's working on the entire experience. But that was something she came here specifically to focus on. Mark, he was a fellow that helped us prototype what it looks like to go through the international visa process. So because he came to us, he came to us from Canada from Vancouver, which apparently is challenging as well. And to do that, to go through that he's already a successful entrepreneur, started many restaurants, a brewery, his own charity, and the nine other businesses in different areas. He also started Save on Meat in Vancouver, a social impact incubator that feeds trains and employs marginalized and isolated communities and saves on meats created an alternative currency. It's a token program where you get a coin and allows someone to feed someone in need without the exchange of money. So use the coin essentially. And it was used over 100,000 times to essentially give people meals without the exchange of money. He was coming here to figure out how they could digitize that program and scale the program. But a while here, I think he's also shifted away from necessarily that specific issue. And he'll talk more about that.

Thomas: Let's go to Angie. Tell me about what you came in with what you've been doing. 

Angie: Sure, okay. So I think a lot of you were here at the lookout point conversation or a presentation where I told the story of Marcel, who was an African American student with an SFUSD, who was essentially choosing hunger over school meals, and his choice. Now, these are intentional. His choice was actually what prompted me into this fellowship. And I really wanted to understand why some students were opting in or opting out of our school meal program. And as Nadia said, because hungry students have a hard time learning and we as a school district have an incredible opportunity through school meals to ensure that no child misses out on their educational opportunities, because we can provide them a delicious and nutritious meal. So during this fellowship, I had some really incredible opportunities to interview students, staff, family members, community members, and perform some experiments that really provided a lot of insights into why our students are making their choices around school meals. And those insights essentially identified five key food influencers who exist in our children's lives. Oftentimes, we within the school district, think of school food as kind of like a monolith in terms of influence around food choices. But through the fellowship identified these five different food influences in the community, in the farm, in the home, in the school itself, and through policy, that does have a huge impact on our kids' dietary habits. So as I leave this fellowship, I'm taking with me a framework, which I'm calling the youth food model, which essentially is a tool that we can use within the district, and that other school districts can use to identify opportunity areas amongst those five food influencers, where we can partner together, and essentially create a narrative that exists throughout our children's lives. So inside the school, and beyond those walls of the school building, to create a more holistic food experience for our children. And so as I go back into the district, as Nadia said, I'll be going back as the Director of Innovation and Strategy. And I will be very much focused on this idea of bringing that youth food model back, but then also thinking about how we can design our organization in order to use design thinking as part of an everyday tool. So that way, I no longer exist as a problem solver, but yet, my team can then use those tools to be the problem-solvers within the school food space. And then with that, we also are going to be utilizing a $20 million bond that the citizens of San Francisco approved of the go bond, to revamp our kitchens and really think about the space redesign. So building on all the great work that we've been doing within the district by space redesign, but also thinking about our kitchens. So we have a really awesome opportunity to really reimagine and redesign the system. And I'm kind of taking it as an opportunity also to question if you can, essentially create five new design principles, a new system that can actually change what our old system was manifesting like outcomes, the old system was manifesting. So essentially, we want our children to be joyful eaters. We want them to be feeling very encouraged to participate in the meal program. And then we just also want them to feel very cared for through our meal program. And essentially, I'll know if I've done my job if every single day our kids are essentially looking forward to lunch. So that's what I'm going back into the district doing.

Thomas: Yours is a great project, I think all are like, well, I think you kind of do very concrete face to face things with students like talking to them, interviewing them, experiments. But then also you're coming, you're going back to your district with something much more on a systemic and strategy level and trying to integrate that and get people bought into that and try and actually change the whole system. Maybe to start could just tell us, tell us a couple of specifics. And if you can, like an experiment you did, for example? Sure. And if you can connect that to how does that affect the bigger thinking? But start with maybe to start with experiment?

Angie: Yeah, sure. So I did experiments around snacking, and also seeing if we can incentivize participation in the meal program. And so, you know, when you think about the system as a whole, those are going to be two aspects that are actually going to really have a big impact on the system. But the system as a whole needs to be redesigned and reimagined in order to prompt different outcomes. But in terms of those experiments, when we thought about the snacking, that was actually a really cool experiment, I worked with a group of students, and we did a design workshop where we created a food stand. And then, so talking about the food bottle, and I was talking about all those different influencers and the better part of our children's lives. One was the community. And so I reached out to 10 friends who live in San Francisco, and I was like, would you be willing to donate 10 bucks. And if you could donate 10 bucks, that's going to fund roughly 160 pounds of fruit for two schools to do a snack project. And so from that, we connected the community, we connected farmers, so farmers that existed outside of our USDA commodity crops, and then we also connected the school. And so from those three influencers, we were able to create this food stand within the school and we thought, Hey, this is gonna last for like a week at most. But we set up all these systems with the kids to take care of it, you know, to monitor it, keep the food safe. Within two hours, we had given away all the fruit, the students just walked by the stand, picked it up, and went away with it. When we had persimmons, we had grapefruit, we had mandarins. So we had different types of fruit that are, you know, not what you would normally see on the mill line. So it was pretty, it was exciting, it was encouraging, it was like holy shit, this works. But then going back into the district, I started thinking, I was like, yeah, we can do a snack program. And that's going to be one element of our change, you know. And so that's when I started thinking and Sam yen actually gave me the language around it. But thinking about organizational design, and thinking how we now need to go back and design our organization a little bit more, utilizing the tools of design thinking, utilizing these sets of design principles that we now have to actually integrate the snacking program, get people to understand why the snacking program is valuable. But then also think more broadly about all the potential changes that we can make in order to actually have a food system that really makes our children feel cared for and valued.

Thomas: Hey, one of the I think the challenge, a challenge we all have, in doing these systemic challenges these projects are is that you want to get scale or you want to change the system. But you also have this bind between that and like getting started in a way. Like how do you think about those experiments in terms of affecting your vision or those interviews you did affect your vision, how those interrelate to each other?

Angie: Sure, I can't tell you how many meetings I've sat in and like referenced one of the experiments or referenced an interview with a student, they've given me the stories to tell, to get the buy-in. So I mean, I think we all know that storytelling is a huge part of design thinking, and being able to tell the stories of your work in order to it almost allows for empathy. So that person you're talking to doesn't have to go and do the empathy experience with the kid. But I can tell the story in such a way that gets that buy-in and gets them to feel that emotional connection to the child, or just to show what success can be like, Hey, we did this. We worked with the students to see what we created because the students designed it. And it worked. Like these things can work I was able to. I was in a conversation with a food bank the other day, and I was like, Yeah, I believe in snacking, our team believes in snacking because we saw what can happen if you just put fruit out. You know, in under two hours, you can give away 60 pounds, 60 pounds of fruit. That's a hell of a lot of fruit. And so it's just really exciting to be able to use those stories to validate the work and validate the fact that our kids will eat. We just have to do it in a way that's meaningful to them.

Thomas: Can we go to you? Maybe just tell us about what you came in with what you've been working on, what have you developed?

Mark: Yeah, I just want to give a quick voice to the part of this fellowship that is most exciting is getting to work with people who have aligned work, Angie, and I, the first conversation we had was I work in food systems where people are marginalized. Some of those people marginalized their children and the elderly. Like Mick is old. Just what a gift to have this level of intimacy but also expertise to use throughout. So I came in with the thought that empathy led to 100,000 people being fed in a six-block group The US, which is one of the largest open-air drug markets in North America, which exists in BC, and that empathy was just so targeted towards something. I thought if we can harness that power, how can we scale it? And as a designer of design spaces have designed structural models for staffing for interventions for all sorts of different things. But I never really had the language that was provided here at Stanford, like, what is rapid prototyping? For me that's building a business, and what is iteration? That's when your business isn't working, you change it. And so I had some real skills. And so coming in learning the rest of the hard skills, which were research, actual research, not just like seeing a space and saying, Oh, I think that poker tables are going to be hot. So let's open up okay, spot, but like actually asking people if they like rockfish, you know, as an analogy, so going deeper into ethnography into research, and all of those things, maybe pivot, that the empathy that led people towards using a program and all the donations that we see for our charity for people who are marginalized, they want to be more involved, and they want to co-create a solution to poverty. And so some of the big numbers that came out of that were like seven out of 10 people in North America are one paycheck away from the street. That's a real number. So well, okay, I'm not talking about homelessness anymore at all. I'm talking about poverty, and the alleviation of that poverty, which ends one of those people from one critical moment into that. So how can we then create a system of support, co-creation, intervention, and all of these things, which was massive for me, I would never have gotten there on my own, there's no way I just would never have given myself the space to do the research and meet with people. And at this point, where, you know, clocking in at just under 100, ethnographic interviews, that have no bias. In my own neighborhood, or in my own country, there's a lot of bias around the work that I do. But when I'm sitting on my design, outline some of the interviews, you know, it's just a guy from Stanford doing research. So there's none of that, oh, you work in homelessness, or, you know about what we're doing. It's just talking to another human, which really pivoted my project. And I think that it's put me into space that I never thought I would say it sort of month 6, I was like, You know what, I really need to do more research. And my team was like, what's in the water? Like? Are you ever coming home? Two weeks? The answer was no. But it's just the journey that has shown me so much. And created, my initial thought was, I'm going to come in here, and we're going to create a top-down solution to work on people. That's the idea where we were pivoted to, in the last couple of months, because of the research like, no, that's not the answer at all. And everybody's tried top-down, you know, thousands of agencies that currently exist, we need a bottom-up solution. And that solution has been incredible. We ran an experiment, and I'll go into the experiment if that's okay. Um, which tested all my assumptions around like the quick assumptions of do people have a mobile device? Who is facing poverty and homelessness? And the answer is 100%. Yes, which was nice to be able to show those statistics that if you make less than $15,000, in the United States of America, you get a smartphone, a data plan, and a story. And when I was running the experiment, I brought an experiment, which was a, like a happy meal, white box with waterproof notepads, waterproof pens, a disposable camera, a smartphone, a data plan, socks, socks was important. And I said, I've got these kits, and it was 24 people 18 on the ladder of homelessness, and six who are an agency because I thought it was important for them to share the experience. And everybody went well on the phone. And they were like nexuses, and iPhones and streaming trenches and people living in their cars, etc. So testing that assumption. And then moving through that. One of the questions that Sara said, and we were whiteboarding and just a quick segue, Sara just kept me on page with actually doing the work. Like without having a design ally, I tend to get in a way more conversations. And she was like, these are the post-it notes that we put on the wall with the stuff that you're thinking about. She's really good at keeping me beholden to do how we summarize synthesis. Post it on the wall. Stop talking, start writing. But in that one of the questions that we asked was, what's the skill and so the project itself, the experiment itself was three times a day for a week, I'm gonna send you a prompt, then you can either write it or text it back to me. But to finish the experiment, you have to do all of them, at the end of it will provide a stipend for you to use at your own leisure. And Sarah said we should ask them about skills. like yeah, we should and so the question was what It's a skill you wish you have, that you wish to use more. And from that the whole project just went full stop and pivoted. Because the responses were incredible from somebody saying, I'm fluent in multiple languages. And I'd like to be a translator to her finding a position less than two weeks later, getting $35 an hour doing that specific thing. two gentlemen who had auto mechanic skills, but had PTSD and couldn't be around loud noises. But I want my cars fixed faster. So what if you could have people working graveyards by themselves, and all these other notions of people can be co-designing their own success? And what's more?

Nadia: One other experiment, I think she talked about the experiment we've been doing a second semester, if you will, that didn't start out as an experiment, but has just gone off the rails.

Mark: We will definitely do that. Thomas is gonna run a prompt.

Thomas: The prompt, tell me about that experiment.

Mark:  We're iterating. That's what we call this, right? So one of the women in the research study came from severe abuse decades long. And it found herself out of that. And one of the things when we were unpacking the synthesis with Sidney and her, her daughters through meditation, yoga, and multiple other spiritual pieces. And she said I would like to be your researcher or lead researcher on the project. And we were like, Okay, this is dangerous territory, like where do we? Where's our level of responsibility? What do we do here? And we just approached it like what Anything else? And our name is Sylvia Martin. And she started working seven weeks ago doing research. And I think what Sarah was smiling so big about when she was talking about it as a would give Sylvia a specific thing to research and say, Would you mind digging into this for us, and you know, 63 emails later have great detail, exposing all sorts of blind spots, like banging down doors, interviewing people directly about the work one particular interview she did, she went to the Opportunity Center and talked with it, I think it was her seventh trip that she finally got the interview with the guy who ran it. And he ended up just like spilling his guts to her. He's like, I used to work at dawn for six years and a half a paycheck away from the street. And instead of it being a position of her coming to ask for something consistently, and him being overwhelmed with lack of resources, they then became friends. And so they're working towards a common goal. But what Sarah's specifically talking about is one of the key things, the project that we're working on is that resources are impossible to find. We have a list that we uncovered, that has just like lines through it, that was a resource list from Palo Alto, printed in January, in mid-February 80% of the stuff that was on there doesn't exist. So Sylvia took it upon herself, to start correcting these things in Google Maps. And that's part of what we're trying to build. But I didn't tell Sylvia that we're trying to build that. And so she's out like, hammering people and our competitive market. She's hammering them about why their stuff doesn't work, and just showing us all this beautiful space, but also how much pride she takes in the work, I would say that she's co-building the product at this point. I think she's gonna ask for equity.

Thomas: So both are great examples of this, I want to take a chance to talk about it so that we don't talk about that much in terms of the fellowship, but the idea of you becoming then leaders of design thinking or Human Centered Design, you both have teams, you're or you're in you've been in contact with and you're going back to full time now? Or will you stick around for longer? But when you do go back the full time you're here in Palo Alto.

Mark: Once I made it across the border, man, it's not going back.

Thomas: Yeah. Tell me about going back to your team. Let's start with Angie. Like, how does this design fit into now how you're positioned as you go back and work with your team?

Angie:  Sure. So my job, in particular, is to go back to teach, essentially design thinking to my team, I led a workshop amongst the managers within the department. And there were four of us or five of six of us there. And in that workshop, you know, we were doing two by twos and everything. And I was using the tools of design thinking without necessarily saying the terms of design things. I wasn't like, this is empathy. This is ideation. This is but by the end of the experience, we had actually come up with our essential design principles of how we're going to be like recreating our department. And so it was fascinating to see that happen and take place because that's something we've been trying to do for the last three years is coming up with this like statement of how we're going to do this and how to create this change. And we were able to do it in a way that like just felt authentic to our way of thinking and operations but yet still utilizing the tools of design thinking and you know, at the end we all went which was really cool, I can't tell you how many workshops I've led within the department now, where we start off with play, which is one of the big things that I learned here was just the idea that you need to have fun and you know, be present, I had been tired office, which is 29 of us in the conference room last week, playing paper, rock scissors, and then cheering, you know, Have y'all done that Stoker you play paper, arches. And then, and so we had the last two and everyone's cheering and stuff. And so it's, it's almost as though I'm integrating the concepts of design thinking into the office through fun, and like through play, and just through showing the folks that you know, what you're doing, this is actually a tool that you can use, if you just kind of alternate just to touch, this is going to amplify your work. So it's been a lot of fun. I'm really looking forward to it. I have another series of workshops coming up, where we're going to start working on different problems that we're facing. And I'm just really excited to see our team feel empowered to make a change within the organization. And this set of tools is giving them almost the space to be able to do that, or the resources to be able to do that and how to think about that change a different way, if that isn't common within, you know, come into bureaucracies isn't sure Sid could attest to this. It's exciting. I'm looking forward to it.

Thomas: Cool. You wanna say?

Mark: Sure, I'll just go quickly. We're gonna Mario and Angie are walking the other day Mario was talking about how long it took him to onboard the language of startup through like, being subscribed to a newsletter. And like, he learned all of this language. And I said, the danger for me with my team is I learned language, and then I abused it, I just use it every second word. So I mean, I go in, and I'm just speaking, in a glossary they don't understand was my first visit home. And luckily, they're bold enough at all times that tell me I'm full of crap. And to, like, write the glossary down. And so we started to figure out what our shared language was, which we never did. And so from chefs, to outreach workers to you know, farmers. And so now we have this shared language that was provided through design thinking, we don't call it design thinking, we call it to work. And they better be doing it right now. Right until six, at least. And so yeah, it's just been really amazing to say, you know, we don't need to workshop this, we need to whiteboard this, it's like the whiteboards already exists like they're there in the room, let's get to work and like, plot out what the weeks gonna look like what the months gonna look like. And we're in the middle of a project, we're developing a new brand, right now, we have a small design group. And it's just so much easier. Because if you have a language or a narrative or vernacular around stuff, and you try to, while you're in the process, or inflow of the process, if you have to try and stop and explain it, it ruins that flow. And so now everybody has that shared language on my team, and they correct me when I use it inappropriately.

Thomas: When we start, we kind of base our use process and how we describe the process here, particularly for DP 1, I think we kind of like went through those modes of working, when we've moved on, like, that changes, right. And I'm just wondering if there's times you remember, when you designed your own process, or how you feel like you have adjusted and how you use design in your work?

Angie: I think my biggest example of this is when I was doing empathy interviews for kids, and it was so uncomfortable, like I, my job is to talk to kids, and I was having the hardest time getting them to open up about food, and what makes them happy when they eat, and things like that. And after bombing a few interviews, I was like, I need to figure something out, I need a tool to take into these interviews, that way I can succeed in them, we have like a very finite amount of time. And there's, uh, you know, I want to make sure these interviews are super valuable and super-rich. And so I like going through all the different books I can find here, like, you know, the guides that the school has trying to find an empathy tool. And then I had a moment of like, an aha moment where I was like, I can just design one myself, like, I, that's what you do. And I, I described that is actually a point where I went from. So at the start of the fellowship, I was conscious of my incompetence around design thinking. And then I slowly began to be progressing through the process. And I was like, Okay, now I'm conscious of my competence. And at that moment, when I realized I could just design my own tool, I can take this process and create what I need in order to be successful. That's when I moved into the space of being unconscious of my competence. And it became just a skill set that I just started utilizing. So I actually went to Target and roamed the aisles of Target in the toy section to get inspired about different ideas and things that our kids used to be like that they think are cool that they have fun with. I went to the book section, I went to the video game section, and I spent a good hour, two hours at Target. No one kicked me out. I was impressed. And after that, I essentially created a deck of cards that I take into the interviews with students, you know, ones like the zombie apocalypse is coming, what are the five food items that you're going to pack in your bag, you know, and then I turned it into a game Based on some of the games I saw within target, and it was just like, all of a sudden, I had the students interviewing each other, and like having fun and talking in a way that I couldn't engage with them if I was sitting and talking with them as an adult to them. And so it allowed me to be able to then engage with them around food. And it really transformed my work and transformed my own creative confidence in terms of how like, I could approach problems and how I could just utilize the different tools that I've learned here without having to be like, Okay, this is, you know, like, I need to, I don't know, I can't even think of an example right now. But it just really, it was a pivot. No, it was a wonderful pivot. Now I just draw all the time during meetings and stuff, like taking notes and drawing more people. That's great.

Mark: I think we were talking about it yesterday, not that we rehearsed for this, but just in casual conversation about the way that I designed before it came in the way that I design now. And the best way I can describe it is like it was just designed out of necessity. And now I design out of intention, very specifically towards what the end goal would be, and not in the short term, but in like, what's this look like in 5, 10, 15, 20? And have the ability to, I mean, having a Stanford faculty pass is pretty cool. Because you can go to the VR lab and be like, what are you guys doing? Like, what are you doing? I'm like, I'm from the d.school, it's fine. But you get to, you get to dig into what's really possible in the ceiling gets way higher, if there was one at all right into what you're thinking might be and what the future looks like, as it all gets so rapid. And so being able to design by intention, it's just been a yeah, big gift. Was that okay? 

Thomas: Okay, thank you. got time for quiet. Last one. And maybe you guys want to answer, what to advise a future fellow? what would you give? 

Angie: Alright, so first and foremost, I have explained that the fellowship is like getting a connect the dots book with no description of what the picture is supposed to look like. But you have all the dots and you're supposed to like somehow create something. So know that there will be an image at the end or something. But then I would also just say that taking time to reflect, and I think that's been really great through every single phase of the DP 1, DP 2, DP 3, even now, I'm taking the time to reflect on your work periodically. And documented, really, actually, there's a lot of ideas within that reflection. And I thought that at the beginning, that the ideas we’re going to come through the synthesis or come through the experiments, and those would be my aha moments. But I actually had quite a few aha moments, creating a deck. And so I would just say, even when you're tired and frustrated, and trying to build a deck, like 12 o'clock at night, because you have a presentation The next day, it actually is super, super valuable. So take time to reflect and stay present in the process.

Mark: And I got a couple I think the first one is like show up like really show up as your authentic self, warts and all ask, you know, there's this thing when you go into any new class, it's no different than going to your first day grade five, you're like, I want to impress the other kids. I won't say anything too stupid. I don't know who all these people are running around. I know they all have super important jobs, I don't want to bother them too much. But to like really show up and give as much of your time as you can you were brought here for a reason. But also that there's constantly beautiful things happening with other people in the dive into their processes, when you get stuck it is just a great gift. And there are so many people to riff with and to work with. And the other thing just stops and breathes it in. I got a text message this morning. It was like, congratulations, you know, you just did seven months. And you got you're at Stanford, which is if you know me or my background is really a huge leap. So the imposter syndrome, trust that the people who have vetted you know what they're doing and that you would not be here unless they really believed in you. So soak it in. You guys want to

Mick: What they said, but I would just add, trust the process. And, and allow yourself to go with it even when you're not sure how it goes. And I would just echo something that Mark said, which is not only the fellowship program, but the whole set is designed to be a place where you cannot avoid creative connections. Whether it's while you're cutting your card deck or xeroxing, or trying to figure out how to do things here. People are going to come up to you and say, you know, I was thinking about your project and that kind of, you don't know where that's going to lead except it is going to lead to good places. And you're going to be better for it and your project is going to be better for that. Then, of course, the fellowship. I mean, the fellows are great resources, personally, and professionally, even Mario.

Mario: I'm his favorite. I think for me a couple of things, one, just to remember that we are on parallel tracks, right. So there's our project. But there's also who we are as people going through this process. And then there is the larger systemic change that we were intentionally brought in because we were working on systems levels change. And so to understand that that system-level change may not equal your project, right. And so, by kind of focusing on those three things, I think it allows you to extract as much as you can. And then just the second thing, there's a difference between impact and legacy. And I think the impact is kind of what we learn from Studio from the different sessions. But the legacy will be the relationships that we kind of, have passed this that we formed with each other. And so to, to also remember to invest in that in our time together. And I think we certainly as fellows, and God, I wish Sid was here as well, really kind of investing in each other's lives. Because I think, you know, the legacy of this will be the way that we support each other. And we all kind of see ourselves between the five projects, if you look really closely at what we're doing, they're all going to converge pretty soon. And that moment when it does is going to be super exciting, because it also means that we've built our kind of spheres of influence, so much so that our work starts to overlap, and just become so much more powerful.

Mick: We call that moment the Rapture. 

Thomas: Excellent. Thanks, guys, for sharing. Let's give it up for all. A couple more things. Next year, fellowship, Nadia has helped me realize that there's also a whole bunch of people that can't be here can't be one of the five fellows this year, that and we've built tools, curriculum, a way of thinking about these things, that could be a benefit to those folks, too. So next year, we went to a couple of things. One is to have a workshop where we call it an intensive opportunity for folks, not just five, but maybe 50 or more to come here and learn this tool, set this approach and actually bring that back into the organizations into their nonprofit organizations into philanthropy into social impact. So we're gonna do that. And then we will also want to do the deep fellowship as we did, as we've been doing for the past five years, likely starting in January or early 2018. We all send them off as much as we're sending them off. We all send our love. Yeah, could you stand up? And, and, and wish on back? I'll do the count. Okay, so it'll be 123 and then clap and then wish. Okay, let's get down here.

Tracy: All right, that's a wrap. Thanks so much for listening. Our dream is to build a community of people who can create and take advantage of any opportunity that interests them. To do this really well, your participation is key. So if you want to try it out, and share back your own life design experiments, or if you've already got a great story of how you design your life, we'd love to hear from you on our Facebook page, or at resultsmayvarypodcast.com. Our website is also where you'll find show notes and links to all the things we mentioned in the podcast. And if you would be so kind, subscribe to the show and rate us and write a review on iTunes or Stitcher. Nonetheless, even more people start designing their lives. Special thanks to composer and filmmaker HP Mendoza for the Results May Vary theme music and graphic designer Annessa Braymer for our logo. And of course, thank you so much for listening to Results May Vary.


RMV 17 Sandra Kulli Transcript: You Can Design Community

Full transcription:

Tracy: In our last episode, aging and climate change expert Dr. Mick Smyer shared his vision for Graying Green, a movement that aims to engage more older adults and taking impactful action on climate change. Today, we introduce you to Sandra Kulli, a community architect dedicated to creating extraordinary places that focus on fostering human connection as she practices the business and art of placemaking. Sandra is an advocate of thoughtful design and innovative problem solving, starting her career as a teacher in a rich and vibrant inner-city school system. Over the years, Sandra has learned that community is local and personal. So in her work in your daily life, she's always looking to connect with others in a more meaningful way. Today, she shares her story and experiences with us, including her five steps for building a community’s well being.

Chris: Sandra, hello, and welcome to the show.

Sandra: Thank you, Chris. Thank you, Tracy.

Chris: A question to get started is if you're out at a dinner party and meet somebody new, how do you describe what you do for a living?

Sandra: Not well. It is always one of those, I can usually describe it well by speaking of a specific thing I'm working on rather than talk about what I do. Because there's something deeply intangible about the way in which we get to creating community in new places. And so it's almost as if it's exactly what we're doing with the community. It's as if you have to experience it, to understand it. And I've always felt one of the things that are so challenging for us, in new places, is previewing what life will be like before there's a community, and that's why I think I have a hard time describing it.

Tracy: Yeah, I feel like you described our challenge in a nutshell, as well. It's like, how do you apply design thinking to business or even to life? You have to experience a little bit of it before you know what that even means.

Chris: Sandra, I've often thought of you as is, if there are architects of physical places, and architects of roads and infrastructure, etc. I've always thought of you as the community architect, you know, the one that puts together the more of the emotive parts of a place. And Is that a fair? Is that a fair assessment? Can you correct me?

Sandra: I think that I am part of the team that does that. Yes, I think that's a very fair assessment. And of course, those things are done, not by a single person, but by a team of people. And usually, interestingly enough by the people who will be coming to live there, to buy a home there to visit there to go to school there. So it is an effort by a bunch of people. And then it's that whole thing that is intriguing in our business is how do you discern from what people say what they mean? And then what are the applications of those things in a real place? It's really fun actually.

Tracy: How did you get involved in this in the first place?

Sandra: I taught inner-city schools for seven years, I really loved the communities in which I worked, and found them to be rich and amazing and full of life and wonderful people. And when I left teaching and went into the development world, I realized I had learned so much from teaching school, and being in these neighborhoods and understanding the people whose kids were in my classroom, and what they ate for dinner and what they did for fun, that it seemed like a really easy next step, to take some of that same learning and apply it to new community development. It's just being observant of people and then seeing what brings them joy. And you can find that anywhere in the world. It cuts across all socio-economic groups.

Tracy: Love that you discovered that in inner-city neighborhoods where I feel like there's maybe a stereotype in those environments, that community isn't present, or it isn't valued. But it seems like in your experience, which is probably similar to so many people's experience that the opposite was true.

Sandra: It was massively true and really encouraging in terms of what public education can do. I think I've never left behind that notion of teaching. And Chris, that's probably what you and I've done together with groups of people when we're working on a place like Todo Santos or Asbury Park in New Jersey, it's understanding what's there. And having the insight to appreciate the things I mean, really listening to people, and hearing what brings them joy, the universals in the community can be old places or new places, we talked about the Happy Planet Index, where an economics professor in the UK was asked by the government, British Government to figure out what is it that brings people a sense of wellness and happiness. And he elicited from talking to a bunch of people all over the world, actually, that there were five things that make for great well being a great community, the first one was connect, the second one is be active, the third, take notice the fourth, keep learning and the fifth one is give, I have found in my work, that if we take these five components of well being and put them into a community, it's remarkable what kinds of inspiration, all the team players from the landscape architect, the architect, the people running the schools, the grocery stores, if they think with this as the construct, it is quite wonderful, what they will do with it. And the beauty of these five things is they're all free.

Chris: What are some examples where those five things are all firing in a very violent way and communities alive and well?

Sandra: I think of a couple of places two very different places. One's in Utah and the other ones in Boston and the cultures are very different in those two states. And all five things are vibrantly alive. That place in Salt Lake City is pretty interesting because it's a development by Rio Tinto, which is a mining company. And it was the land that was leftover, as they've been mining, to being a mine for over 100 years. And it's very rare that you would have mining in a first-world city, this close to downtown Salt Lake City. And what Rio Tinto did 12 years ago was thinking about what kind of community could we create in this place that would bring to life those five aspects of a great community and have people want to live here on smaller lots, with more expensive houses, and share resources in the open space to open public space. The schools in this particular community in Daybreak, the school has 18-hour years, not just as a school, but it's used seven days a week. And it's used for all kinds of things beyond teaching kids from eight to four. So it is a really beautifully integrated community that has, I was at the MIT Age Lab, and we were talking about this place. Because interestingly enough, whether you're eight years old, or you're 80 years old, Daybreak works well, for both groups. You don't need to drive to enjoy this place. It's a place where you can get around on foot. There's a train that takes you up to Salt Lake City. There are bike lanes, their community gardens, there's a little retail street that has everything you would want in it, including a barbershop, a one chair barbershop. And interestingly enough Kisco Senior Living has put a new community for independent living and, and assisted living right in the heart of Daybreak, the land instead of turning this land into a park. And they were very concerned about not getting too many people with children to come into their overcrowded school system. So we design the community to not engage big families. Nonetheless, we have families, but we have a lot of people who are boomers like me. And the contribution of the Pinehills to the town has been phenomenal. So again, it's like you create a new community, there's no boundary to the community. When we create new places, they are joined with the old places that were there before them. And in both Utah and in Massachusetts, these five things are really valued enormously by both sets of people who live there. 

Tracy: How do you integrate the two? So obviously, the new is a little bit easier because you know who you're designing for. But how do you pave the way for the old community to feel comfortable with this new path forward?

Sandra: We use food. I know we're all in the farm to table notion of food and craft food and healthy food. And we're very concerned about food being an important part of our communities. We have found that if we bring people together over food, it could be a soup, it could be a potluck dinner, where people bring the food, it can be something hosted by a local farmer, if we bring together people who live in our community, or might be coming to live in the community, with people who are already a part of Plymouth, or already a part of Salt Lake City. And we sit and have what we call dinners and conversations with no specific questions about, do you want a four-bedroom house, do you want a K-8 school, but rather a dinner, where people talk together about what's important to them. It is a very connecting experience that brings all the new community together. In the case of the Pinehills, we thought about putting a market into the community after it was about eight years old. And we did a series of dinners and conversations with people who lived in Plymouth, people lived in the Pinehills, people lived in other parts of the South Shore and found universal agreement about what they would want in a market. And we built this tiny little market 13,500 square feet, we were worried we didn't have enough people to come to it. And it has been a phenomenal success. Because we listened to the people who were going to come to the market and we created a market where the butcher knows their name, where their tips on healthy eating, where we put it right next to the wine store so they could grab a bottle of wine. And it has just become a regional magnet. Far beyond the Pinehills.

Chris: Sandra with it as we talk about successful communities, what are examples out there of things people have done either through their behaviors or through the design that are guaranteed community killers?

Sandra: Things you'll hear people complaining about, that, unfortunately, may not exactly kill the community, but certainly make it diminished is this notion of cookie cutter. And the idea that there's a formula that can be applied without listening to what the local desires are. So if people feel something has come into their community, that is a foreign body, they will resist it. And they will work against it. And they will even make up stories about why it's a bad place. So it would be a tone deaf developer, creating a community that he might see as wonderful. Let's just give an example of a builder who just got back from visiting Brittany and decided all the architectures should be like a French country. In New Mexico, that probably wouldn't be the right architectural design. So that would be a community killer. I think sometimes we don't create ways for people to communicate within the community. So if we haven't set up an association that brings people together regularly when it's new, they will be siloed and you know, go in their garage and not see their neighbors.

Tracy: So I'm curious in these communities, they're planned, there's sort of leadership around it, there are associations. I live in San Francisco and I live in a pretty neighborhood but there's no real leadership guiding us forward. And I'm wondering, as somebody who doesn't have that in their neighborhood, or maybe even is a renter or transient, not sure how long they're going to be there, how does somebody connect to those around them in an easier way?

Sandra Actually, in San Francisco I saw a really incredible thing where it was through art, somebody was doing an art project in an open space pop up gallery that engaged the community with a question, I think they were looking for an additional green base in their little neighborhoods, the artist passed out flyers and invited people to come. I think that shared interests sometimes are the way to connect, I would say your coffee shop, I just finished reading Patti Smith's book on M train. And the power of a coffee shop is pretty remarkable in terms of convening the community. And then almost all cities have some kind of community outreach, and neighborhood council or with technology, it's pretty easy to find people in your neighborhood who might share your interests. So I think actually, it's probably easier than it's ever been. I don't know, have you done it in your neighborhood? 

Tracy: No, it's interesting. There's one thing that is kind of really the neighborhood, there's a little garden called Little City Gardens, and it's the only urban garden in San Francisco, there was an empty lot just on the street next door to me. And a few years ago, a couple of gardeners were like, hey, we want to turn this into something and the owner leased the property to them to do so just recently, the property was sold to school. And they initially were going to build, you know, like a lower school and incorporate the garden into their plans. And then once they got the land, they submitted plans, and they were completely different and really took over the whole space, there's no space for the garden. And you know, the concerns in the neighborhood are that it's going to increase traffic on a one way street. And it's in a flood zone. And so that's not great and, and some neighbors just sort of spontaneously started this save the farm campaign. And all they did was passed out eight and a half by 11 sheets of printed paper yellow that say save the farm. And almost all of the neighbors have put them up in their windows to show support. And I loved the spirit of that it was so simple. I mean, it shows the value of this tiny little property that had been an empty lot. For years, it was kind of an eyesore, that people cared enough about it and felt compelled to want to continue incorporating it into our community. And I don't think that anyone is anti-school. But we're pro-integrating the two together and finding ways to make it work.

Sandra: I love that. I love that whole story and that it's so visible, you can see how much support exists to save the farm. I would say having been a teacher, that there's undoubtedly a teacher who will be at that school who would share the community's sense of I think it was the O Wilson, you know, the biologist from Harvard who said it's wired into our DNA to love gardens. And that what that it seems there's probably a really good possibility, even if it's container gardening on the roof of the school that somehow you and they could create, or like Ron Finley did, where you do the the parking out between the sidewalk and the street, where you do a garden in that space. If you've got that much community engagement, you want to harvest that passion for the neighborhood and aim it at something with a sense of positive effort that will result in something where the kids and all the people live in the neighborhood benefit. It's that notion that how can we come together for good things, as opposed to opposition, it sounds like your neighborhood, they want to do something positive rather than just stop the school. And I think that communication is the key to community cooperation in the new home, or the development business. And Chris, we saw this at Todo Santos. Silos don't make for a great community. When the teams talk together, and I would say your neighborhood in the school or a team talking together. That's when great things happen. Just people working together with common purpose. 

Chris: I'm going to make an assumption here that I don't have any evidence to base it on but I'm going to assume that a very large portion of the population outsources or sort of leaves the community to those that are natural community makers, and they sort of stumble upon it on occasion. But for the most part, just aren't contributors overall. And I would say, that might be a natural tendency, but I think a lot of people would reference just busy-ness as being the primary reason they don't really contribute to their community. And I wonder if you could share an example of how busy people united with little time and actually successfully creating a community.

Sandra: People are busier than ever. There's a fantastic book by Sherry Turkle called Alone Together. And I think the subhead is why we expect more from technology and less from each other. It's that notion you have an excuse because you're really busy and you don't have time. Colorado State University and Todo Santos. There were a small number of people who worked with some people on the ground in Todo Santos to think about what in the world could we do if we put an Ag school from Colorado in a community in Baja, California. And one of the ways in which they made it real was they worked with Mexican nationals from La Paz and San Juan del Cabo, to set up these little kinds of dinners and conversations we referenced earlier, inviting people to come together and talk about what's important to you. And the idea that you are invited to come to have a meal, and say what's important to you without somebody giving you a list of things that are important to you, is the way in which community engagement is constant. Once people are involved, they stay involved. And they feel invested in the future of what's going to happen, because whoever invited them to come talk actually listened to them. And I think if I could just throw it over to save the farm. It could even be somebody Chris, who's never done much of anything in community engagement, but saw the opportunity of the school going in across the street, that if they just made a call, didn't do an email, or walked over and talk to the principal. I think people are yearning for opportunities to be engaged. If it's not going to be a waste of their time.

Chris: You, yourself lead an interesting life. Give us examples of community and your own personal day to day.
Sandra:  I have a wonderful life. And one of the things I do is I ride a bike a lot like a street bike, I ride around my city. And since it's Los Angeles is pretty darn huge, I joined a group called Ride-Arc, about 10 years ago, which every once a month on Friday nights at 930, we would ride around and look at architecture and anthropology, and go all over the city 930 at night till 130 in the morning. And about five years ago, I heard about something called CycLAvia, which was when about 12 people got together and said, we don't have a lot of parkland in LA, but we've got a lot of streets. What if one day a year, we close down a street like Wilshire Boulevard for 10 miles and let everybody come out on a Sunday and join together with all the other people who live in LA. And so CycLAvia was born. And I was deeply interested in this phenomenon in my own huge town of 12 million people. And I raised my hand to join the board. And I have met some of the most amazing people ever that have never crossed paths with me any other way in my work or, you know where I go to the gym or where I go to the symphony. There are people I wouldn't have known except for CycLAvia and there are some of my favorite people of all time. So it's kind of looking for things you're interested in, going in new avenues of engaging those things. And perhaps because for me as a leading-edge boomer, I would like to leave my city better than I found it. And things like CycLAvia feel very, very actively engaged in making the community deeply relevant now. Now we'd have a 10 times a year, we close streets, and they happen all over the city. And all kinds of people are involved. And we just got a new executive director, who was the deputy mayor for Via Ragosa. And he chose to come run CycLAvia because he's so passionate about what it means to LA.

Chris: Obviously there's the work you're involved in and then and then nationwide efforts. Are you bullish on the community right now or how do you feel about the overall societal trends right now in terms of community making?

Sandra:  Black Lives Matter on that trend, I feel deeply depressed since I figured the arc of my entire life that we're still talking about something as fundamental as the color of your skin. So, I feel as if there's a lot of light shined on this conversation there. Well, I'm a pretty huge optimist. And in all the places that I'm working, I am, I'm working in Charleston, South Carolina. And one of the members of our team, this really amazing guy. J.A. Moore, his sister, was one of the people who was killed in the church, in Charleston. And the way in which that town healed and came together and joined as one is probably one of the most remarkable things I've ever seen in my life, to music and food and church, and singing and voice and listening and coming together as a town. They are healing in amazing ways. So this guy, J.A. Moore is pretty interesting. He runs our coffee shop, they have a new community, very difficult. If you think about it, the owner of this land, they grow trees. And in the last few years, Charleston has just gotten a huge lot of manufacturing great jobs. And then they've grown outside of Charleston, to the ring around it, where the trees are. So the population has grown out to where this community is in the Midwest, Baker was the name of the tree people have land that can now be turned into new office residential retail, where people live and go to school. And the challenge was, how do you take what is in Charleston, which is pretty, unbelievably wonderful, and bring it out to a brand new, brand new community. So what they did is they brought people like J.A. Moore, who's in the food business, he runs the cafe. That is where people, that's our sales office, the Cornerhouse Cafe that J.A. runs, you can get a latte, you can get a doughnut even you can get a conversation, you can sign up to work in their community garden, you can see the performing arts school, you can look at a house, you can ride a trail, you can hear about the tree harvest, and through this young man, you've got a sense of Charleston, repotted in a new community. And one of the ways we did this, which I thought was pretty interesting, we did something called a slow share. Back to Sherry Turkle. And the notion of alone together and technology. We took a huge thing in Charleston called the wine and food conference. And we took a booth there, and we created this place that was like Summer's Corner. And we had 22 mailboxes, those old silver mailboxes with the little red flags on them. And we have typewriters and postcards. And we invited people to write a postcard or type a letter to a friend, and we would mail it to them. Well, it was unbelievable how many people wanted to do that. And because we mailed the letters for them, over 2000 people participated, we got the most incredible insights into what's on people's minds, including one postcard that was addressed to heaven. And so we took the slow share that we had the wine and food in Charleston, and we put it in the corner house cafe. And when people come in to get a coffee and talk to J.A., they can also write a letter or write a postcard, about anything that's on their mind. And we have found this slow share, to give us some of the best insights into community building we could ever hope to hear.

Tracy: So different from having people sit in a focus group room and behind a one-way mirror to mirror and share their thoughts. 

Sandra: I think Chris said it and I certainly felt it for years, maybe 20 years ago. I'm done with these. Chris said we call them the F groups and we don't do the F groups. In my opinion, that is not the way people are going to reveal to you their innermost thoughts, we quite often will do collages, where at the dinner and conversation will say describe a favorite childhood experience and they'll cut and paste pictures. And then they'll talk about their collage and usually, I'm not usually, every single time and insight will come out that will have application for the community that we're creating. I read a great book by I can't remember her name, a reporter for the LA Times, and the book is called The Inventing Desire. She spent a year living at Chiat Day, right around the time Steve Jobs was doing things differently. And her whole notion writing inventing desire was how in the world inventing desire for a computer or a taco. You may remember Yo, Cara Taco Bell, in that year talked about the magic of marketing, almost like, we believe in the farm, a yellow piece of paper, it's assembled. So the thing that has always struck me as a person in the business of selling a home, we don't have to invent desire, it lives in everybody's heart. We simply have to connect to that desire and make a place for it. In our communities.

Tracy: I think that's so powerful because you're right. I mean, I spent 10 years in advertising, where I felt like I was inventing desire. And it never felt real. I mean, it never felt valuable to the people who were on the receiving end of whatever their product or service was. And, and that was why I really loved the work that I was able to do at IDEO, and now beyond, which is to listen to people, and simply make it easier for them to access those things.

Sandra: That same place in Salt Lake City, or whole Daybreak, I was working with one of the builders who sell homes there. And he said to people, we were sitting around, you know, having dinner and conversation. He said, What are the three reasons you bought here? And they immediately went into focus group mode, they said, price square footage, floor plan. So about 15 minutes later, I said, what are the three things you would tell your friends about your neighborhood, and one of the three was at night when they walk as the sun's going down with their kids and their dogs, the mountains glow, a kind of pink, beautiful light. And that's not the kind of thing you're going to get. If you don't listen to people and allow them to not fit into a box of conformity. When they come in to find a house. They're disarmed by the corner house cafe in summer's corner, because they're offered coffee and the conversation when they go into a sales office in Irvine, California, they immediately go into a three-bedroom house. This is my price range, how quickly can I get away from you, the salesperson, and then go see the models.

Chris: Developers don't have the best reputation. And a critic might say, okay, I get it, you know, developers want a great community. But ultimately, the end goal incentive is to make a lot more money. So is the community really an authentic community? Or is it just a quick way to make more money? So I'd be curious, you've worked in this industry? Can you shed a little bit of light into that? And is the modern developer a more noble role than it has been historically? 

Sandra: No. The modern developer does something noble, that it has to do with energy savings and doing really smart buildings. So in that regard, I would give almost everyone in the business credit for building better homes that are more energy-efficient, that live better and cost less to run and, and floor plans are more efficient. So in that regard, they are good. And they are driven by their public builder. They're driven by, you know, the quarterly reports. The interesting question or the conundrum is, if you want to go faster, for you know, closing more houses more quickly, that is not necessarily going to develop the best community or get the best return on the land, which you're consuming. And once it's consumed, you don't have anymore. So the interesting question would be if you were deeply thoughtful about this place you're creating, and you did it really well. And you did it with patients. I would think of the seaside in Florida, the panhandle of Florida. In the end, you're going to have something truly remarkable and there are even public builders who are doing good work on that, um, Rio Tinto, Daybreak is really quite wonderful. But it's hard because you're pushed by wall street and you're pushed by quarterly results and you're in numbers. And, in fact, people would be paid more if they were pushed by what true community is. Look at Apple. Look at that product. I remember when the Apple store opened in Santa Monica and the iPhone was for sale. And I asked the salesperson there who's buying these? He said we had a big surprise. And I said, what's that? And he said a whole lot of people can barely afford a phone. A ton of them came in and bought phones. And I said so it's not just the rich people. And he said, no, it's the people who see this as a tool to everything they need in one device in their hand. And I had another one of these big aha moments, Chris was at Grand Central Market downtown, a couple of weeks ago. This is a place that's 100 years old, and you can get a $2 taco or a $7 Coffee under the same roof. So everybody is convened at this table in LA. And I was standing in line for the $7 coffee. And behind a guy who ordered a $4 coffee. And I started chatting with him and said, Where do you work? He worked at the bridal shop a couple of blocks away. And I said, Do you come here every day? And he said, just for the last five months? And I said How's that? And he said, my grandfather always told me great coffee doesn't need sugar or cream. And one day a guy who works in the bridal shop with me went to get us coffee, I gave him a $5 bill, he came back with this cup of coffee and $1 change. And I'm like, hey, man, McDonald's does not charge that kind of money for a cup of coffee. And the guy said, oh, I tried out this new place in Grand Central. And this guy who worked at the coffee shop said I've never gone back to McDonald's. Sometimes I think we underestimate what people want. Because we look at what they can afford. And I'm not talking about a terribly expensive house. I'm talking about a community where people are given the option of having treats. Whether it's the iPhone, or it's a cup of $4 coffee at GMB.

Chris: That's an amazing year as you were telling that story. I couldn't help but think that if a developer could be discerning around who came in, and that there was a community contract that people had decided to sing, they were actually going to do their part, a friend of mine, I was having coffee with them yesterday, he said, I have been cramming all my community hours into the school this week, because we're supposed to commit 30 hours by the end of the year. And I said is that? Is that a private school? And he said, No, it's a public school. And I said the public school demands that every parent commits 30 hours? And he said, yeah. And my first question was, how to enforce it. And he said I don't know. But there's this social contract. And there are all kinds of things you can do. And every parent gets involved because this school has a contract. And I thought, How cool is that? And what if you had that commitment, we know when you went into a neighborhood that you are going to contribute a certain amount of time to it.

Sandra: I love that I'm going to steal that idea immediately to knit marks, and that whole notion of gifts, you know, people feel better, they're happier, they've gotten better well being the Happy Planet Index would say yeah, given the opportunity, and a little bit of obligation to do it. I love that idea.

Chris: The notion of community in a modern technical age, what are you seeing that gives you a lot of hope, where your work meets technology, in terms of community.

Sandra: As we said earlier, all people are too busy. Technology lightens that load. It's just a much more efficient way to get out of the HOA and share news and connect people for the basics of what it's like to be in the community. It's easier in some ways to buy a house, it's you know, he's there before people even arrive in our communities they know so much before they even get there. And usually, they've read the mommy blog, and they've looked at social media and Instagram and they're coming in more informed. It allows them to make a quicker decision if they are ready to, you know, move their family. So there's just a ton of ways in which it's really terrific. They can do their shopping online in terms of picking stuff at the design center for their home, you know, the countertops and the flooring and lighting. It just gives them time. And that's pretty awesome. 

Tracy: Totally going to switch gears just because I'm super curious about this. I saw that you became a looper for the X Prize. And I wondered if you could talk a little bit about that. Sorry, my nerd side is totally on display.

Sandra: Yeah, well, you'll love how I randomly did it. I went to work for the people who did the Hercules campus with them on this cruise hangar and they did The YouTube's face at Playa Vista in LA. And I went to a community gathering because I just flat thought, wow, every Friday afternoon, from four to six, you can go to YouTube and you can hang out with people, you just have to sign up online and you can come. And so that might loot the X Prize, people were there. And they had this unbelievably cool airplane. And if you signed up that night and became a looper, you got the airplane on. It was like a static airplane, and my husband flew fighter jets. And I'm like, that is the coolest present I could ever get for Dan. So I signed up two years ago to be a looper and randomly I got the plane. But the insight into X Prize has been believably priceless. Because they have workshops, they teach us how to do you know, challenges, X Prize challenges you meet like physicists from Caltech, it's again, that notion of how do you get out of the neighborhood in which you live and work and get into the broader diversity of a city like LA and just celebrate what's right there? If you just go a slightly different path. So I love the looper thing. It's, it's been wonderful.

Tracy: I'm so glad I asked. Sorry, and it totally connects to our topics. It sounds like you're in the complete right profession.

Sandra: Well, I love what you guys do. And I have been deeply influenced by him and learned so much from Chris and working with him. And he's tough. That's one of the things I think it's important in this notion of building a community. It's not easy, it's tough. It's demanding. Ideas are cheap. He got to figure out how to do stuff, not just talk about it. And Chris has just been amazing working with a ton of the people I work with and helping us get there.

Chris: And the whole podcast is about this notion of wouldn't it be cool if you could flip design skills and apply it to your own individual life? Do you do this at scale? Right? If you think about community, it's ultimately helping a lot of people unite and live better, as you referenced, you know, the five ways to achieve wellness, etc. Through your experiences and life, is there advice you would give our audience that is getting after it and trying to optimize their lives for wellness? Are there any parting thoughts you'd leave them with?

Sandra: I feel like I'm still designing. And I wish somebody had told me a couple of things earlier. So yeah, I think that travel is just inherently amazing. And I don't mean you have to go to Europe. I mean, you can travel on a car trip, I just think travel takes you away from your daily work, to see people in different situations. And I think Airbnb is pretty interesting in terms of allowing people to travel into neighborhoods, you'd never get to see otherwise, stuff like that. So travel would be one thing. I am a huge believer in reading and reading widely. And then it took me getting fired from my job at age 38. To really stop fearing failure and risk. If I hadn't been fired from my job at age 38, I think I would still be sitting in that office out there in the valley, working really hard. And not have had such an amazing life as I've had when I was fired. My boyfriend, now husband, said to me, you know, if you think about it, when you were a school teacher, you ran your own business. So perhaps you should do that again. And it has been amazing for me to pick and choose who I would work with. I mean, now I have the luxury of totally doing that completely. But finding anybody I worked with when I first started my business, my first job was in Las Vegas, a town that I'm not particularly in love with. But there's always something interesting everywhere you go. And just open your heart and your mind and your brain to new experiences and just go for it. There's one last book I'd like to recommend for people. And it's called Orbiting the Giant Hairball. This is perfect. This is a guy who was the creative director for Hallmark cards in Kansas City for 48 years. And when he retired, he wrote this book, if you buy that book, it'll give you 10 more ideas about how to orbit in your life.

Tracy: I love it. Thank you so much. You've given us so many great resources to reference for people. So I really appreciate that in particular. I usually will collect all of the things that people talk about an episode and list them on the website. And so thank you for all of the generous ideas.

Sandra: You're welcome. And thanks for your ideas, Chris. I'm gonna use that one immediately engaging people in our community contract. That's awesome.

Tracy: Yeah. It's like Burning Man. Right? Like, yeah, everyone has to give Leave No Trace.

Sandra: I love it. 

Tracy: Sandra, thank you so much. This has been amazing. You're lovely. And I love what you're doing so much.

Sandra: Thanks, Tracy. Thanks, Chris.

Chris: Thanks, Sandra. Great talking with you. And we'll see you soon.

Tracy: Okay. Bye, bye. That was great.

Chris: That was fun. She's, she's just a bundle of really positive energy and, and backs it up.

Tracy: Absolutely. I mean, I just when you first told me about the work she was doing in Todo Santos in particular, I was attracted to her story, just because I'd been down there. And it's this really lovely small community with a big art scene and obviously rich Mexican culture. And just knowing that people were considering the community that already exists as they're building this new future. It was amazing to hear about it.

Chris: Yeah, we didn't talk about it much. But the way that those projects are designed is that the local fishermen and farmers have as not as much weight in the development as any, as any hotel or, you know, the serious investor would. And so it's a way to keep everybody both engaged, but also to keep the developer from, you know, resisting the temptation of just following the short dollars that ultimately will kill the community, as we talked about. So there are great stories like that, unfortunately, I wish there were a lot more of them.

Tracy: Well, it's nice to have some shining examples to point to, exactly. It's possible. I mean, I think that she's sort of an example of, you know, the design thinking process of talking to an expert, or to an extreme. She's thinking about the community on this extreme level, like you were saying, at scale. It's so different from how people think about it in their daily life. But there are wonderful lessons to be learned from her example.

Chris: Yeah and I, having watched her in action in what she said today is, she just has a great job of having people reframe the question, they're asking about what it is. So I really liked her builder example is, you know, so tell me, I'm the builder, what, why'd you pick your house and they say, square footage, and, you know, efficiency or whatnot. And so the idea that to ask the bigger question, which is, you know, what would you tell your friends about living here, those things instantly drop, not that they're not important, but that you have to create and design with the right questions in mind. And so I think she has a good job of getting people out of their normal mode and asking the bigger question, and then elicit interesting, more emotive responses. Great.

Tracy: Absolutely. And it's not even that giant a shift from the question, but that nuance makes all the difference.

Chris: Yeah. And I think that that unravels all the way down to the individual level, which is, some of us might be asking the question, how can I carve a walk into my early morning to deal with my workday and maybe the right question is, why is my work? So deflating? Perhaps I should be rethinking this? Right. So I think those meta-questions also apply at an individual level that you really do have to step back and ask yourself the big ones at least every couple years, otherwise, you're on a crash course towards really regretting it later. I do like there's a pattern in the people we're talking to that they all share that whether Kyra and her journey when she went to Harvard, or we heard about David Kelley and his deals with God, that he couldn't remember later. These are, these were big moments that really shifted those folks. But I think the difference is these guys acted on it. And that was pretty cool. And the thing that I'm liking about what we're hearing as well is that it's not that they were all in this really privileged place to act upon. And I love Sandra's example of breaking the myth that it's only the wealthy that can afford something like a good community. And so that was my favorite part about her example is that people, people crave it at all levels and there is a way to produce it in a way that's worthwhile for everybody.

Tracy: Yeah, I remember, I was really surprised by that example, I'm not surprised that lower socioeconomic communities have a strong sense of community. But just that she had experienced that and was sharing it more broadly. Because I feel like I mentioned to her that as a society, we kind of other eyes, people, and especially people who live in poverty and like to think that they're less than human in certain ways. And I got a chance to visit Cape Town in South Africa. And, you know, they do these tours where you can go meet with people who live in the, in the slums outside of Cape Town, which I kind of was conflicted about going to seems like a strange offering, but because it helps support the communities, I thought I would, I would do that. But what I found interesting was just the deep, interconnected sense of community there. And one story kind of stood out to me, the woman who'd given me the tour, you know, she was talking about how, maybe in her neighborhood, there's only one woman who owns a bathing suit. But if she was going to the beach that day, she could just go into her house and borrow the bathing suit, and didn't need to ask because it was shared property. And there was this understanding, if the woman who owns it isn't going to the beach, then somebody else should be able to enjoy it.

Chris: Great example. I love that.

Tracy: Yeah. Well, and also, this was another part of it, which I think just points at the naivete that I have about an especially at that point in my life, because this was about 10 or so years ago, about what people living in poverty, like what their lives are like, but the woman who came to pick me up for the, for the tour, she lived in this area, and had grown up in this area. And she came and picked me up in this really nice car. And I was like, Whoa, this is crazy. She's done really well for herself. And she had asked me if after the tour was done if I wanted to go visit her house, and I said sure, of course, and so expected that we would drive back into Cape Town proper, where she, obviously with this nice car has advanced, you know, but she just drove around the corner from where do we've been and she had a larger house than the other people we were visiting. But she stayed in the community because that was her home. And I yeah, I hadn't considered that until that moment, the power of the people that you know, and that you've grown up with.

Chris: Yeah, it's amazing. It's hard not to feel a little conflicted just in terms of one on one hand community feels like it's a little lost, and people aren't looking out for each other. But then, you know, if you look in a very modern way, we're connected in ways we don't even realize now. And tools like Facebook are really interesting. That way, I'd see most of my friends. And I'm pretty caught upon them. Right seeing them and I can, one of the funniest sciences, I was on this bike ride. And I saw my friend Matt, and right just kind of hadn't seen him for a while. And right off the bat. I was like, so did you get the toilets installed that you were working on, you know, referencing Facebook. And you can kind of kick right back up. So I do think this hybridized version of, of online-offline, I think the part that scares me is when they're when the offline is just dead completely. And so this idea of leveraging tech, to kind of carry you in between the offline encounters feels like an amazing blend. So, yeah, yeah, so I'm excited about that. But what concerns me is that will, will fill our busy-ness time was only the digital component, and then you killed the offline. So I think we're kind of figuring that out as we go, given that so many of these tools are still new.

Tracy: Yeah. I mean, I definitely use next door to keep tabs on my neighborhood's what's going on and I like that, there hasn't been a tipping point with it. There are still people in the neighborhood who aren't using it. But that example of saving the farm really blew my mind. I have to say until the lot had been sold, I would walk my dog by the farm. I mean, I felt drawn to it's just an odd thing to have in the middle of the, you know, an urban environment. And it's really quite large and, and I just felt drawn to it. And I'd always stop when I'd walk the dog and kind of just take a deep breath and caused me this moment to pause. And so when it was in danger, I I felt really bummed about it. And then to see this total grassroots campaign come up and to see how many people not just were willing to put the signs in their window, but still, months later have them up, faded. And, you know, it's like people want to participate. That's obviously a low barrier to entry to put a sign on your, your, your window. But talking to Sandra really made me think well, what is something that I could do? That's maybe different from the typical political sphere of rail, calling my representative and voicing my opinion. I really liked her idea of just inviting the interested parties to come together and get to know one another. Because the shared values that we have, are probably all very similar. I mean, we're talking about a school in a garden, we're not talking about, you know, extracting oil from tar sands.

Chris: And fracking. You've reminded me though, one of the things I miss a lot, having in the Bay Area is coming from a region where we had real weather. Because weather would bond a community, if there was the big storm coming, everyone would hunker down and there'd be a snow day, and now the kids would come outside, and everyone would be out shoveling their driveways and whatnot. And you would bond through the triggers like those outside triggers. And we and you see that on a major scale one of it's always sad when you see natural disasters, but then you'd never want them to happen. But you do see communities rally together. And that's one of the beauties not of a natural disaster but a beauty of the outcome is that these communities bond and so sometimes these triggers can really be helpful.

Tracy: Well, even as Sandra is talking about what had happened in Charleston, and how, as awful as that was that it's actually been able to bring the community together and to allow people to heal together. Couldn't be more healthy.

Chris: Exactly, exactly.

Tracy: And when Sandra was talking about combining, you know, the younger kids with the older people, and I know that there's been a couple of stories about nursery schools where, you know, people who live in nursing homes kind of get put in the same environment and how truly beneficial that is. And they just say yes, goodness, that's such a great solution.

Chris: I know. Yeah, it's like if you're gonna build a senior center, always put a preschool downstairs. 

Tracy: All right, that's a wrap. Thanks so much for listening. Our dream is to build a community of people who can create and take advantage of any opportunity that interests them. To do this really well. We'd love for you to participate. Try out and share back your own life design experiments. Or if you've already got a great story of how you've designed your life, we'd love to hear from you on our Facebook page, or resultsmayvarypodcast.com. Our website is also where you'll find show notes and links to all the things we mentioned in the episode. And if you wouldn't be so kind, subscribe to the show, and share your favorite episodes with friends. that'll lead even more people to start designing their own lives. A big thanks to the folks who helped us make the show possible. composer and filmmaker HP Mendoza for the Results May Vary theme music, graphic designer Annessa Braymer for our logo, David Glazier for sound mixing and team podcast for editing, and of course, thank you so much for listening to Results May Vary.


RMV 16 Dr. Mick Smyer Transcript: You Can Design Climate Action

Full transcript:

Tracy: In our last episode, entrepreneurial learner and doer Jenny Jin inspired us with her work at MIT teaching students how to design their own lives. Today, we introduce you to aging and climate change expert Dr. Mick Smyer and his Graying Green Movement, which aims to engage more older adults in taking impactful action on climate change. Among his many accomplishments, Mick is the former Provost and a current Professor of Psychology at Bucknell University. In addition, in his second-year sabbatical, he's currently working on Graying Green as a civic innovation Fellow at Stanford d.school, learning the power of applying design thinking to social activism. And maybe most impressive are his prodigious skills as a washboard player with New Orleans own Rustical Quality String Band.

I wondered if you could share in your own words, what you've been up to, and what you're interested in around the topic of design. 

Mick: Sure, I'm a psychologist by training and have spent my whole career focus on aging, particularly in the last two years, I focused on the intersection of aging and climate change trying to link to global patterns, population aging, and climate change. And I'm interested in the design aspects of how to apply human-centered design principles and concepts to accelerate older adults’ visibility and value on climate action.

Tracy: And what got you interested in this intersection, because I know that it's not an immediately common one that people are used to hearing about. 

Mick: It's funny, because, for me, it's pretty obvious that is, if you look at the world, right now, there are two global patterns that are happening, the United States is in a unique position in that we've been able to handle three transitions sequentially: an economic development transition, a demographic transition to an aging society and the third transition is the reaction to in response to climate concern. But there's a lot of the world right now that's trying to deal with all three simultaneously. And here I'm thinking, for example of Brazil or China, China's a rapidly aging society. It's also trying to move ahead on the economic development front. And it's committed to dealing straightforwardly with the climate threat. So it strikes me that it's an interesting time, and it's an important time in the next 10 years that are critical on climate action. And they turn out to be an interesting 10 years for the aging of our population as well. 

Chris: Can you give us some floor examples where aging and climate change meet? 

Mick Sure, the intersection of aging and climate change happens most frequently in three ways. First, older adults as consumers, we know that older adults continue to consume durable goods and expand their carbon footprint through their mid-70s, at least. And so there's an opportunity for getting that sizable and growing portion of the population to think about their own consumption patterns that model other consumption patterns for the rest of society. Second, older adults could be casualties of climate change. We know that older adults are one of the vulnerable populations that various reports have pointed to recently vulnerable to the impact of extreme weather events like drought or floods. For example, in my hometown of New Orleans after Hurricane Katrina, older adults were disproportionately represented in terms of mortality, but also in terms of morbidity and emergency room visits. And third, and maybe most importantly, older adults can be seen as a valuable resource as campaigners and people who can be active on the climate front. The world right now has about 1 billion people 60 and over. By the mid-century, that figure will be 2 billion and the century will be 3 billion people 60 and over. So if we're going to come up with climate solutions that are good to engage for parts of the population. Older adults have to be part of the development of those solutions and the implementation of those solutions. 

Tracy: And so what brought you to the world of design? How did you get interested in design thinking, how did you end up doing this fellowship at Stanford?

Mick: While I was on another fellowship at Stanford at the Center for Advanced Study in the Behavioral Sciences, and a friend of mine from Babson College, Cheryl Kaiser said, stop talking to the social scientists and the gerontologist, those are yours, your strengths, and your skill sets. Go talk to people in the design school. And her insight was absolutely right on the money because Cheryl understood that the design school would give me a new set of skills and a new set of framing to accelerate my process. 

Tracy: And what was interesting to you about design as a process, like did you have any understanding or expectation of it when you first became aware?

Mick: I had some understanding of it. On the one hand, it seemed very familiar, because as a clinical psychologist, the human-centered aspects and starting with the humans, you're concerned with, you're starting with the client’s perspective, was very familiar, although maybe using different terminology in clinical or community psychology. On the other hand, there were other habits of thinking that I had to sort of set aside as a social science. I'm used to trying to get a sample that represents the general population so that I can generalize to the entire population. Sometimes in design thinking, you may want to interview people at either end of the distribution, the extremes, because you can learn a lot from those extreme users. Well, that's a very different way to think about what the sample means. Sometimes in design thinking, we talk about doing an experiment. In the social sciences, an experiment means that either you control or control for a variety of other factors. And then look at the impact of one factor, for example, whereas in design thinking, you're basically saying, let's take the ecology as it is, let's take the world as it is, and let's go out and do something and see what kind of impact and feedback we get. And so it kind of flips it 180 degrees and says, we know we're not going to control everything. But let's see what happens when we work in that complex. Does that make sense? 

Chris: It makes sense, especially the ability to quantify population and that's often a point of resistance where science meets human-centered design. Just taking a step back, I'm curious, what got you into this field overall, and was it were you led by climate and then came across aging? Or what was the path for you into this space? 

Mick: Well, that's a really good question, Chris, I think I am passionate about climate change in aging. And for me, the lead-in and I think this is true for most people. It was a personal connection. I mentioned earlier that I'm from New Orleans, going to New Orleans after Katrina, it was not caused by climate change. But we now know that more extreme weather events like Katrina, or Hurricane Sandy, are frequent, and they're on the increase with climate change patterns. But seeing the devastation of Hurricane Katrina, and going to New Orleans with groups of students to do Katrina rebuilds, 10 years after the storm. So I went down seven or eight years in a row with students from Bucknell University and seeing my hometown reliant on the kindness of strangers to rebuild made the climate connection, just palpable for me. And so then I begin to ask myself, well, what can I do about climate change? And I realized, I'm not a climate scientist, but I am a gerontologist, I know something about aging and older adults. And so I thought, well, that's what I can bring into the climate discussion. Are there ways to make older adults whose voices heard more effectively on climate change and climate action?

Chris: And tying that back to design, these are big subjects with high volumes of people and climate change is exponentially complex. So you mentioned experiments in the design world, tell us about where design and big science meet at that intersection of kind of small and low fidelity and enlightened trial and error. 

Mick: I would say I'm in the transition phase of getting used to that because, on the one hand, my aspirations are to try, to help move the needle on the big and complex issues. On the other hand, my capacity, even leveraging others’ efforts and support is pretty modest. So the trick is, how do you see the connection. The trick is to see the connection between small scale, low fidelity experiments, and the larger issues that I'm trying to work on. So I think that's that really took some getting used to. On the flipside, however, is that the bias towards action, the drive to do things out in the world, fail quickly, and learn from those failures means that you're moving ahead pretty quickly, in a way that just is not the case with the social science research methodology that I would traditionally have used. 

Tracy: Hey, Mick, do you want to tell them what you did last week? 

Mick: Yeah, well, last week, for example, we had what we call a sprint. So I had three days, developed an experiment, put something out in the world, and got some feedback on it. So coming out of the earlier work I've been doing in the d.school at Stanford, I decided that I wanted to hear older adults' voices on climate change and I developed a Facebook page called Old People Don't Care About Climate Change. It was a takeoff on a title from a funnier video, maybe you've seen it called Old People Don't Care About Climate Change, and really, it was a feasibility study to see could we get people to post and to respond to this Facebook page thinking and I was thinking of it first as a feasibility study of using social media for that kind of engagement. And secondly, is the sort of bottom rung or entry rung of the ladder of engagement and climate action. So in three days, with the help of one of my fellow fellows, Mario and with Tracy's good direction, we were able to launch and get really interesting responses from people. 

Chris: Can you share a couple of those I'm really curious about, now that you've taken us this far, I can't wait to hear that kind of word ended up. 

Mick: A couple of things happen. One is people posting on the page. And then that was actually affecting other people who then posted in response, which you know, is obviously, that's what happens. But, for example, I'm just looking at the page. Now, one person posting about her dad, who she described to us, she's not sure he's old, come see 63. And he wouldn't want to be called old. But he's been very much a model of responsiveness on the climate issue growing on his own food and various things. And she went on to talk about how that has influenced her. Another person said I'm an old person, I'm sure you care about climate change. I'm not blind to the fact that right now we're experiencing one of the most severe droughts western North Carolina has ever seen. And I know these extreme weather events are happening everywhere. What kind of earth are we leaving our grandchildren and our children? Yes, we care. And that was in response to somebody else's posting about how little time she has left, and wanting to use it, knowing that she knows her, she's an older adult and realizes that she has a limited lifespan ahead. That's not unlimited. She wants to use her time working on climate issues.

Chris: It reminds me that, you know, these topics can be heavy. Is there a technique that you've used or seen used that lightens the mood so that more people come into this conversation? 
Mick: The Facebook page is kind of snarky and that's by design, one of the folks that we had taken a look at the prototype said stick with the slark. And, and that's why we started with the funny, satirical, as right as the kickoff, Freud said, humor is a mature defense. So I'm all for humor. I think it's you know, you have to keep a sense of humor, even as things are difficult. It's important to have that sense of snark. But also, it's a serious issue. You know, the National Academy of Sciences when they talk about climate change communication, although they were talking about for K through 12. And millennials, I think the lessons apply for any age group, they said, keep it short, social and positive, short in terms of timeframe. So don't talk about your carbon footprint in 10,000 years, because our brains aren't wired to think in those terms. Think about three or four generations, that's about the timeframe that we can understand social in terms of connecting to people in places that we care about. In fact, that was the starting point that I originally started with, in terms of the Facebook page, I was going to ask people to talk about a place that they care about really emerged more into sort of our responses to the satire to try to get older adults to express their strong feelings and a lot of times it does link to specific places, but people are playing people or places a personal connection, like my connection to New Orleans is often important. But the third part is really important and that is positive. Try to focus not only on what's happening but what are the things that we can do in response to climate change. That's part of what I'm trying to work on now: how do we frame realistic actions in the face of some very, very difficult challenges? 

Chris: Find design to be a kind of look at these challenges, it tends to look at them more optimistically, and looks to get inspired to action, have you found that with design? And if so, what have you seen out there that really, maybe from another field or in this field really inspires you around like, wow, more like that, you know, if we can keep that up we will see the kind of change we all wish we could see?

Mick: There is a built-in assumption in the design process that you can make a change, and that you can have an impact. And the climate is one of those areas where that's pretty challenging. On the other hand, I think the design process assumes you can have some impact, and the small impacts are going to eventually affect and leverage the larger issues. And in a way that's sort of synonymous with what many older adults feel, as one of the people said, on the Facebook page, I'm committed to being an example of how important climate changes to the future of life on Earth, with whatever time I have left, folks, at a certain point in life, say 65, 70, 75 know that they're not going to be round from any of the harsher impacts of climate change. But that doesn't mean they're saying, oh, and therefore, I don't have to worry about it. So I think the underlying optimism of design, principles of thinking and approaches, resonates with older adults who say, Look, I'm realistic, but I'm also going to get out there and try to do it.

Tracy: You know, climate change is something that we have helped inspire to pick up the pace. So if we've created climate change, by design that was unintentional, and I would imagine that we could, we could undo the effects of it by intentionally designing our way out of it. 

Mick: The reason I'm reluctant, I've spent a lot of time with climate scientists that reading the reports, and, you know, even looking at the recent National Geographics special, Leonardo DiCaprio, I mean, we are in very, very difficult situations, which doesn't mean that we can't do things about it and can't turn things around, we can. But the timing is really important. And that's in part why I think these next 10 years are really important, both for climate but also for the aging population. And by that, I mean, the next 10 years, the boomers are coming into a time when they're the early leading edge of the boomers are already there. And the trailing edge will get there a time when they have time, energy, and resources to focus on issues that will give them meaning and purpose in later life. Well, that happens to be the same 10 years where we really have to get action on climate change. So I think that any political or civic leader who's going to make a local regional or national effort on climate change has to bring along older adults as a large part of that coalition. 

Tracy: I like when we first met you were talking about that age time period in someone's life as sort of a second college experience, or I forget, you said it much more eloquently. 

Mick: There is this phase in later life that's like being in your 20s. And by that, I mean, oftentimes, you're faced with issues like where am I gonna live? Where are my friends gonna be? And how am I going to pay for it? And if you're the parent of a 20, something, those are pretty familiar issues, only now, you come at that in your later life, with a set of experiences and a set of priorities. And so it's a very interesting mix. And we also don't have great models for this phase of life. I sometimes call today's older adults. So the Lois and Clark Scouts of aging, you know, when Lois and Clark set out and sent us out back to tell Jefferson what they were finding. And in many ways, today's older adults and us and the folks who preceded us, are really learning what the landscape of old age cannon could be. And we're giving reports back to those who follow us.

Chris: I think that's really the thing. I mean, I've been thinking a lot about exposure, just the idea of, you know, when you are exposed to new ideas, or new insights, or like you're talking about having people say, this is what it's like to be this age, that allows you the freedom then to make bigger bolder decisions and choices just because you know, that they're out there to be made. 

Mick: Well, that I think you're right, Tracy and there's also a clear sense of changing sense of time, a psychologist here at Stanford, Laura Carstensen, has written eloquently about the way in which our sense of time changes with age, so that's somewhere in your mid-50s or so, maybe a little later, maybe a little earlier for some people, you get us at your time senses shifts to a sense of time left to live that pretty quickly focuses you on. So what's important to me? Who are the people who are important to me? What are the activities that are important to me? What are my priorities? If I have limited time left to live, even if that limit is 16, 20, 25 years?

Chris: Mick, what you're doing for me right now is just shattering a lot of myths. Are there other common myths about aging and or climate or the combination that you commonly hear that you find to be quite contrary? 

Mick: Well yeah, I mean, there are a lot of myths about aging. In fact, Laura Carstensen has a book called a Long Bright Future that's framed around basic lists of aging, things like most people are miserable. Well, in fact, no happiness and life satisfaction peaks late in life, once you relieve the everyday burdens and stresses of childcare and raising a family and work-family balance in a way that is pretty intense in midlife. Boy, that's pretty darn good. You know, so I think the other thing is that we tend to paint all older people with one brush. And so there's a myth of uniformity about old age. But in fact, variability increases with age. If you take a group of seven-year-olds and a group of 77-year-olds, the 77-year-olds are going to be more different from each other than the seven-year-olds are. And why that is the lifetime impact of both environmental and genetic influences, and experiences. You know, the experience has been fairly common up to age 70. By 77, some people have smoked, some people haven't, some people have had a lot to drink. Some people aren't overweight, some people are physically fit, some people have had education for 12 years, some dropped out of high school. Some people worked in hazardous occupations, others didn't. And so the cumulative effect of all of those individual decisions and opportunities lead to very different paths and outcomes in labor. 

Chris: What are the common myths that need to be debunked? I think this is you've just completely shattered. I think what most people think about aging, so why don't we just go ahead and do that for climate change while we're at it? 

Mick: I mean, the big myth that I struggle with sometimes is that older people don't care about climate change. But in fact, the data are pretty clear that older adults do care about the data, and by this, I mean social science surveys, for example, the Yale Project On Climate Change Communication reports data that suggests that boomers are as concerned if not more, so, about climate change, as millennials. So I think there's the myth that older people are just greedy, geezers, I've got mine, and it's and after I die problem, that's just not the case. And the reason for that is pretty simple. Because we're wired to think about future generations, you know, from an evolutionary perspective, we're wired to think about whether our gene pool is going to survive? So but even beyond that, you know, psychologically, we're wired to think about the impact of things like climate change on future generations. And so older adults do care about climate change. And yet, most climate scientists and most climate communicators have overlooked this important growing resource. When I talk to them about older adults and climate change in aging. I usually get a one-word answer from scientists, and that word is hot. And I now understand that science speaks for this, not a crazy idea. I just never thought of it. And it's that over oversight that I'm trying to remedy. 

Tracy: And I really love that because I was telling Mick, like, when those things happen, that is when you have a great opportunity for design, right? It hasn't been explored yet. 

Mick: You're absolutely right, Tracy and then what I find with various groups is once I get beyond the heart, and the first time I got hot, I was really worried. But now I'm ready for it. But once I get beyond that, then I find most folks are willing to play with the ideas to say, well, what would it look like? Or how might we engage older adults? And it's interesting, even if the flip side happens with folks who work in aging arenas, getting them to think about climate change because I'm starting to get the hunger response from them. In other words, it's not just bringing aging to climate change, but bringing climate change to aging. I still get a huh. What if we looked at it this way, and I think you're right. That's where the design process really kicks in. 

Tracy: On that note, I wonder, since you're in this new phase of trying design out and applying it to your many years of expertise in aging, could you talk a little bit about how you think about design or how do you talk to other people about it, what the process is one of the things that we you know, it's like, we're always trying to figure out new ways to talk to more people about it and make it relevant to them. And so I'm just curious since you're in this reality, you're in a sweet spot, right now, you know, what it is, you're trying it out for yourself, and you're applying it to something that you've been looking at, in a completely different lens?

Mick: Sure. But you know, it's like asking a pilot who's certified for visual flight rules and six years to talk about landing a 737? Well, you know, somebody asked me, Well, what is human-centered design, and the bumper sticker I came up with was, start with humans, and with solutions. And for me, that's a good summary, starting with humans is really important. So going out, talking to the folks that you're trying to engage is really the critical first step, and being open to learning things that you didn't, you didn't even know you didn't know. And it's that openness, and the deep empathy work that I think really is important as a first step. 

Tracy: Were there any experiences that you had in that empathy-building phase that have stood out to you like anything that really threw you for a loop or changed your perspective? 

Mick: Yes, I was doing one of our experiments or phases, given a woman I was interviewing for a card sort with a lot of different individual actions you can take on climate change. And she sorted them into piles of her own making. And there was this large pile and I said to her, what's that pile? She said, Well, you know, I rent, and those are all things that my landlord can take care of, but I can't. I can't control us. So my next interview happened to be with a woman who was the landlady, not the same, not the landlady, the first person, but a person who had a rental property. So I gave her the card store. And she had a big pile. And I said, well, what is that pile? She said, Well, those are all things that my tenant can do, but I can't control them. And what, and what struck me was that this was a great metaphor for the problem of the comments, nobody feels like they can control, they have control over a lot of actions that make a difference. There are solutions to that, in this case, I, you know, I prototyped, a little green lease, and try that out with another lady who was very interested in it not for the environmental reasons, but for the economic reasons, she could probably say to people, yes, the rent is high. But look I've invested in and these actions are going to save you on utilities and the like. But the point is, the first two people I talked to both felt relatively powerless to make straightforward, simple changes because they felt somebody else was responsible for them. That's the kind of conclusion I would not have come to, other than sitting down talking to people giving them time, and taking my leads. 

Chris: What do you wish the design crowd could know about the scientific crowd? Because you, as Tracy pointed out, you kind of straddle both worlds? And what do you wish for the designers out of your prior work? 

Mick: Right? I'm the design whisperer to the social sciences. And the whisper to the design crew, I think is both and not either-or. In other words, I think there are some things that you can take from social science findings, and then use those as a starting point or as a kickoff point, for a deeper dive using design processes. For example, the first part of my project I spent with folks at the Yale Project On Climate Change Communication and looking at their survey data, helping them re-analyze it and reframe it from a generational perspective. That allowed me to have the insight that we have older people who do care about climate change. So now armed with that insight from quantitative data, I can then do a deep dive in empathy work and elsewhere and say, Well, how do they fear and how can we make that manifest? So I think there's, I think both and I think the work of both sides is enriched by being able to sample from the other side, however. It sounds easy, but it seems to me it requires respect for the methods and insights from both sides. And that's, and that's tricky, I think. 

Tracy: Well, I think that goes back then again, to what we're well what I was talking about with exposure, right. It's like without being exposed to an understanding of the other side, it's hard to have that respect for historically, we've worked in separate fields. And so it hasn't really come together. As we kind of wrap up, I wonder, for the audience's listening, what are some things that they could be thinking about or doing around the topic of climate change and thinking about aging, either for themselves or people in their lives? What are some steps that they could take? Or ways to look at things a little bit differently?

Mick: Well, I think the first step I would take is to realize that the older adults in your environment, the older adults around you, are the keepers of living climate memory. They remember what the climate was like, in your local area, or in their local area 50, 60, 70 years before this, they can tell you what the changes are like because they've seen them. And so one first thing that anybody can do is ask older people that, you know, what changes have you seen in the area that you live in? Whether it's the plant life or the water, whatever it is, precipitation. So part of what I'm saying is taking advantage of that living climate memory. The second thing I would urge people to do is to think about their local and regional area and ask themselves, what am I doing to lessen my impact on the climate in my local and regional area, we all have an impact. And there are simple things we can do, whether it's doing more walking, drive, less, recycle, all those sorts of things. But then there are regional responses that require collective action. And some people are uncomfortable with that. But increasingly, mayors and governors are taking the lead, to make sure that the regional solutions are looked at and pursued. And that requires political leadership, but also political support. So if you're already doing individual things, think about well, what can I do collectively? What's the next step for me if I'm doing most of the things that I could do individually, maybe the next step for us to get involved collectively, whether it's signing a petition or joining a Climate March or going to a city council meeting, that's considering the sustainability plan for your region. So I think those are things that each of us could do, and ways in which each of us could get involved. But the main thing I think we need to do is to remember that more adults are a resource for families, for communities, and for regions. They not only are living memories of what climate change has occurred in their lifetimes, but they also are visionaries of how we might respond, and what kind of actions we do take to make sure we get ahead of the climate dilemmas that we're now facing.

Tracy:  Continued success as you explore this through the lens of design thinking, I know that one of the things that you're looking to answer is, what are those steps? And how, how do people sort of ladder up in engagement and be more committed and have an impact on the larger scale? So we'll look forward to hearing more about that when you've gotten further.

Mick: Sounds good. Of course, I have a great advisor.

Tracy: Thanks a lot.

Chris: The best. 

Tracy: All right. Thanks, Nick.

Chris: Yeah, that was fascinating. I think the intersection of aging and climate change alone is an unlikely pairing. Ageism in the country, we didn't get to talk much about that, I'd love to talk to him more about where that's heading is that's trending up, down or backward or forwards. But applying design thinking and merging that with his scientific background seems like an extremely potent place to be. So he's a fascinating, fascinating guy. 

Tracy: And he's, I mean, what I really felt honored having a chance to work with him on this, he is so open and willing to just jump in and try things. I mean, he just kind of being modest about his, you know, experiments and things that he's tried, but he tries so many different experiments every week. I feel like oftentimes when people first learned about design thinking and they're unsure, they hold back and he doesn't at all. So it's really great to see and then also just thinking about how he is trying to pull together something that allows people to move past that change in your lightbulb stage, I think is really important. Because I think people do those little small steps they feel like they don't necessarily have a large impact in the world, and they get disenfranchised and move on. So I'm really fascinated to see kind of how this progresses throughout the rest of the year. 

Chris: Yeah, I find it so inspiring to think about, you know, you kind of get your 20 something self back. I never thought about that time, quite that way before. And it makes so much sense because you are still valuable, you still have energy, you still have passion, and you get time back. And so that's one of the greatest values in the world is to have the time to actually attack some of these challenges. So I found that really inspiring just to have people with time back. 

Tracy: Yeah, I did, too. I was like, Oh, great. I get to have my college, my college years back, but I don't have the responsibility of taking classes.

Chris: Well, thank you, Tracy. This was an awesome show. Thanks for setting up the time with Mick and yeah, I look forward to the next one. All right, that's a wrap. Thanks so much for listening. Our dream is to build a community of people who can create and take advantage of any opportunity that interests them. To do this really well. We'd love for you to participate. Try out and share back your own life design experiments. Or if you've already got a great story of how you've designed your life, we'd love to hear from you on our Facebook page, or resultsmayvarypodcast.com. Our website is also where you'll find show notes and links to all the things we mentioned in the episode. And if you would be so kind, subscribe to the show, and share your favorite episodes with friends. that'll let even more people start designing their own lives. A big thanks to the folks who help us make the show possible. composer and filmmaker HP Mendoza for the Results May Vary theme music, graphic designer Annessa Braymer for our logo, David Glazier for sound mixing, and team podcasts for editing and of course, thank you so much for listening to Results May Vary.

RMV 15 Jenny Jin Transcript: You Can Design For College (and Beyond)

Full transcript:

Tracy: In our last episode, healthcare designer and founder of Prescribe Design, Aaron Sklar talked to us about creating a collaborative network of healthcare experts and design professionals to reimagine medical products and services, and create healthcare experiences that are useful, usable, delightful and impactful for all. Today, we introduce you to designer Jenny Jin, whose motto is always learning. A graduate of Stanford and MIT, she recently worked at the Alicia Foundation, founded by world-renowned chef of El Bulli, Ferran Adria to promote healthy eating for everyone. Jenny is an entrepreneurial learner and doer and is here to inspire us with her sense of optimism, and roll up your sleeves, kick open your own door attitude, living up to her motto, we recently caught up with Jenny, as she was preparing to lead a class at MIT's Edgerton Center for Experiential Learning, to teach undergrads how to apply design thinking to their lives.

Jenny: I'm working on lobbying, and I want to do a competitive analysis. And essentially, I just want to live in Spain for a while because people eat and live in a really holistic way that I don't see here in the US as much. 

Tracy: Yeah.

Jenny: I want to work with a food company that actually is like mindfully doing this. And she was like, you know, I think Ferran Adria, the chef, do you know him? I was like, yes, he has this food foundation that combines health and food and tried to be able to innovate on the two together, I was like, shut up, trying to see if they would be willing for you to work with him this summer. I was like, please, that would be absolutely fantastic. And so MIT like, was able to make the connection fund me to go, I thought I would just only have the opportunity to work on the business side. They invited me to work in the kitchen half time because when I was personally interested and asked you even though I have no qualifications as a professional chef, I felt like it did help me to understand their operations and be able to help them with their strategy and growth component of it worked on some pretty cool hands-on project like I helped going back to healthcare, like the elderly have trouble swallowing as they get older, like astronomy techniques to experiment and create new textures for food, still eat the food they love, but with different textures that allow them to actually be able to swallow.

Tracy: That's amazing. I just was listening to a tool go on days being mortal. He was sharing an anecdote about as you get older, I guess, as your head goes back when you're eating, that increases your likelihood of choking, and I had no idea. So I love that you guys are actually working on that to try and solve that for people.

Jenny: No, I didn't. I feel like we've gotten a lot of press lately. Do you know which one this was called?

Tracy: I don't remember but it was basically shadowing them for a year and showing how they take off three or four or maybe it's even six months for the year and this one El Bulli was still open, obviously, yeah, they were just experiment, they would go get inspired by other cuisines and just out in the world in and nature. And they had all these notebooks full of ideas. And then all of the chef's would test these things over and over again, they kept the notebook, which was all of their experiments, the things that had worked well and had failed, and they would try each other's creations and give feedback. And you're right, it is actually very similar to the design thinking process, especially around experimentation and prototyping. And then they were basically just setting it all up for that year's menu as it would be just for that one year. And so say it was six months that they're experimenting, and then it was six months that they were serving. And even while they had that six months of serving, they were still experimenting and pushing things forward. But they really crafted what they wanted the experience to be. And when I was thinking about what I wanted to do, after I do that was in my mind was sort of like taking things to the field, or talking to working with clients and getting them ramped up on what the process was, and then taking six months time off to sort of synthesize it all and then prototype what the next series of client collaborations could look like. I just love that process of really taking time to reflect and also taking time to put something out in the world that you've really considered early.

Jenny: So I guess I can start with myself. I just graduated from the MIT Sloan program, which is their MBA program this past June. So I had the pleasure to be a grad student at MIT for the last two years. I went to Stanford, my undergrad. And I think the culture and the campus of MIT are as wonderful as Stanford's, but it's very different. The first thing I heard when I got to the MIT campus with that there is a strong philosophy of drinking from a firehose, I didn't hear about it until I got to MIT. I mean, it's basically this like imagery that it's a really strong current of things that they're going to throw at you. And the part of the learning experience is figuring out how you're going to manage what you can handle, what you want to do, what you don't, or else, you're just going to drown. It's such an interesting approach to how they structured academic life for both undergraduate and for the grad students. And I have to say that it was definitely exactly that.

Tracy: That sounds overwhelming, how do you even begin to manage that?

Jenny: In the beginning, I can't manage it very well, to be very honest with you. And when I talked to my classmates within my MBA program, and then beyond that, when I made friends with like other grad students, and undergrads always felt like it was this really steep learning curve. And we were incredibly stressed out by it, all of us came to different ways to be able to cope with it, or it could be able to redesign our lives in a way that felt like it was manageable. One of the key takeaways I hear a lot is that students say that they get pushed beyond the boundaries, what they can handle, and then it helps them to discover what their boundaries are. And then when they survive, and when they do well, they really wear this badge of honor to have a huge, immense amount of confidence and pride that they can tackle anything else. Beyond that my team, I had conducted design research around the topic of well being at MIT, I thought about this a little bit more like backed up, I was like, dude, that's actually a lot of pressure and a lot of risks beyond your boundaries. And only when you achieve something we feel successful, do you feel like you came out of it? And you got something from it? The question for me that was really curious about was what happens if we actually create an environment and like a culture where students could still do this, they could still push the boundaries of what they think is possible and discover who they are as on the process, but without this real risk, and like this lack of support?

Tracy: Yeah, I mean, that's one of the tenants I feel like a design thinking is to try and start small and take manageable risks so that you're not at risk of falling in your face and completely failing.

Jenny: Yeah, absolutely. And talking about pulling from inspirations from different places. I had used to work at Google as my first job out of college. And at Google, we always talked about different terminologies that were really useful to me like one was sandbox. The idea that before you put something out in the wild or in the real world, you test it in a smaller environment first one that felt safer and was more controlled and which really allows you to be able to you know, flex like your muscles before you felt like you had to deal with all the possible risks out there.

Tracy: Did you say sandbox, like a little play space?

Jenny: Yeah, like a little place. I love that association to absolutely be able to play rather than think of it as like performance or work and that became an anchor for we're trying to design for, we wanted to see if we can create a true sandbox at MIT, where people come to MIT from high school and the sanctuaries and the roles of their homes. And as part of the curriculum that they're offered to MIT is like a true sandbox to be able to play experiment and see what they can learn along the way.

Tracy: Yeah. So you came to MIT after you did undergrad at Stanford, I can't even imagine the overwhelm that you would feel coming from high school to MIT and drinking from that fire hose.

Jenny: Yeah, so one of the biggest supporters for the class currently is the Dean of Undergraduate advising and her primary students that she works with our freshman. She says that there is a huge kind of range of students, once you come in, very, like ready to take in this environment and go with it. And then people who really struggle with and it's a design challenge for them as well how to create experience for that entire range.

Tracy: Yeah, because my philosophy would be that just because you enter MIT and kind of can't jump in right away and go with the flow doesn't mean that you don't have the potential to be amazing at what you do. And you already have overcome so many challenges and persevered to get there in the first place. Is that a similar mentality? Or people kind of like cut bait? If people don't get it within? You know, the first semester?

Jenny: No, I think there's a deep sense of personalization, a few. So we had interviewed several students. This was a design project last spring, where we came in with just curiosity. We were like, just very curious about what well being and a happy campus look like. And we interviewed Natalie, over 20 undergrads, we also interviewed grad students and the MIT community of faculty and admin and the dean and going back to the undergrad. So we interviewed what was really interesting, one of the key things that we heard over again, was that students said, Oh, it's not about the workload, and it's not about the professor's being really hard on me, I'm actually harder on myself. And like anyone else, sometimes when they do hit like a roadblock, there's a lot of like, rather than taking the data and seeing how to make it useful to improve, there is a lot of feeling very personalized about how it speaks to you as a person.

Tracy: I could imagine that I would think that the types of folks who go to MIT have already been hard on themselves for most of their lives to get to where they are. And I wonder and that question made me think, do you think that that's necessary, in order to succeed in such a way or go to such a place, that trait is necessary.

Jenny: One of the things that I learned and one of the classes I took as long which was incredibly transformational. For me, it was improv. I had never taken improv in the past, because I'm terrified, like public performance class was really great, because they lured me in by saying, look, this class is going to teach you about leadership skills, it's going to do in a very trusting way because it's going to be a very small group of people, you have to do anything they don't comfortable. One of the role-playing activities that we did was playing out what we call it, the inner critic, the inner editor, and the inner champion, wherein all those different goals, you will say, what we'll be going through your head, like I would be nervous about public speaking, I'm about to prep for it. Like my inner critic will say, you know what, if you felt this, she's going to be terrible, you are just never going to be good at this. Whereas the inner kind of editor is something where they'll say, look, you do need to project yourself, you do want to be authentic, you do want to share because these are things that will align with your goals. I think that is like the critical voice that we want to hear our head where it's using the critical skills of analysis without being self-critical, and keeps you from being preoccupied and distracted when you're trying to really work on your goals. Obviously, like the champion, and you're going to say I can do it like and even if you don't, that's okay. This does not speak anything about yourself, like an inner champion, something that people talk about that as that's what we all have, I think people overlook the role of the editor. I think that people who are really high achieving have that as well.

Tracy: Yeah, that's interesting. I've never heard of it being talked about in that way. I've only heard this from the critic and the champion.

Jenny: Yeah. So improv was transformational. I highly recommend it to anyone.

Tracy: Okay. So all of this curiosity and exploration around well, being at MIT has turned into something very tangible now. And do you want to talk about what that is?

Jenny: Basically, we came up with an idea for creating a sandbox. And we didn't really know what shape that would take at MIT without it could be a club. This could be after school workshops, it could be something that we do over you know, spring break, it could be like a lot of things. And so then we thought about what's our target personas and who we really want to reach. And we want it to be like freshmen and sophomore primarily at MIT. So with that in mind, we just started to interview more freshmen sophomores about their daily lives and their schedules to make sure that we wouldn't create anything that would burden them or make it hard for them to access and so it allows into a four-semester class, it's going to be a hands-on lab where for two hours a week, students come to the class. And they're just going to be taught basic tools and design thinking, as well as improv, mindfulness to really be able to use these fools to start to just experiment on the things that matter the most in their lives. And then from those experiences, we expect them to start to learn things and to start to be interested in topics that they're able to air out with a group of fellow students, why did you choose freshmen, sophomores? That was a really interesting age group because I think that when students have experienced a major change in their lives, that's when they're the most susceptible and the readiest to think about what it means and to be thoughtful about it. That was the hypothesis that we had. And we tested this with a few advisors who worked a lot in human behavior and psychology. And they also thought that that was a really interesting test, we started to talk to students, and it kind of backed us up and that like a lot of freshmen, a lot of sophomores said, Look, we came to MIT, and we were told, we're gonna go out there and change the world. I think that's really exciting. I love to embrace that challenge. How do I go about doing that with my workbook, I'm ready to think outside of the box but I don't see a lot of resources?

Tracy: That's amazing. Even though I'm just thinking back to my own college experience, I don't think I would have thought about, oh, I'm here to change the world, I would probably have been thinking about it as what's my major? What do I want to do for a career? I love that there's a broader perspective about why you're going to college in the first place.

Jenny:  Yeah, I think that I hear the same concerns about majors and so forth. But it was really wonderful and surprising to me to hear that this emphasis on impact, what can I do that will actually create impact? It's a really sticky topic. And people are both intimidated by it, curious about it, and don't really know how to be able to negotiate about doing it. And I think that that's like the biggest draw of the class. If I were telling people to look, we're going to tackle those questions. We won't be diving into that big question from the beginning. But over the process of the semester, I think that you'll have more clarity, and you'll have a space to be able to explore it.

Tracy: It's interesting, I went to go see Neil deGrasse Tyson speak earlier this week. And he was talking about being in Silicon Valley doing this talk here in San Francisco, and somebody's gotten up to ask him a question. And he's like, you're here with all these engineers? What do you think we should be doing to help impact the world and Neil was basically like, start working on problems that matter. He's like, it's not about the next app, what the next thing is that you can put on your phone to do something for you. And I also have just recently read an article where they're talking about Silicon Valley kind of being focused on creating solutions for things that your mom can do for you or used to do for you. So you're trying to take over what mom used to do, and instead, maybe focus on things that might make your mom proud. I think that in my own career, I sort of came to that realization, too, once you have the skillset that allows you to know how to tackle an insurmountable seeming challenge. You feel compelled to do that. And so many times we hear people talk about how they want to do something good. They want to help maybe with Syrian refugees, or with their local homeless population because there are so many different challenges in the world, and not knowing the first steps to take. And so the skill set, I feel like, is incredibly valuable, because you don't have to know what the outcome is, in order to know which first steps to take.

Jenny: Absolutely. And that goes back to design thinking, which I think is a wonderful practice, where it really makes you feel very comfortable not knowing what the outcomes are, if you can just look at what the processes that you can take to get there.

Tracy: What should they expect coming into class on this first day? What are you telling them they're doing?

Jenny: Just to go back to what we were just talking about before about creating a huge impact in the world? One of the biggest things that I know I'm always forgetting is that in order to create impact outwardly, like, the first thing is to prioritize and to create impact with yourself, essentially, like the target goal of the class is to say, How do I use the same curiosity and the same tools of critical analysis and the same hard work and rigor, like the passion that I put all these like other challenges and problems out there the tackling, and apply that to myself? And the same amount of compassion that I put towards helping others solve their problems I can put towards myself too. And so the first day of class, we're going to orient towards that and say, what's going on with yourself? How much do you know about the problem of seeing your own life? What are the things to know about it? What are the gaps in information that you don't know about it? How can we really dig into that with this same principle of curiosity?

Tracy: And so the language that you're using around this in class, I'm curious, because I feel like there are two worlds that I live in one is talking about design thinking for change with an organism. And then there's design thinking for people's lives. And I don't necessarily think that the term design thinking is very attractive to people, necessarily. So is there any way that you're talking about that sort of makes it more personalized? Or are you trying to make that connection so that they see the overlap?

Jenny: You know, what's interesting about MIT is that unlike the West Coast design thinking is fairly popular and new here, has just recently started to really take traction. And a lot of people are really curious about things that they can learn from, there was a lot of ways that we could have talked about the class, I think that design thinking has like the same kind of universal principles as, say, mindfulness as, for instance, like improv, and like leadership, we wanted to call the 12 design thinking for the undergrads because going back to your point, what was one of the things that have been practiced time is what major in what internship that they're going to get after the first year, a lot of the companies that MIT students are really interested in are tech companies and design companies. And so the idea is that not only are these tools of their learning going to be useful for them to draw on when they're exploring topics that are important to them personally, but these are also like tools that will be useful to them as they enter, like companies like Google, and like IDEO, and like Salesforce, and so forth, that really do like integrate these practices into like everyday product development.

Tracy: That's pretty powerful and enticing.

Jenny: Yeah. So we were really designing for engagement. And we're just like, how do we do this? How do we get people to come? And so I think that that was just like a natural way,

Tracy: It sounds similar to how people got you interested in taking the improv class by talking about it as a leadership skill builder.

Jenny: Absolutely, just creating these bridges of what might be really challenging to you. But also really, like the sound is very useful to you.

Tracy: Are there certain activities or experiences in particular that you're excited to take students through?

Jenny: We're really excited to, for instance, have students start designing from the get-go, small design projects that we'll be addressing some of the problems or the challenges that they really want to work on. And from day one, starting to form small groups where they start practicing need-finding, and then like designing the projects and starting to deploy in their own lives. But then, the interesting thing about personal challenges is that usually, we work on it, and then like a vacuum, we go home, and we're like, I really want to work on weight loss. I might tell people about it, but I won't like to keep them up to date on my progress until I see it live enough. And then I'll share it with like my entire network, or my support base we're asking students to do is that every week, track what happened not only in that design goal, but they want what surprised them, what went well, what didn't go well, what happened, the processes and the environment to be very kind of rigorous about it. And then in their small group to do a debrief like a post mortem. And then for the small group to like, ask them supporting questions and coach them through it to also review how they're going to iterate the next week. We want students to sustain this kind of refinement and like an iteration of this design project every six or seven weeks. And I'm really excited to see how students not only go through this process with a project and what comes out of it, I'm also curious to see how their mindset about sharing in public before something is fully baked, how they react to that, how they feel about that by the end of the semester.

Tracy: Yeah, I would imagine that would be intimidating.

Jenny: I think it's going to be really intimidating. It's definitely going to be like a learning curve, we should begin time for people to air out how they feel about it in the classroom as you're doing it, rather than just like having them go.

Tracy: And it sounds like what is part of smart design for this class is not only you made it a class versus a club, so students are committing a certain amount of time. And they're also getting rewarded for it by getting a grade and having an impact on their GPA and all those great things. But also that the class has the model of having small groups for idea generation, but also accountability and emotional support. It aligns with a lot of the things that we've been talking to previous guests about which is having a team when you're designing for yourself, and whether that's friends or some mentors or experts that you really trust. I think that that's a really successful way to go about it as far as the class too.

Jenny: I think that the community aspect was what we hope to be able to build out. It's something that MIT, I think that people are extraordinarily collaborative. Oftentimes in our lives, when we run scientific experiments, we're very used to doing it on our own. And to be able to straddle that balance between working on something that's very personal to you, but be able to see what happens when you're able to share with a group of students how they could challenge your perspective, add their own to the richness of it, it'd be really that's one of like the key data points that we want to learn new class.

Tracy: So I know that we want to check back with You once the class is over and sort of have our own debrief. And I wonder if you wanted to state, what your aspirations for the class are, and maybe some thoughts that you have on what some of the challenges will be for students.

Jenny: Yeah, designing for metrics is one of the key challenges that I've had in setting up the course. So currently, we have a small team of people who are going to be teaching the course. And we realized that once a class gets started, we might become so focused on teaching that tracking is not going to be as much of a priority. But really, when we started out this class, the idea was that this idea, and we don't know what's going to come out of the idea until we actually test it. And so in all, very similar to what we want to teach, the class itself is a prototype, and we want to learn from it. So some of the things that we really want to learn from it, that we put on paper, one trust, we're going to do a baseline survey with students about what they think about trust in a circle of people, they just met by the trust. And like, every week, we'll check in with them on how they feel about the trust level of like the community of the class two is going to be about the projects that like the students conduct is something that they really feel like gives them the freedom to be able to flex like the muscles to be able to try and do they feel like they have enough support as they're going through the process. And so that would be probably also qualitative and trying to understand what they feel is support or they define it? And do they feel like they've met that bear threshold and receiving every week? And then finally, we're really interested in what students choose to attend this class and to engage with the class to really learn from this experience, like what are the types of classes that MIT has the opportunity to offer as an offering and to be able to translate this insight got to MIT and see like one more we can be able to offer to students going forward?

Tracy: Is this a part of an overall vision that you have working at MIT? Or what's sort of your future? This moment? What do you envision your future to look like?

Jenny: I definitely feel an emotional argument to be able to do this class at MIT since I was like a student here, myself. And I'm a huge fan of MIT. I also recognize that the design challenge, and the content of the classes, it's very universal to freshmen and sophomores in colleges everywhere. And so that's something that we're definitely keeping in the back of our heads, and thinking about in terms of impact, how to be able to document our journey, so that maybe people who feel that there's a similar design challenge at their campus, we'll be able to use this if they want to, and how we are able to share that knowledge across the board.

Tracy: Yeah, that's amazing. I know, I feel like there's a small but growing group of people who are thinking about and experimenting with in this space of applying it to their lives and, and having tools and resources, things that are very practical and tangible, will be useful going forward for sure.

Jenny: I have felt really blessed over the last three months by the feeling I have found an ecosystem, people doing this within MIT, as well as the ecosystem of people who are trying to innovate on this outside of MIT. So it's great to be able to share knowledge with a lot of different people who are dealing at different scales, or K to 12, all the way to people who are doing it for people who are already professionals. 

Tracy: So I wonder for folks who are listening to the podcast, and they're like, This all sounds great, I'm not going to go to MIT, and I'm maybe not even in college at the moment anymore.

Jenny: That's a great question. I'm actually thinking about my own personal journey when I feel like I started to essentially try to design my life as well.

Tracy: I feel like for me, it was a process over time, just sort of starting with something that you want to change. And then who are other people out in the world doing this? Or who are experts in this and gathering information or like, you are talking a lot about curiosity, sort of being open to the why behind why you feel a certain way about a challenge, or what are some potential opportunities for looking at it differently. And they didn't know we were talking to Ela Ben Ur and she had called it the compass, which I think you guys have been working together, right?

Jenny: Yeah, absolutely. I know the compass model. Well, I think it's a really great tool for anyone to be able to apply that to their lives.

Tracy: And so I didn't know if there was like a framework or anything that you were kind of going into the class with that you felt like oh, here's a good grounding framework or first step for people to take.

Jenny: I do really believe in content and tools to be able to allow for anyone who's just starting out with a new topic to feel very comfortable with it. I feel like using Ela’s compass model would be a great way to start to frame some of the questions that anyone can have. For me, I feel like one of the biggest things that happened to my life was actually to think about taking tiny experiments for myself, without any pressure to see what will happen to say, I don't care what the outcome is, let me try something. So one example of this is, I think, two years ago, I had heard someone use this terminology saying below the neck thinking, and they used it in a different context. I really loved that phrase below the neck thinking the next day when I woke up, and I was feeling for some reason, like a little bit tired that day. And there were a lot of things I knew that I wanted to take care of in terms of schoolwork, but I just felt really tired. And I told myself and actually announced this publicly on Facebook to give myself a little more accountability to I said, Look, guys, today, I'm just going to try something called below the neck thinking where I'm going to not pay attention to anything above my neck because my mind is telling me to do, I'm just not going to pay attention to it. The thought that passes through my mind, I'm not going to pay attention to it, I'll let it happen. I'll allow it to pass, really see to hear what my arms, my chest, my heart, my legs, and so forth are telling you to do and go with it.

Tracy: Wow, I've never heard of that before.

Jenny:  It was kind of like, kind of out of the blue. I didn't know why I chose to do this, I decided to go with it. Telling everyone on Facebook really kind of just nailed my affirmation to do it. And then that day, I started to do it. And it was just really, really interesting to experience what was going through my body as I was happening, and how it affected my day and my actions. And then I didn't know what was going to come out of actually some really positive, interesting things coming out of those. Well, at the end of the day, I think the biggest takeaway was I looked around, I was like, you know, what, the world of my life and I came crashing down just because I stopped listening to my head for the day. And that just like a really interesting experiment to run on me and to see what happened.

Tracy: Yeah, what are some of the things that you ended up doing that you wouldn't have done if you're just listening to your chattery brain?

Jenny: For instance, I think that there was a certain part of the day I think it was 11 am, and had been up for a couple of hours. And my, I think that my hips were telling me, you know, I'm kind of tired, I just want to go back into bed. So I did, I went back to bed and I took a half-hour nap, didn't set an alarm, and just walked away. I felt like it was wonderful. And it was actually incredibly like a great kick start to doing the next thing I wanted to do. And I think oftentimes, my brain feels like it's a battle with the rest of my body, where it pushes itself rather than what was the rest of the body. And that was an interesting insight for me to learn as well. Like, when to feel this relationship and to understand what was going on.

Tracy: I mean, you're just kind of opening my eyes, because I don't think that I've ever shut my brain off and let my body lead things. I mean, now when you're saying and I'm like, that sounds really practical, and I can relate to it. I've never done it. I'm going to try that.

Jenny: Yeah, try it. I encourage people to do these tiny experiments. I don't really have a template for what types of experiments to run. But I just think anything that's interesting or curious that you've always wanted to try, I don't see anything stopping anyone from dealing if you allow yourself permission to do it. If you really want a rule of thumb, I think the Facebook thing, at least for me, worked and the social and public aspect, and that I told someone else beyond myself. So a great gave me both pressure as well as a meaning behind it and also told everyone I was like, Look if I had an appointment with you, and I decided to not follow through on it today, I hope you can be able to forgive me, responded positively to that as well. So I think that the social aspect of it really didn't matter.

Tracy: Yeah. What were some of the responses that you got from people?

Jenny: I got a lot of people who are very curious to see where the day would take a few people who I was supposed to have meetings with that day that said, go for it. That sounds great. You don't know until you say something like that to gauge what people's reactions are. And if they had said, No, I still would like to meet with you, you actually realize that's okay, too. It's okay to just at least put out there and see people's feedback rather than worry and do the work for them to wonder what their feedback is.

Tracy: All right. This was fantastic. I love hearing about this class. I am so jealous. I don't get to take it. We're super excited to check back in with you then later once it's done and maybe even talk to a student or two and hear about their experience as well.

Jenny:  I think that that will be such a great idea. I will love to be able to share what happens and what came out of the class. what went well, what didn't go well, what surprised us. Also, to invite students who want to share their experiences as well. I think that that would be so great. It just rings so true with the class, which is to learn publicly and to err on just doing and trying. And let's see what comes out of it. So I think that'd be a great opportunity.

Tracy: Perfect. Well, thanks, Jenny. I can't wait to hear what's going on and we really appreciate you being on the show.

Jenny: It's such a pleasure to be on the show. Thanks for having me.

Chris: So there were three mindsets. There was the editor, there was the critic and then it was the cheerleader, more of the encourager. But it was the editor that was really, really ended up being super valuable in the trifecta.

Tracy: Why did you think that the editor was an interesting addition?

Chris: I thought that the cheerleader almost kind of superficially turned you on. When you kind of know, maybe that's not what you need. And so the editor allows you to translate from the one that's kind of beating you up is pretty useless. The editor is sort of the most productive of the three. So it's like, you can look to the right. And as a cheerleader, you can look to the left, and there's someone being like, you're not going fast enough, what's your problem. And the other is kind of like, here's actually how we're going to handle this, these get ridiculous.

Tracy: They figure out what's important.

Chris: And Jenny talked about doing this in really malleable-state freshmen and sophomores at MIT being very open and receptive to making adjustments and thinking about their life in that way. 

Tracy: I mean, in behavior change in general, it's like finding points where people are making transitions already when they're kind of letting their habits fall away, are easier times to graft those new behaviors on there in a more open mindset. So it's like, if you're having a baby, then you're gonna suddenly be shopping at different stores, and your values will be different like you're interested in certain things. And companies know that, right? Because they try to take advantage of those periods of time. Yes, like, oh, you're gonna have a baby? Well, now, all these companies kind of out of the woodwork to market to you. But we don't realize that.

Chris: We don't, then the biggest thing and I think this resonated with you, as I heard you guys talking through the interview is that MIT takes this fire hose approach which is basically we're gonna break people, we're gonna take them too far and they're going to figure out how to curate and decide what they want to work on, which felt I'm sure as all the listeners are curious, like, so relevant right now. As she was describing, it's like, I feel like many people are on their breakpoint right now. Like they're living this MIT thing live. They're drinking from the firehose, and they need to prioritize the thing that they must care about. I just thought that was a really interesting approach for bright people, obviously, coming in MIT is, let's try to break them and see if they can figure out how to prioritize in order to be effective. It's so relevant for so many of our jobs, and so much of managing your household and raising your kids is how you prioritize.

Tracy: Part of me thinks that that sounds horrible, all of this coming at you, and then if you can't figure it out, imagine the shame that you have, especially if you're somebody bright, who's going to MIT, and then you fail, you can't prioritize, you can't make your way in that environment. That's something that's gonna scar you for life. But then the other part of me is like, the times I've felt most happy about something I've done is when I've pushed myself or been pushed, and made my way through. So it's like, the challenge itself is what made it something to look back on fondly. I think Gretchen Rubin talks a lot about happiness. But she says happiness doesn't always feel good at the time. And I totally relate to that. Yeah, you can be going through something and being like, I know in the future, I'm gonna be happy I did this. But right now it sucks. I'm sure you would know a lot about it.

Chris: I think you can find little kinds of spots of happiness. If there was no positive reinforcement along the way. I really don't think many of us would do the things that we do. But yeah, it's like a little bit of suffering, a little bit of your 100-mile bike ride up a mountain but I would say that in interstitial steps, there's definitely positive reward of going out there, exercising hard, and then getting all the endorphins of what that means. Like, it's not that there's no feedback that's positive.

Tracy: So what are some of the moments during that experience that are happy? What drives you to continue?

Chris: Seeing your friends? The challenge? The Type A stuff that's like, you did that hill, the third-fastest time that you've ever done that healing as I did? Oh, neat. Cool. I'm gonna try to do it the second-fastest next time. So I just think there's an achievement variable, but it's awesome. Just I was hammering along with this group. And I just turned right, like it just abandoned the group and started writing up this other road. And it was beautiful. We've had a lot of rain in California that it just looked like, everything was so green and climbing up this road. It's a pretty long climb, just I didn't go fast. It just went up the road, like this is beautiful. And I've noticed on that ride every Saturday now I keep taking that right-hand turn, I just keep going up that road. And yes, I've gone a bit faster. And now I can regroup. And it's like now there's a little challenge in there. But it's beautiful out there. And I find like this is way more connected and more interesting than what I would normally do.

Tracy: You are right in the first place.

Chris: Being exhausted going doing the same thing after a week with the same group. And I think that there's something to learn from that, too. It's just like the constant achiever and be like, no, this is what you did last year, keep doing that. We need a new plan. It's a breakpoint. That's right, here's a breakpoint the designs expired. That's a really good point, too, is the old designs don't often work. So what you've always done won't always be the same thing. Like now I'm doing that on an older body, or now I'm doing that with a different group. For now, I'm doing that in the new state, or now I'm doing that with a kid. These need new designs. So the designs never did this unit talked about, right. But the dinner party with Jenny was that I was surprised by what I expected her to say was, so everyone comes in and they get a fire hose. And you asked her, well, how did you figure it out? And she talked to other people, and they were struggling too. And she was struggling. And then I thought she was gonna come back and say, you finally get given the formula. And there's like the MIT way. And they finally share with you like, here's how you do it. Right? And it wasn't that at all. She said basically, I figured out my own, I'm left to find out my version. And that's which is actually far more inspiring, I think because it assumes that the truth, which is we're all really different. So this class that she's got going, which I can't wait to talk to him more about as the class goes on is how do people come up with their own frameworks and their own processes? Like even if it's the anti process or whatever they cope, however they cope? Yeah. And then how does that change? Because as you go on to the world, you're cool. freshmen, the MIT framework may not work when you have a real job, and you have a family.

Tracy: I would hope it doesn't become boring implies that we haven't really grown. Yeah, I mean, I think we're always everybody is always seeking the answer. Yeah, there's a medium article I always get to digest in my inbox and it's like 10 things, be more productive, be highly productive. People do what it's just like, oh, my God, we all just want the answer. So we can go apply it and be done with all of it.

Chris: I think we even get teased with that. And we added on our own podcasts movie interviewed story, right? Here's the guy. That's pretty much figured how all of life works out, has just been reapplying. It's like, oh, surgery, that's an easy framework, right? Oh, you want to go to outer space, I can do that. I know how to do it. So you do crave that sort of story level insight, like, ooh, he's got the code that all of us are seeing?

Tracy: Yeah. And I guess I think like, that's kind of, to me what design thinking is a way to do anything that's true, like I have been talking about it recently is as a way to creatively and consistently solve seemingly impossible challenges. Yes, it's consistent and creative. And both of those things have to work together. Because if it's consistent, but not creative, then it's just a production line, right? Just like making the same things over and over again, which is what I think we tend to think the answer is that we fail to realize like the creative part. And usually, creativity is like its Muse that lights up on your shoulder and visits you when you're worthy. And this is easily scaring, but it's not a design thinking kind of proves that it's a muscle that the mind says you can apply over and over again. I think that's why I'm so drawn to it.

Chris: Me too. And yet, I think most people here are processing how they think, oh, boy, here we go again. Here's another one of those, like, the top five ways to figure out life, but in it lies. I think it's a very general process like there is sort of a way but you don't even have to do it in the right order. There are so many interpretations of this same thing that is broad is saying, Here is the outdoors. Go do whatever you want with it.

Tracy: Oh, and realizing that everybody talks about it differently. Five steps. Step six, there's no common language.

Chris:  You want a 25 step design process? I'll give it to you.

Tracy: That’s because it's based on what people need, right? If you're in the education space, you talk about it differently than if you're in you know, traditional business space. or social impact space before I've been talking about is like, get inspired, go out and see what's happening in the world be curious, then it gets focused, what is it that you're trying to solve now that you have all this information and inspiration, and then get scrappy, which is all the like brainstorming and prototyping, coming up with experiments and then get smarter, which is iterating, trying to figure out how it works, and then realizing that you might have to iterate again in six months or in a week. And the reason why I was breaking it down like that was I was trying to figure out how do I succinctly talk about this?

Chris: And your medium article was great, by the way, people still talk about that.

Tracy: I needed to do that for myself to understand what I was thinking.

Chris: No, it was really good. at some future date. In this show, we talked about MIT and we think about MIT and science, and data and engineering are some of the brightest minds that come out of that. And so I think at some future show to me, one of the debates rests in wearable design and data meeting in an eloquent way and not on Monday, this conversation really scares me on Tuesday, I find it inspiring on Wednesday, I think it's unethical and on Thursday, it's really, really cool again. And so I think predictive analytics, as we use data to figure out how and why something's going to happen. It’s becoming pretty sophisticated. I heard a story recently about crime. They were using predictive analytics for domestic violence. And they can tell you on what street corner, the next likely domestic violence incident was going to happen based on predictive analytics before it happened. Wow. And so it's like, oh, this is getting really interesting. And so do you intervene? What's it mean? And then what's the relationship between if we looked at all the information we'll have, we'll have information on the weather, your genetic code, your thought processes, potentially, right? And so what's that mean for design thinkers and design thinking where it's far more emotional, based, far more intuitive? In a way trying to block that prediction is like, No, actually, I'm going to take the lead here. Yeah, my own human spirit, do something that's you're not going to be able to predict. I think beauty may come in the blend. I think that's where it's going. 

Tracy: But it's just like, I mean, with behavioral economics, where people created this whole foundation around economics, thinking that people always act rationally. Yes. And then you realize they don't. And we need to design for that. So like data, people don't just work with data. They don't exist in the data. 

Chris: Think the odd ones are like 23andme, for example. So I find it hard to comprehend, or what you're going to do if your life were more predictive, given your setup, you've probably got 20 years. Yeah, like, wow, you're gonna live differently, knowing that information. So I think the opinion is, it can be used for good and evil. Yes. And I hope that the world prevails and is amazing instead of awkward and hot and functional.

Tracy: All right, that's a wrap. Thanks so much for listening. Our dream is to build a community of people who can create and take advantage of any opportunity that interests them. To do this really well, your participation is key. So if you want to try it out and share back your own life design experiments, or if you've already got a great story of how you design your life, we'd love to hear from you on our Facebook page, or at resultsmayvarypodcast.com. Our website is also where you'll find show notes and links to all the things we mentioned in the podcast. And if you would be so kind, subscribe to the show and rate us and write a review on iTunes or Stitcher. Even more, people start designing their lives. Special thanks to composer and filmmaker HP Mendoza for the Results May Vary theme music and graphic designer Annessa Braymer for our logo. And of course, thank you so much for listening to Results May Vary.

RMV 14 Aaron Sklar Transcript: You Can Design Healthcare

Full transcript:

Tracy: So basically, you've known Aaron for years.

Chris: Yeah, at least 12 years.

Tracy: Cool. So why did you think he would be a good guest on our show today?

Chris: I think Aaron is so just thoughtful. If you listen to Aaron's background, he's got a background in the technical academic terms of human factors. And most of us don't know. But human factors, experts design, the way things should work for people and or think about it. And I remember talking to Aaron about his first project, which was designing where all the buttons go for, for pilots and their airplanes. And so I was like, that's interesting.

Tracy: That was his first project?

Chris: It was prior to IDEO. He was doing work in that regard and confirmed that we're there. He's like, No, I did. But Aaron has great skills and goes deep in people's lives. And I thought, hey, this would be really interesting. He's translated that across food and health and has done a lot of work in health, and I think he'll tell us about that today. But I think Aaron's just a very thoughtful person when it comes to how people work. And as we go on this journey around people and their individual designs, Aaron reviews are really insightful for us.

Tracy: Alright, Aaron Sklar.

Chris: Hello, Aaron, thanks for joining Results May Vary. How are you doing? 

Aaron: I'm doing great. Glad to be here. I'm a longtime listener, first-time caller.

Chris: It's great to have you. We are fascinated by you, as a human being you've done a lot with your life. And you're also applying design thinking to completely rethink an industry known as healthcare. And so we'd love to talk to you today about both some of your personal experiences, and then how you're helping other people design their best lives and some of their best health outcomes. So we'll just crack right in. And as you know, the podcast is about using design thinking to apply the principles of design thinking to individuals and thinking about how we can help people design their best lives. And so what do you think about this idea of applying design thinking to individuals?

Aaron:  Yeah, I'm thinking about it now for the first time as it occurs to me like that all, the way that we all practice design thinking is starting with individuals. So like, what we do is we start with individuals, understand what's going on for them, and then sort of put those together and compile them, synthesize them into insights and opportunities and news solutions and then apply them and why not apply them back to individuals? Of course, that makes perfect sense. It's a cycle.

Chris: So along those threads, do you consciously or maybe even subconsciously, apply design thinking to your own life?

Aaron: Well, certainly just being in the design world for so long, I am surrounded by post-it notes. And like, that's how I think about things in my own personal life with my wife, and through making plans, like we do think things out in a similar way. But it's hard to articulate specifically like I'm doing design thinking right now. Because it's just more like I'm living my life. And like, this is just part of how I think and how I work.

Tracy: Could you give an example of some way that you and your wife who use some of the principles of design thinking to plan your lives?

Aaron: I'm just trying to think of some recent decisions that we've made, like planning out a vacation. It's not like that we like to sit down and like how to brainstorm but just have that mentality of like, now we're in the generative model of like, coming up with ideas. And as opposed to like picking an idea and filter filter filter, it's like focusing on like, what mode are we in? Are we in the expansion mode of adding to the ideas and then when are we switching to the convergent mode of picking the best idea and making it work? So we kind of like circles around that cycle. It sort of went through a few cycles of that in our recent vacation planning mode. And now we're on our way to Palm Springs in a couple of weeks with some relatives and another family.

Chris: Aaron, we were just talking a little bit before the call around, you'd move since I've seen you in a bit. And I know, I know you've lived there for a while now. But you talked about the decision of what place you were going to live in. Can you talk a little bit about how you went about that decision process?

Aaron: Sure, that might even be closer to an engineering process. But we could call it design thinking process where we live in the Bay Area and I used to go get a new job where my commute was a little bit pushing the boundaries of comfort. And so we made a spreadsheet, like actually using Google Docs of all the different neighborhoods in the Bay Area that we consider living and it was a pretty expansive spreadsheet and then rated each one on a bunch of important categories, like how accessible they are to San Francisco. How good are the schools? Are they near an earthquake fault line? Are they close to my parents, and just really waited for those different categories with different rating scales, and ended up seeing like, there was one neighborhood that surprised us like it was not even on our radar. I mean, is our radar enough to make it on the list, but like, didn't occur to us that that would be our dream neighborhood. And we actually live in Castro Valley, California. And it's just like, I met so many of the criteria that were important to us.

Chris:  So it sounds like they had a lot of logic to it. Did you also fall in love with that neighborhood? Or weren't the emotional factors kind of play in?

Aaron:  Yeah, well, it was more like in the design thinking process, you go through that synthesis stage, and you come through that moment of like power, here are the insights. And for us, the answer was like, oh, Castro Valley meets our needs. And we just like, jumped into action. And like, start spending time here. I started talking to people that lived here, new people who lived here, got to know the different parts of the neighborhood's different schools here. And just yeah, and like, jumped in and started talking to a real estate agent here.

Chris: Yeah, two things that are coming to mind, as you're explaining this, to us. Just awesome if you kind of laughed and said, but it's not like we sat down and had a brainstorm as you were deciding on your vacation. And the other theme we talk a lot about at Results May Vary is the idea of just low barrier experimentation. And we tend to as individuals, act in a very much an all or nothing way. It's like, if I'm going to try to lose weight, I'm all in or I'm all out, I don't really kind of dabble in it, I just go all in or out. And so I'm curious, why do you think it seems logical to me that you'd want to brainstorm about big decisions in your life that people would really get a lot out of that? Why do you think people don't do that?

Aaron: I honestly don't think it occurs to people I'm even working on a project at work with the way our organization's health agenda is broken up, we have a portfolio of multiple different companies. And I'm working with one of the companies that I haven't worked with before. And they have an in-house designer, and they've contracted with another designer. And I just noticed, it struck me, these two designers came up with a solution on the first day, and just have stuck with it. And I think that's how most people operate. Just like that's the default human way of being if like, you have a problem, you come up with a solution and you act on it. And I think that the designer mindset encouraged us all, to spend a little bit more time in that idea stage. And with intention of like, discovering the best idea and the ultimate idea of not just what's the first idea or the first idea that works, let's just do it. I think that's maybe just human nature, and it takes something to stop and look around and really dig deep and explore.

Chris: Yeah, great point. You've always taken on interesting side projects. And I've always admired your ability to get those things done. The most recent one being Prescribe Design, can you talk a little bit about the role of side projects in your life outside of your full-time job and a little bit about why you pursue them and perhaps take us down the road of how prescribed design happened?

Aaron: Yes, I mean, for me, I prescribed design, it is a side project and not like, I have a full-time job. And this is something I'm doing on the side, but for me, it's I would call it more of an umbrella project like this is what I'm doing for my career. And what I see missing in the world of this sort of career is being a designer in healthcare. This is something that I see is missing. And so I see like there's an opportunity to put it in. And what prescribed design is, is it's building up a network of people who care about reinventing healthcare and coming up with great solutions for the healthcare challenges that we all face, both as individuals and as a society. And that we see that design is a key element to contribute to those solutions. So the community of people are designers, but actually, a bigger component of the community are physicians and other clinicians who really care about making a difference. And they're starting to see design as a tool. And your question is more about how does the role of the side project fits in. And for me, it ties everything together in terms of my personal passion, my commitment to expanding the field as a whole, my commitment to being a contribution outside of my specific job. And when I started to think about this, and started to work on it, and started to have these conversations, it's just, it's such a huge opportunity that it just naturally calls me into action, I just, you know, jumped in, and like, there are so many actions to take, and you just take them and so many people to meet and everyone I talked to is, you know, joined in the conversation and really added to it and it's become really a group effort, and it's very rewarding. And it's something that's rewarding outside of my role at Healthagen But at the same time as contributing to my current job and contributing to the whole future of my career overall.

Tracy: I mean, it's lovely to hear you talk about your commitment and kind of seeing yourself as a part of a larger vision. I'm wondering, what are some of the first steps that you had to take to be called into action as you were talking about that?

Aaron: The first step is like knowing that there's a gap. And when I left IDEO and joined Healthagen, I was the only designer and I can't make up my own job description, like, here's what a designer is going to do, and this healthcare organization, and what was amazing, I didn't know what to expect. And what was amazing is this, the reception was so positive, just, you know, the reception of me, the reception of the team that I hired, the appreciation and acknowledgment of all the work that we did. in health care, there's just such a gap between them, you know, the hated words, MVP, which is the minimal product that that most health care companies go for, and what's possible, and through the design processes and design output that our team created, like, we just like lit up different teams across the organization. And I saw what was possible. And I saw like, not only was it possible, but just the reception was so positive that it just like had to happen. And like just elevating that conversation. More and more that conversation happened about design in healthcare, the bigger the impact could be, and the wider it would spread. So I started off just talking to other people who are working in the same field and other designers, other healthcare practitioners who actually get design and care about design. And I just started talking, what do they think is missing? And I talked to, like, the whole range of people, people who are very established in their careers, people who are really just starting off, people who are working on their own trying to do something and others who are part of larger organizations. I was just looking for, like, what's the gap? What's missing that we could put in? That would have these conversations getting louder and louder and louder?

Chris: Aaron, for those listening to that, may not have any experience in healthcare at all, could you give us a kind of tactical concrete example of how you saw design help people with their health?

Aaron:  I'll start to take a step back from there, even as the part of healthcare that I'm in is responding to the shift in America towards Accountable Care, and the whole Obamacare world is incentivizing this shift to this new way of working for, basically, for hospitals and physicians and clinicians to be accountable. And what that means is that it's a shift in mindset. And it's a shift in the need for the tools that you use. So for example, right now, in the current model of health care, doctors treat whoever happens to make an appointment and show up and sit down in their office like that's who they treat. And in the accountable care model, the doctor’s practice and the hospital system has to start to take accountability for a whole population of patients, whether they show up or not. And what's happening in the industry that's responding to that is a shift and adding new technology tools that allow doctors to like to look at their caseload and say, oh, here are these sets of patients that we're not reaching and who are not calling in and making appointments or who are not taking their medication. It's more like finding the gaps and then going after them proactively. So there's a bunch of new demand for new tools and technology that's being brought into the healthcare system. And there's a full slide and there's a whole category of the world called health IT and all the digital health records, everything is going digital now. And for the most part, like it's an amazing revolution in terms of what's technically possible. But across the board, pretty much every single product I've ever seen being introduced into this context is that their minimum MVP, like from a design perspective, like embarrassing to look at, from a usability perspective, as horrific user experience for the disrupting the doctor's day, making it inaccessible, you know, the intention is to be accessible to patients and a lot of ways it's not. So all the designers are making a difference in this part of health care is making these tools useful and usable and desirable, and just like really fit into the context. So number one, to your answers, like making the system work so that patients can access services and patients are being served. So that's like number one at a systemic level. And then to answer your question like direct impact, I'm trying to think of an example that like, one of the things that we're learning is when you start to put all this technology in place, and all these systems in place and starting to be accountable, there's a new role that's emerging as the linchpin of the whole system. And that's someone called the case manager. And those are people who are usually highly, highly trained nurses who spent their whole career in nursing. And now I actually have a desk job. And their desk job is like working through the computer system to figure out who are the patients are falling through the gaps and going after them, and did a project last year really creating a really well-designed, workable tool for these case managers. And it's got to spend time with them and really learn about like, what their life is like, and how they engage and these amazing, amazing stories of these are really dedicated people who just really want to make a difference. And their job is like tracking down people and finding out what those individual people need. And a lot of times it's as simple. And here's a kind of a dramatic example. One of the case managers told us a story of they had this one patient that they recognized that pattern would show up in the emergency room every few months, I can't remember what their health condition was, but like run out of their medication, stop taking medication. And I had an onset of their condition and got rushed to the ER, and the case manager sort of dug into the situation and learned about them. And what they found out is like this patient had the doctor that they were assigned to was like a way across, they'd moved and said the doctor was really far away from their home. And so they didn't go and did it. And then when they didn't go, they didn't get the prescription refills and they didn't get their prescription refills, they ended up in the ER and that was a guaranteed way to get new prescriptions. Get the drug back if you go to the ER and they will prescribe it for you. So the case manager figured out Oh, here's what's going on. Let's see. So she got the patient, a doctor that was in their own neighborhood, and sent them a taxi for every appointment. And that's actually like a small like some individual case manager made that choice. And that's caught on really, there's actually a huge shift now where a lot of these larger health organizations now have a taxi fund where they send taxis to make sure that people get to their appointments. And that's a shift like when the doctors start to take on being accountable. That's a really direct impact on a patient.

Tracy: That's pretty amazing. I mean, it's certainly more cost-effective to do that. 

Aaron:  Exactly, like there's the first time that someone had to do it. I'm sure there was a lot of explanation. And then finally, if you're actually this is a lot cheaper than sending the person to the ER.

Tracy: To some people I would imagine they would say, Well, if somebody isn't responsible enough to get themselves to their doctor's appointment, why should it be the fault or the responsibility of the healthcare industry to do that for them? 

Aaron: Yeah, that's a political question. What's the case now in our society is we kind of all pretend that we're not responsible for each other. And the reality is, we're all paying for that person's, ER visit, the ambulance if they're not insured, or if they're insured by Medicare, Medicaid like that's coming out of all of our pockets. And the way that our system is set up right now is no one's really being accountable. And so the costs are there. And what we're shifting now is like, let's put someone in charge of these costs. And so why not the doctors and the health systems and the hospitals. And so that's what shifting and when you put someone could be anyone in the system being accountable, they're going to come up with creative ideas like these taxis. But that's what we're playing with now in our society, we're switching to like, well, that's what happens when the health system is accountable. And what we're starting to see is a lot less waste and a lot more creativity and things like this taxi example.

Tracy: I totally agree with him imagining other people thinking about like, I'm not paying for your taxi.

Chris:  Hey Aaron, just Let's step back for a minute. We skipped right over the intro. But I think it's really interesting how you arrived, I think it's worth hearing that you didn't come to this with a deep health background. And so it'd be really interesting to hear the kinds of things you've worked on in your past and how you ended up in health.

Aaron: Yes, so health has always been sort of in the background. It's something that I am committed to even at the early stages of my career and coming into design. And I came in from the aspect of human-centered design and human factors, and really learning about people and understanding how the brain works and memory and attention and perception, and then starting to apply that knowledge to the shape of how do we create tools and products and services that actually fit with the way people think and what people expect. And it's a super interesting field and design as a whole, there's so much you can do with it. And my intention from the outset was to use that power for good. And like you can do all that learning about people and what people care about and like come up with really awesome ways for people to put money in slot machines, or smoke more cigarettes. And so I have always just had the mindset of like, the kind of work that I want to be doing, the kind of projects I want to be working on, is using the skills that we all trained in to make a difference and to actually contribute to people's lives. And health is just such an obvious straightforward thing, we all have to deal with our personal health, our family members’ health, and it's just so real, to make an impact on that. It's really gratifying. So when I spent the bulk of my career at IDEO, as a design consultancy, there's lots and lots of different projects. And over the time there I always had health as for, again, the umbrella theme, and always ever had a health and wellness had every year I would say two or three really amazing projects that were right in the sweet spot to the really great project designing a new bike for Shimano, for people who don't bike, create project doing DNA sequencing and building it using the workflow for DNA sequencing machine, which was amazing. We had a great project with the CDC, like Chris, you and I worked on together about how to get kids to eat healthily, how to get kids to eat vegetables. So every year, there are so many opportunities, and that sort of has always fed into now in the last three years, I've been focused 100% on health care, and like 100% on this like the literal health care world, that's about understanding the system, understanding the tools that make the system work. And it's really been a thrill.

Chris: A lot of people listening to our podcasts think yeah, that's interesting. I just don't have time to apply design thinking to my life and a couple of critics say things like that. These are single people that have done well. And now they've got time to really think about themselves. And that's absolutely not the case for you. You know, you've got kids and a family and a commute and everything else. So can you share a little bit of, for lack of a better way of saying it, how you manage your time? And how do you carve in all these things that you're doing?

Aaron: That's a good question. Because I think that's at any stage of life. That's always the question, how do you fit in everything that you want to accomplish? And I don't have any secret answer to it. And any secret tricks that for me, it's really about being clear about my priorities. Like for me, my number one priority is my family and being a husband and being a father of three sons. And it's really important to me every morning like I'm the guy that makes breakfast for everybody. And then every evening, we're all together for dinner. And so like that's like, those are some anchor points. And I've had it you know, fit in my full-time job and fit in my other passions and my friendships and activities. And I think the secret actually, is teams and teamwork. I'm actually in a leadership program, in addition to all them also a year-long leadership program. And the whole training of the program is how to create teams and teamwork and to cause everything that you want to cause. So like in prescribed design, it's not me doing it, it's me bringing people together and forming teams and causing other people to step up to be team leaders. And really, we've accomplished a lot and just, it's really been like two or three months. The same thing. Obviously work is all teamwork and even with family-like creating teams around my family, with my parents helping out with babysitters, and bringing more people that cancel each of those conversations. When you're a solo artist, it's really hard to imagine fitting everything in. But really the training that I'm getting is like the more teams and teamwork you have, the more you can accomplish.

Tracy: That's fantastic. I feel like I've been struggling with that myself since leaving my job and going freelance and taking on all these initiatives and I'm totally a solo artist. So thank you for helping me see that I need to invite more people in.

Aaron: And one thing that I'm taking away from this conversation is like, I haven't thought to myself, literally, oh, I'm doing design thinking now and this is a design thinking activity. But just I'm realizing that just being so immersed in the design world, and the way that we all work, just makes me naturally have those types of processes in my own life. And it just occurs to me like working as a team is a big part of being a designer, it's really there's a limit to what you can accomplish as a single designer and working with other people with different skills, you can accomplish so much more.

Chris: Absolutely. Aaron, are there things you're doing in your life right now, where you're absolutely not an expert. So where you're taking on something, you know, kind of brand new, whether it's a hobby or anything in your life, where you're you consider yourself an early stage beginner?

Aaron: Randomly, which popped into my mind is, this is a really random thing to say. But breathing is something that I knew. I went to the Quantified Self Conference in San Francisco last month, and just happened to like being standing near this booth, you know, the whole conference all about these wearable things, tracking your steps, and your heartbeat and all that. And I was like, I never wanted to track any of that stuff. But then there's one product called Spire and I talked to the founder, Neema, who was just talking about being conscious of breathing. And then what this product does is it tracks your breathing, your breath, and gives you feedback all throughout the day like you're tense, or you're holding your breath, or you're really calm. And I didn't buy the device that day like that. The whole rest of that day that I after I talked to him, I was conscious, like, Oh my gosh, I'm holding my breath. And so the next day, I bought it, and I've been wearing it on and off and just been very newly conscious of how I breathe, and how that makes a difference in my day and my conversations and definitely by no means a master of it. But I'm really intrigued and interested, like what's going to come from that?

Chris: Yeah, did you build on your experience there? I've noticed so many of those, not necessarily just picking out that quantified self conference, but a lot of it's very serious and can come across as pretty self-absorbed. And by train, we should all do this together. Let's create a laugh tracker, you know, look back at the end of the day and say, Wow, I hardly laughed at all today. This is ridiculous.

Tracy: I think that's a fantastic idea. I was at an improv workshop yesterday, and I was laughing so hard. My cheeks hurt. And then it just struck me I haven't laughed that hard in such a long time.

Chris: That's great. Yeah, we're definitely taking ourselves too seriously. And yeah, it seems a lot of laughter could go a long way.

Aaron: That's awesome. That's so much better than we thought you were gonna say. Thank you know, when you said the last chapter, I like to imagine a button that you push that would like to have laughter. Ah, like the laugh track?

Tracy: Yeah. Laugh tracker.

Aaron: You walk around and like to create laughter after you say.

Tracy: That is also an interesting idea.

Aaron: I like your idea better, Chris. 

Chris: Thank you.

Tracy: Aaron, what are some ways that you see that people could better design their lives for health in the work that you've been doing? I'm imagining that you're seeing a lot of people's stories.

Aaron: Yeah. So think about it, like a lot of the people that I've met, who are, you know, again, because I'm in the healthcare world, I'm more thinking about it from people who like to have an ongoing condition. And like, sort of the patterns that I've seen that really make a difference for people like that.

Tracy: Yeah, I think that would be helpful.

Aaron: Like one of the things that really struck me and I think probably all of the conversations I've had with people who have said that there's a lot of people have ongoing conditions. And there's a lot of people who have ongoing conditions that they can't quite figure out what they are. And those are the most frustrating, because our health system is really expert at like if you fit all these boxes, and we can recognize we can diagnose you, then we like to do the math. And here's your solution. Here's your medication, here's your operation done. And if there's someone who doesn't fit those boxes, our health system doesn't know what to do. And it's super frustrating. And I've met enough people to like see that that's a really big pattern. And what I've seen all of those people strive to create is a relationship with a health care provider, and whether that's like their primary care physician and like I met a guy who just likes loves, this is an older gentleman. He's in his 70s. He loves his doctor at Kaiser. I mean, this is a direct quote from him that, my doctor is like, the most important person in my life. And like he said that right in front of his wife. That's really, that just shows like that's a really powerful relationship. And then I've met lots of people who sort of have either rejected the traditional primary care doctor relationship or for whatever reason and met this one woman who's like gone on a rampage with alternative healers and she called herself alternative healing junkie and like all that acupuncturists and massage therapist and she had a lot of really different interesting things by feedback, I can't remember what else. And she just said, when we were talking, she realized, like, wow, I'm just doing all of that chasing all of these people in order to have the experience of being cared for. Because the way that the relationship she had with her primary doctors weren't doing it. So she's really seeking that out. So like finding that relationship, whatever that is, that could be your doctor, it could be your massage therapist could be your physical trainer, it could be your neighbor, just someone like that you really like in the exploration with because I think what is occurring to me like that, the way that how for all of us is I mean, it really is a lifelong journey. And it's not just this something that happens during those 20 minutes, once a year where you see your doctor, and really being able to fill in that whole year, like whether that's tools like a Fitbit, or you know, the breathing or the laugh tracking, what are the tools that you want to bring into your life? And what are the people that you want to bring what is the team that you want to create around yourself as your character, your personal care team, your family, your doctor, your alternative healers, this one guy, actually the same guy who's the older guy who loves his doctor, he gets input from everyone. One funny story that stood out for me is like he gets advice from he calls them the kids at Whole Foods. Like he's like the kids of Whole Foods turned me on to turmeric and like, he just adds that spice to like all of his foods now, just that someone suggested that to him. And he said he learned that that was like a healthy thing for him. And like people are just getting input from so many different places now and building up their own care team who would say that's what's the theme that I would underline from this conversation is build your own personal care team, whatever that looks like.

Chris: Aaron, I have to share, since people may not know but I also worked in healthcare and a couple of funny stories where I was talking to a guy about preventative health and he said it is ridiculous. My Volkswagen dealer does a much better job. And all they do is they send me a message in the fall. It says it's gonna rain soon, you should change your wiper blades. And he said it's ridiculous that why can't the health care system be proactive with me, and his second quote was about labs and getting blood results. And he said, you know, it's funny in the rest of the world, nobody wants to be average or normal. But in healthcare that's celebrated, congratulations, your average or you're in range or normal. So is this really interesting to see how people what's seen as really positive from the inside from the industry are just falling? well short of inspiring or engaging or empowering for real people.

Tracy: And that makes me think about the fact that I mean, in health care, traditionally, you're looking at other health care providers and how they're doing things. But the analogy to the car dealership, it's like, you need to look outside of the healthcare industry, to see how people are dealing with different things. They're engaging in different things every day, in different industries, and they have that same level of expectation for healthcare.

Aaron: Yeah, it's a brand new conversation in the healthcare world about actually being customer-focused, patient-focused, that's just not the default way for the last hundreds and hundreds of years that doctors have worked. It's always been that the doctor is the guru, the expert, and you just come in, the doctor is also very important and busy. And you have to like to work around the doctor's schedule. And whatever wisdom you can get from the doctor, you just hang on their every word, that's sort of the model that's been healthcare for the last several hundred years. And what's shifting and this is also related to Accountable Care is now that organizations are accountable, they're actually really committed that you stay as part of their network and that you're part of their caseload of patients that if you leave and start going to a new doctor, that like they literally lose a ton of money, and they're more conscious of it. And so it's a whole new conversation. And that's what design can bring in exactly what you're pointing out. Tracy is learning from other industries and learning about best practices and engaging people and building loyalty and branding, and building products and services that really work and really work for all of the different people involved. Both the patients and the doctors, and the system and the family members that there's this really new conversation and there's so much that designers bring that just that bring naturally that just like automatically make a huge difference very, very quickly.

Tracy: What are your dreams for prescribed design? What do you hope to see it become in the future?

Aaron: That's a great question. I've been just making it up as I go and it's already like exactly what I wanted it to be. What I said I wanted was a really vibrant group of people who know each other and care about these issues together and we just have a platform for taking our very individual conversations and bringing them together and Making them loud. And I've just really loved what we've accomplished so far like there are so many people now who now know each other and are really bringing those conversations together over time, just like it's just been louder and louder and louder. I don't know what that looks like, we have the website prescribeddesign.com. We've got a LinkedIn group called Prescribed Design. And both of those are super active in terms of people visiting the site in terms of people commenting on the LinkedIn group. And it's really just a great way for people to connect and support each other in their projects and their careers. And I'm trying to think what else I would want to say going forward, but it's just I would say louder.

Tracy: And I know like this is a role to Prescribe Design is a way to bring designers into the conversation. Is there any role that just lay people can be involved in? Or if they have an interest in it?

Aaron: Yeah, I mean, the whole we just published an article on the website this past week, that's all about like, Am I included in this conversation? And if you're wondering if you're included, the answer is yes. Because just the fact that you're wondering means that you're interested in, you're in the conversation, there's sort of three main groups of people who are part of the conversation, part of the community. So obviously it's designers who are interested in healthcare, working in health care or want to be working in health care, a second group, we're calling them healthcare natives. So people, doctors, nurses, other medical staff, health care administrators who see that they want to make a change, and see design as a potential tool that's going to make that difference. And they want to learn more about design. And then the third category is we're technology specialists, and providers, vendors who are serving the healthcare industry and want to provide, again, tools and services that are going to fit that context. And there's sort of a whole continuum along with all three of those groups. And those are the people we want to be talking to, and there are people who want to be talking to each other. And that's what prescribed design is all about.

Tracy: Fantastic. 

Chris: Aaron, it's been an honor talking to you. That's so exciting to hear what you're up to, and you're an inspiration to us. And I know you'll be inspiring a lot of people that listen to this episode. So appreciate your time today.

Aaron: Great, thank you. I love this great conversation,

Chris: Any kind of parting thoughts for people that might be new to design thinking, considering it for themselves, or even potentially as patients and sick sessions you might have for navigating the system as a patient?

Aaron: Well, my big takeaway, I'll say it again, in a different way to answer that question is like design thinking is, is sort of just a way of approaching the world. And I would encourage everyone who is new to it, or sort of learning about is like, the pitfall that a lot of people come to is like, let's do a design thinking activity for this hour or this day, or this workshop. And then they're done. And what I'm taking away from this conversation, and I would encourage everyone to start thinking about is like design thinking is all day every day. And it's just a way of looking at the world. That's gonna play out in all of your work and all of your conversations, your family. And it's something that it's not a discrete action. It's just an approach that if you start to really immerse yourself in the tools, and again, the main tools that I would underline are empathy, like really caring about what matters to people around you. That's number one. And then number two is prototyping and iterating. And like, if you just do those two things throughout your life, like you're doing design thinking, and you'll see the impact.

Chris: Thanks, Aaron. Amazing. 

Thanks for coming on the show, Aaron. I think the takeaways for me was one, I was pleasantly surprised that Aaron did not think that individuals designing for themselves were a bad idea. 

Tracy: That was a surprise?

Chris: No, I thought that he surprised me that he thought it was as exciting as we thought it was. 

Tracy: Oh, good. 

Chris: Yeah, I was afraid that he might not. He talked about the design process. And we talk theoretically about the design process often. But he talks about it starts with an individual and usually a design project that goes to scale up for some big thing or product, and how cool it is to close the loop. So we're talking to individuals, and then actually have the individuals do the things that are for the individual.

Tracy: Yeah, I was surprised that he said that he hadn't thought of it before. Like that he wasn't going to apply it to himself, although he does. But it's just not conscious.

Chris: Yeah. And you know, it's it's funny, you talk about it that way because we talked about his vacation and we talked about how they used a very loose sort of design framework to think about their vacation, but they weren't specifically going through the process. And he said something like it's not like we brainstormed what vacation wouldn't be in it. And then later you asked, why don't you think people brainstorm and he said something actually really sit down it's really simply said, I just don't think they think too. And to me, it just rationalizes everything we're doing. Yeah, around like, Yeah, I don't think we do think that about, let's hold a brainstorm about my next career path or what I'm gonna do this summer or how our relationship should work. I don't think we get that creative.

Tracy: I think we ruminate about it. Like internally. But we don't hold space to expand and that's been coming up a lot in the work that I've been doing too and like presentations, I've been giving and trying to figure out how do you just introduce the concept to people that when you have a problem, you don't just jump to a solution? You take some time but everybody's so motivated to get it solved? I think that they're just like, well, you came up with an idea. Sounds good enough. Let's go. And on the one hand, we do talk about like, you know, just get started, do something. Take a step. But it's like, don't, don't take the step, assuming that you've solved the problem. It's just an experiment to try before you come up with what the ultimate solution might be. Take a while.

Chris: Yeah, I agree with that. And it also makes me think it came up in a conversation, I think we think a lot about problem-solving, right? And even as individuals, you're you have a problem that crosses your path, you know, here's a situation that I need a fix for. And the same thing happens with any problem in the world is you do want a solution fast because you have a problem. So the idea that you would actually proactively get ahead of those problems and think about like, oh, here's an opportunity for me, that I so many of us, I think have a lot of things on our shelves around things we'll get to or when I eventually get the time for and I think everyone would nod their heads right now saying, rarely do you actually get to those things. And unless they become a problem, and that now you're forced to say, now I have a problem, I've lost my job, or we need to move to another state or I believe I've got or I've got a disease now,  these are those are problems and I think we're advocating that you can use design for those problems. And Aaron advocates taking some things off the shelf that you want to pursue and proactively get after.

Tracy: Yeah, I'm really curious about the way to visit you tonight. I was listening to a Freakonomics podcast about how to become great at something like what are the steps that you would take and it was all around deliberate practice. And I just had a question about, like, what drives us fundamentally, to want to challenge ourselves? Why would you want to learn to play the guitar? Why would you want to pursue these things that are on your shelf? Why are they on your shelf to begin with? And you know, that it's gonna be a challenge but yet you still are attracted to that.

Chris: Right? I tried to picture the kind of anyone I've ever met that just wouldn't have anything on the shelf like, it's all good, not trying to change anything, not trying to solve any problems, not try and grow, I'm good. right here enjoying life. I'm kidding. But yeah, your underlying points? So where's all the gumption? The drive coming from? Does the compassionate achiever outdo the one that is like the beat themselves up achiever?

Tracy: So I'm taking that compassion class right now. And, yeah, it's really interesting, because it's surfacing, how harsh I am on myself, and how much I strive for things. And then I get overwhelmed with all of that striving. And then I kind of don't do anything. And then I get bored. And then I cycle back and then extract. So yeah, just being conscious of it. And then trying to apply the compassion obviously shows to other people trying to apply that to me. That's really fascinating.

Chris: And it's once you get those things out of an individual and into a group setting like I always think about really famous teams like the Beatles, right? The Beatles are like, the song sucks. It's horrible. Like every show they play, they're like, what could have been so much better? Like it just sounds like you could just hear it, taking away their momentum? And if you do that in a public forum, you guys like wow, that's really not productive, to be that hard, yet, do they hold a high bar in the sounds? Absolutely and I don't know that much about Beatles’ history but I think it's, it seems to be a fine line between holding yourself to an achievement goal, but not holding it so high that you're just drowning your energy, for sure. And I think that's a fine line to walk.

Tracy: Well, on the flip side to when things are so easy. You don't feel challenged. I'm working on a project right now potentially around learning to play guitar. And they're trying to find ways to teach people to do it more easily. And they're trying some things which made it so easy that then people just dismiss it. So you have to find that right level of challenge or different people at different stages in their lives.

Chris: You really unpacked healthcare nicely, I'm trying to pull out. 

Tracy: Well, there was a lot of interesting conversation I felt around the quantified self. With the Spire, I wondered how if he's still using it because I feel like those things, you know, it's kind of come and goes, Yeah, but how do you create that excitement that you want to keep with it?

Chris: And that's what I like a lot about the way that Aaron sees the world is, there are certainly the practical factors, you know, sort of the data and the things that you get back. But as any great human factors person knows, but especially in my experience with air, and is that we do these emotional things that are just highly irrational are completely unpredictable. And I think all the math and information about quantified self or the way a Fitbit works, or it makes perfect sense, right? But then the emotional side is what actually drives the behavior. So how do you create that kind of feedback that's exciting, emotionally exciting, and emotionally interesting? And allows for the failures and makes it playful and fun, human?

Tracy: And then that makes me think about Kyra Bobinet talking about how designs have expiration dates. And so how do you keep those things kind of going long term? How do you make a breathing product interesting a year from now? Or maybe it's not meant to be used for that long? Maybe it's meant to change your behavior and then carry on without it like training wheels? But I didn't really love your laugh tracking idea. Yeah, I think that's highly undervalued.

Chris: I think it is, I think, Well, to me, I think it's just a proxy for an emotional tracking device. Like, what are the things that best reflect your emotion? How many times I ask a guy like how many times he's cried in the last year, but it's pretty humorous. Like anyone in the world would know that a good cry is pretty amazing. So yeah, could we count that on an annual basis? Or we were talking in healthcare recently about the ethical line of big data and predictive analytics. And, you know, we're pretty close right now to just knowing if two cell phones are by each other, you know, that somebody is not alone. So I could say you could see things like, how did we send an elderly person home after surgery, and we realize they've been alone for five days straight? This is the thing of the future. It's not happening right now. But you could get that and that that'd be really interesting. It is. I'd like to know, information that I can get for myself, that'd be really helpful for me, like, yeah, hey, last month, you were around a lot more people than you were the month before, and you seem to be happier, or you're freaking out. Because you're an introvert, like, you need to retreat. That is too many people for you. So that would be helpful. So I think I think the promise of getting insights that we don't know to look forward to not look for like that passive teeing up of like, crazy. Did you know that when you're around more people, you spend less money? Or, you know, it's just like, no way, I didn't know that.

Tracy: It's interesting. That just made me think of like, you know, people go to psychics to envision the future and to get a sense of like, Who am I? Right? Like, I can't, I can't know. myself. So I need you, which has no scientific basis. Right. But it feels good. And then when you're talking about, you know, who would have this information, we make these insights, then it feels creepy, like Big Brother, the health care system, like I don't want them to know these things. which is unfortunate, because the information is valuable. And people would probably want it. Who do you trust?

Chris: Trust that information and it'd be really interesting to just have that information. It's kind of like you wish you just had it for yourself? It wasn't being used to sell after no external.

Tracy: No external party involved.

Chris: Yeah, just for you by you. That'd be really interesting.

Tracy: All right. Well, thanks to Aaron for enlightening us about the healthcare system and design. Alright, that's a wrap. Thanks so much for listening. Our dream is to build a community of people who can create and take advantage of any opportunity that interests them, to do this really well. We'd love for you to participate, try out and share back your own life design experiments. Or if you've already got a great story of how you've designed your life, we'd love to hear from you on our Facebook page, or on resultsmayvarypodcast.com. Our website is also where you'll find show notes and links to all the things we mentioned in the episode. And if you wouldn't be so kind, subscribe to the show, and share your favorite episodes with friends. that'll let even more people start designing their own lives. A big thanks to the folks who helped us make the show possible. composer and filmmaker HP Mendoza for the Results May Vary theme music, graphic designer Annessa Braymer for our logo, David Glazier for sound mixing and team podcasts for editing, and of course, thank you so much for listening to Results May Vary.

RMV 13 Story Musgrave Transcript: Should You Really Try To Design Your Life?

Full transcript:

Tracy: Hey, everybody, I'm so excited to introduce you to today's guest, Story Musgrave. I'm not sure what you can't say about Story. He holds seven graduate degrees in everything from Math and Computers to Psychology and Literature. And he's been awarded 20 honorary doctorates. He was a part-time trauma surgeon during his 30-year career as an astronaut and he's had a cameo on Home Improvement. Today, he's in his 80s, he operates a palm farm in Florida and among other things, he gives talks about human performance and raises his young daughter, also named Story. So we asked him how he designed such an incredible life. And he told us he's not sure you can or even should design your life. So however he does it, his perspective and his life story are absolutely fascinating. And talk about the power of design, I was teaching a design thinking workshop and I mentioned I wanted to meet an astronaut and a new friend in the class and hopefully future guests on the show. Katia Veressen said, oh, an astronaut named Story Musgrave just emailed me the other day about an article I'd written on brain hacks for performance so I'll introduce you. And so now we get to introduce him to you.

Hi, how are you, Story? Getting ramped up again with working everything?

Story: Yeah, that's the way it works. I participated in a marathon out on the beach, in Cocoa Beach. 

Tracy: Oh, you're near Cocoa. 

Story: Well, I'm seven miles southwest of Disney World in Orlando. We went over the beach and I worked the running expo and then gave a keynote address on performance on a lot of people on the night before and then I participated in the award ceremony.

Tracy: What are you focusing on when you say performance, like human performance? 

Story: Yeah, Tracy, yeah. I built a presentation just for them. I never do a repeat. I can't do a repeat. 

Tracy: What's the fun in that?

Story: I know it's no fun. So I got 500 templates. Parts of a template may fit but then I work it over.

Tracy: Yeah, I'm the same way actually.

Story: You do that? So I look at the crowd. Specifically, I look at the occasion, I look at where the venue because that matters. And then I build some for them. But since it was a people running half and running a marathon and they're performance-oriented people, even if they're not that fast, they're still performance-oriented people. So my presentation was based on designing a life of performance.

Tracy: What were some of the things that you talk to people about? 

Story: Well, I just showed them every one of my presentations this story. It starts from the beginning, and it goes to the end. And it does tell a story. But I build a story with scenarios. And so I build a story with a whole bunch of dramatic scenarios. And what are the lessons and principles that I can bring out of that scenario to apply to their case? That is to people who are in the audience? What can I apply to their case? But performance is performance. And I don't care what it's not if we'll the field again, it's the level of perfection and the level of choreography that you do. And so you notice the level of performance that you arrived at? It's not the one that matters. 

Tracy: So do you think that's a mindset that you were instilled with early in life? How do you think that came about for you? Like, what do you think drives you to perform, I guess.

Story: I was driven to survive, start at the age of three. So I came into a very sick world, I was driven to survive, I can't say I perform, I got into running farm equipment by myself at the age of nine. That's a form of performance, they don't teach you, they just tell you to do it, while you gotta figure it out. And so figuring stuff out is a very particular form. And I've been figuring stuff out since the age of eight, really, when I started writing, and hay bale is it couldn't tie a knot. And I had to do it by hand. They were very creative on a farm, they put a bench in here, and I did it by hand. But from that point on operating everything, you know, without this figured out and get a job gun and master mow fields by 12, or 13, or keep stuff going when it was broke. So but that's kind of, so I got to perform that performance to survive. And I joined the Marines in 17. I joined them at 16. But I lied about my age, and they called me to join him at 17. I went incredibly fast with the Marines. My farm went under anyway, so no heavy equipment on a bill and Massachusetts Turnpike. For a short time, we finished a pike, I had no high school diploma, I never finished school, didn't have a job, and joined the Marines. Well talk about getting the job done and how to get the job done means we'll teach you how to get the job done. So that's a very particular kind of performance, you want to get a job done, call the Marines. That's a very specific kind of performance. And so the crowd was incredibly ecstatic. So I'm showing them a Marine way, in the Marine spirit and the Spirit is the main thing. It's not just your Marine, it's the spirit. So I bought in the spirit, but most of this crowd understood exactly what I'm talking about. And so, it's multiple domain thinking, it's not their world, there may be some Marines, but they're not necessarily Marines, they're people that run a race. I bought him a whole bunch of scenarios that involve performance. So I went very fast in the Marines because I had to create the farm feeling that discipline, you never touch an airplane, unless you do it by the book, you don't that way you're going to do are you gonna be wrong. And so it is an incredible discipline of being sure you did it the way they taught you or by the manual. That's the only time we ever touch airplanes and maintenance. I went fast at the age of 18. I'm signing off airplanes to go to war, act as coordinator, and last night signed it off, it deserved my ready to go. I did that with one strike at the age of 18. That's called performance.

Tracy: So I'm curious because I had read the article that you'd sent earlier. And it sounded like when you were younger, though, you weren't necessarily following the rules. You were kind of deconstructing and figuring out how to make sense of things.

Story: Yes, the rules? Well, sure. That's exactly correct. But when you touch an airplane, it's by the rules. I am aware of the rules but I know where I gotta go signing off military airplanes for someone to get in and go fly to war. I know what I have to do. You're not creative.

Tracy: No, not in that situation. I wonder if you thought that your experiences when you're younger, where you were allowed to sort of be curious and make sense of why things worked the way they did? made you better equipped later when you did have to follow the rules because you kind of understood the principles that lay beneath it?

Story: You mean younger? You mean before the Marine Corps?

Tracy: Yeah. Growing up, when you're kind of doing it out of necessity?

Story:  Yeah, sure. I learned how to survive, and learn how to make stuff happen, figure it out, keep that machine running when it's broken.

Tracy: One of the things that Chris and I talked about, and I mean, it's a design thinking principle really is looking at the analogous examples around you. And that's what I think is interesting about the story you're talking about the marathon is right. You don't necessarily have to have been in the military. But seeing how performance works in these different scenarios, opens your eyes to new ways of approaching.

Story: Because I presented them at least 50 different scenarios, but I went from my stuff there. I went onboard aircraft. If I showed him that, and I showed him my monitor de carrier Amala, color-coded people. I told him all his signals, the absolute dance that the people are doing for the airplane, and 01 hundred 80 miles an hour in two seconds, I showed him what that's about. That's called performance. And the way that carrier operates is that it ranges by CD, they just adored it. They understood that, yeah, understood what that performance was.

Tracy: And they wonder in these scenarios, I mean, we talk a lot about the individual and individual performance. But I would imagine in the military, as well, as you know, when you're in the, as an astronaut working with other people, what are some principles for performing as a group? How do you gel together? How do you learn to rely on each other? In a way?

Story: Why do you rely on each other, that's a range of things, it's a scale, some people, you can rely on a line, some people you cannot. So it's not teamwork. So teamwork and team leadership is part of that game. And then the skill set, now it's efficient you are in whatever job is required at the moment. And so whatever the team got to do in life, that's going to range to what's true, and NASA, it's true, I don't care where you go in life, it's going to be a group effort. It's hardly any solo business anymore, anywhere. Life is a big system, you know, the whole thing is a system, you got to work in a system. And that's one of the lessons that I learned very early on systems thinking as a systems engineer before they even had them. And so I'm a little bit I'm not off-topic that far. But do you want to get the job done, you want to get this job done, when after I get the job done? You got to identify all the variables that affect the outcome. And that's all I am. I'm 100% that that's who I am. That is to identify, I get dropped. I've been on a 100 playing field, I get dragged on a new playing field every week. And I gotta, you know, figure this thing out. What are the rules of this game? How do we get a finish line? What do these people want in the general? I mean, to ask me to do stuff, I don't know how to do it. That's going to give presentations on stuff I don't know anything about within the best client I got. Because they pushed me so hard. The homework I got to do, you know, to talk to 300 people, a global research, the best and the brightest. I got to talk about stuff I don't know anything about anyway, that's life.

Tracy: I would say though, that I would argue that you do a great job with that. And that a lot of people struggle in the world to figure out how to do that. Well. And so do you have any go twos when you're prepping? How do you do that?

Story:  Go through the details. It's a stupid detail. It's one of the variables you got to manage to get to the finish line. But I just do my homework. So of course, I want to actually do a topic I don't know about. Turns out, I didn't know a lot about that topic. I just thought I didn't but you just got to work the details. And so whatever the topic is, you work the details, every single topic that you're trying to get to the finish line, we dropped on some playing field and so I've read your past, the past eight or nine people spoke on your program. Fascinating. But you get dropped on some playing field, and what are the rules of this game? And what are the objectives? What am I trying to get done on this playing field? What is the finish line? What are the objectives? And now thinking as a system? What do I have to manage? What factors, what people, what hardware or software, what details have I got to manage within a certain range that will allow me to get to the finish line and ask the system and the configuration and needs to be in that will satisfy my objectives. That's why I got into it. I was doing that on the farm. And in the morning, when I got to college and found that there's a quantitative way to deal with it called multivariate statistics and calculus of complex variables as, my god, here I got a man to deal with this stuff. And I've done it ever since. I've done that ever since. So that was my freshman year in college. I got into that stuff. It's weird stuff. But it's no, it's a way of thinking.

Tracy: And that was at Miami or Ohio?

Story: That was Syracuse University. Miami was honorary degree. 

Tracy: Okay, but I wondered, so kind of what you're talking about reminds me of sort of the engineering process. And you'd mentioned that you consider yourself an engineer. I mean, you're many things. That's one of them. And another thing that you are is a designer. And so I wonder how do those two processes work together in your own world? 

Story: Yes, of course, you get to the semantics. You really semantics right away and semantics are nasty. They're always nasty. I don't do semantics. So I do it faster as it happens, every concept that comes up. And that means while it's got some word processor sitting there, I'll throw the word of the concept in review festers and look at all the various ways you can express that tool, then you move the other word, the sub-word up in the meantime work, and then you do another level. So you've been here a second time. It recesses now. And I'll take it down to where it becomes irrelevant. But if I want to really pursue some concept, that concept for me is an entire eight by 11 page of words, semantics, you know, is pointing at the user, worded, pointed at something. It stuffs it in a box, it puts a label on it in linguistics, and it stuffs in the box and I don't deal in boxes. See, I don't like boxes. I don't deal in boxes. So but engineering? Yeah, I'm an engineer. But I think a little bit different to engineering is engineering, maybe more driven by requirements, in terms of what is this thing got to do? Those are the requirements that it must do. So you're working in a more linear fashion to say, what is this thing got to do for me, and then you come up with some kind of specifications, and you come up with project management that will lead you in an organized, not linear, but well, may be linear, semilinear and organized fashion to the end, where you have something which meets the specifications you thought would be the right one, so the system will perform to meet the requirements as opposed to a design that works differently. I think design works, it doesn't know where it's going to go. I think engineering tries to find out where it wants to go a little earlier than a designer, although they're very similar. They're very similar in designing and engineering, and they should be similar. I think a designer is more attuned to the fact they don't know where they're going. She doesn't know what the answer is. So she's gonna play with it and come up with a bunch of prototypes. And so designer prototypes incredibly fast. So the company I work for applied minds today, and also my teaching Art Center College for design. You notice I'm a design professional. I'm an engineering professor.

Tracy: I know, I noticed that that’s why I was curious. 

Story: It's where I belong. But we don't know the answer. And we don't know where we're going. And so I think it's incredibly important, even for engineering, or straight-line project management, that you not fix requirements too early, I think requirements that are up for grabs along the way, too. So you've got to get into something to find out what you really wanted to do for you. That may be a different way than this thing is going to perform for you than you anticipated once you get into it. But I think a designer is more open to the fact they don't know where they're going. And so it's rapid prototyping and sees what was this do we continue on this path or notice is not working or shows you a fork in the road, or you go off someplace different? So I think those are maybe that's maybe a little bit the difference between engineering and design. 

Tracy: I think that's spot on. And also I wanted to talk about this just for my own sake. But story, I actually worked at Disney World for a semester when I was in college. And so I wanted to at some point, talk about your Disney Imagineering experience. 

Chris: Yeah, amazing. So Story, maybe one thing to ask you is, when do you look at the world? What do you see? Right? I'll give you an example. Tracy and I have had the privilege to work with some very bright engineers at IDEO. And it's just fun going on a trip with people from different backgrounds. So if we walk out in the world, with an anthropologist, they're just constantly curious about people, social interactions, engineers are looking at the buildings wondering how many bolts would it take to keep that thing standing? And the traditional kind of artistic designers are looking at the colors, right? When you walk around the world? What's in your head? What are you looking at? Tracy told me a little bit about optimization. So I'd love to hear I know, it's an odd question.

Story: No, it's not odd. It's right on target. So I'm moving amongst context, you know, different contextual, and my explorer exploration of the world and my perceptions of the world. And they're contextually driven. So but if there's an insight there, I'm going to go and make friends with a bug first, if there's any form of a creature that will dictate my attention, if there's any form of creature that will drive me that will focus me to the exclusion of most other things until I have made friends with the creature. And so I'm very in nature, I'm very cosmic driven, and the creatures are part of the cosmos. So I think I'm very cosmic driven in terms of the stars and the water and the vegetation and the creatures. And so you know, say you what is my view of the world when you walk with different people in the world? And you see how they look at it. I think I would start with biology, and then move to geology, geography, and astronomy. I would move down my pursuit of nature and then move into other realms. 

Chris: Very interesting. It's so how do you design your life? How does it, what's it like if we were to see your life? What's it like?

Story: That's fascinating, Chris, I don't think you can or should design a life. The light of my life now is my nine year old and that's little Story Musgrave. I'm big Story Musgrave. She's my center point. She's my anchor, she's what I lived for but you said that I designed that. No, I didn't design that. I didn't plan on having children, I'm 80, I didn't plan it. And you might not play that you might think it doesn't fit. It's the most perfect thing I have ever done. It fits absolutely perfect. It's just the most delightful thing to do things with her and come home to her. And to have someone at this point in life, it's absolutely perfect. Well see, that's one example. I didn't design it and I could not have designed that. And no one would have thought, but life happens. Now life is one endless fork in the road. But now you can if you're stable, if you get a stable, stable occupation, stable social life, stable everything, then you can sit there and that's where you sit. But if life for you continues to evolve, you don't know where you're going. People always ask me. Well, when you were a child, did you want to be an astronaut? That's a key question. Because children tend to want to be firemen, or maybe astronauts. No, I know, they asked me, they're forgetting in the 1930s, I didn't want to be an astronaut and so it happened. I get my first PC, I'm 48 years old. How could you possibly be so primitive, Story? I wasn't. I got a Commodore 64 as soon as they came out. So what I'm saying is, is life happens, technology happens and for you now, if you're reinventing yourself, and you're evolving with new technologies, new social structures, you have not designed that much. So what I do is and what I do teach personal and professional development, all-around at the college, too. It's one step at a time, to your passion and your dreams and your curiosity at the moment for what you jump into. But you jump into that, and then you synergize then with everything 100% of everything you've done in the past, you synergize with that. And that all then come together as a skill set that you have to solve some particular problems. I don't think you can design a life. I think you do have an operating system. Yes, I absolutely have an operating system. But the operating system has to work with different apps all the time. It has new inputs all the time. There's no question. I have an operating system and there since age three and changed since then, really? So I think it's a can, I'm not sure you can? Sure you do. 

Tracy: So when you're talking about kind of life is a series of forks in the road. And then you take it one step at a time, the way that I've been thinking about, like, if somebody asked me what is design? To me, it means decisions. And sometimes those decisions are made for you. And sometimes you make them intentionally and so I guess my thought of designing life is saying that when you come to those forks, you don't know where you're gonna end up. But you either let other people or habits sort of making the decisions, or you intentionally make them yourself. And I wonder, I think my hypothesis is that people don't realize how much control or opportunity they have to make those decisions themselves. 

Story: Yeah, I think, well, one, you answered it. It's exactly like that. Sometimes you get thrown into. You get dumped onto this playing field but I got two big things, you know, what is this? And what am I going to do with it? And so those are my driving and they come from me, they came from Galileo 3 Communications Corporation. So you should change the title to your presentation. What am I going to do with this? And I say, yes, ma'am. I've changed it already. That's the title from now on of this particular presentation. And so you enter a new fork in the road, and you got new experiences. And so your future, your future is the native talents you start with. And that's maybe we get down to nature, nurture, the way the trite way of looking at our person is who they are. It's their native talents and experience in total experience and education starting in the womb, it makes them so it's a combination of those two things, but your future is your native towns, the total experience in education, but it's your passion and your dreams, your passion, your dreams, your heart, your emotions, and your curiosity, then that drive you into the next thing. And so that gives you the energy of pursuit. Without that, you simply don't have the energy of pursuit and we spoke about having to deal with all the details, it takes for the new playing field, begin on a playing field and get to the finish line, the rules of the game, the proficiency to skills, manage the variables to get to the finish line. And so, but the passion and the dream and the curiosity and awe and the wonder, that gives you the energy of pursuit. So here you say on December 1, you say, Well, what about tomorrow? But another key element is this, what windows of opportunity will open for you. Life is not always fair, some may deserve for this door to open this door may be accepted into some industry, some job acceptance and some college see. So I look upon life as a series of doors. But again, it's native talent. It's the total experience, education skill set you bring in. It's two days, passion, curiosity, today's heart, and intuition, which drives you to the next step, the next mountain to climb. Now, what doors open? What targets what opportunities arrived, given who you are at this moment? And what are the meaningful challenges and that's the reward. If those opportunities have meaningful challenges, that's the way it goes.

Chris: That's great. I'd love to hear how this played out for you using the astronaut example. And I'm curious, can you talk us through the theory you're describing now? Actually, not theory, really. It's a fact for how it's played out for you. But can you talk us through how what you're describing manifests itself through you going from one day I'd like to be in space to actually manifest itself?

Story: Yeah, I'm always fast. So I was a farm kid. I drove every piece of equipment at age nine. I tied in knots on the bales I wouldn't tie the knot today, I fixed it. I kept it going at 12 or 13. Never finished school. I'm offering the Marine Corps I'm an airplane mechanic. I'm an incredibly good mechanic, the creativity of what's wrong with it, but never created. So I'll fix that. According to the book, you know, in Korea, I don't care to watch, I do that with airplanes. Okay, I'm a college student. I got Mathematics down at college and mathematics and multivariate statistics, how to deal with the probabilities, how to deal with risk, but I missed my Marine Corps day. So what am I doing? I'm driving tanks. I drive tanks with the Marines on weekends. So not only did I drive the tanks, the tanks don't fly by 810 horsepower V 12. So how can a 20 year old farm keep complaining by air and 10 horsepower? Well, my tank broke, I fixed it, I fixed it for him to fill out the paperwork. And so life went from there. I did have construction equipment and helped pay for the way I had a Corvette at the time. But a Corvette forces you to go under the hood and forces you to drive it. And so yeah, and I took appliance, I'm into multiple airplanes, and all the rest of that stuff still maintains my skills as a mechanic, airplane mechanic, because that's why I understand airplanes. I understand it by taking apart putting back together, not just by flooding. And so your timer certificate people see all that stuff. While these are little forks in the road. But now when I got into big computers, I went from math and I was a mathematician and went to UCLA got the biggest computer in the world IBM 709. I got into that, but in the house, the biological intelligence work, if you can call those computers intelligent back then they weren't but they did smart things. And so I got interested in biology and how the brain works. My guy has a huge fork in the road about computers. okay, it's off to medical school neurosurgical research. I'm doing neurosurgery, headed for neurophysiology, but the space program now happens. So, my God, they put an announcement now for scientists, astronauts, well, my God, who else is a Marine, who else is an airplane mechanic, who else is a surgeon, you know, you add up the total skill set I had acquired at that point, it was absolutely a mess. But it was just leaping off and was just following my passions, you know, along the way. But in 1975, you're going to put a big telescope in space. Who needs to design that and go fix it when it goes bad? Well, who has nobody, nobody has a skill set. I had no one near the skills that I had to be able to figure it out to be able to see ahead of time the problems it's going to get into getting a line item. if this fails this what I'm gonna do about it. There's the path. Lucked out. Yes, I lucked out. I lucked out because that job came along if you'd have the door of opportunity that came along and it rescued me. It was able to pull together everything I've ever done in life.

Chris: It's amazing. I feel like he just described four different people's lives. But yeah, you're saying, right, where you acquire these skill sets are unknowing how they were going to eventually totally multiply.

Story: Totally unknown. Design a life for yourself, I'm not sure about that.

Chris: Yeah, I actually think Tracy and I have recognized that our liberal use of the word design makes it sound as if the way you're hearing it and I think a lot of people do is that we're suggesting you have a lot of control over it.

Story: There's no question, Chris, you do design it right. But you don't know where it's going to design it. Because like you said, you do make decisions.

Chris: Right.

Tracy: But you also said with the definition of design is you kind of start without knowing where you're going. Right? 

Story: You don't.

Tracy: So kind of a goal.

Chris: But what I did hear you say, which resonated in your complete story there is, you certainly kept on the pursuit of what you knew you want to do like your passion was a consistent theme there where your passion was driving you at some times, I'm sure that passion maybe didn't make a lot of sense. Maybe it wasn't the most lucrative but you just kept following that curious trail.

Story:  Yes, it was absolutely a curious trail, but I am a radical pragmatist. I'm an empiricist and a pragmatist. And if I can apply pragmatics is something man, that's it. And that's my approach. It's a pragmatic approach comparison.

Chris: Right. And I think listening to you, that's what I find really inspiring is you're going from tractors to a Corvette to tanks. And ultimately, that's you're unraveling that thread.

Story: The rockets came in later.

Chris: Right, exactly. But I think a lot of people don't deal that intuitively, that sort of hard string getting pulled? They'll deny that in a way that you did not.

Tracy: Yeah, because I was just gonna ask, at what point did some of the more traditional responsibilities fall upon your shoulder? Well, you're following your curious trail. So I know that you have kids that are older. And I'd imagine at some point, you're having to make decisions about how I put food on the table? How did that all rectify itself for you at that point?

Story:  Well, I had that all the time. I had accountability, responsibility all the time. If you're gonna play in multiple fields, and if you google Story Musgrave polymath, it's outrageous what you run into. But that's a strange semantic word. If people don't understand it, you can get lost in the semantics, you can talk about the Renaissance person, you can talk about universal person those things. The key thing is if you're going to live in multiple worlds, you decide how deep you're going to go in each one of those worlds, you may take the whole thing on and you may be accountable and responsible for actions there. That is your ultimate level of expertise, that you are accountable and responsible for the outcome, or you just bite off whatever you need within that other or the multiple platforms.

Tracy: How did you juggle those for yourself? What were the ones that you feel like you went less deep in?

Story: Well, Delta Airlines, I teach Delta Airlines to the whole world. Now it's not that I teach Delta, I could teach American, United, Southwest, Cathay Pacific, that's not the issue. The issue is Delta Airlines got 15 million flights without a catastrophe. They got 2 billion passengers without a catastrophe, you're talking nine decimal places. That is an outrageous number. And it's called the R-word. It's called reliability. So commercial air, for me, is your ultimate, your ultimate measure of reliability, you simply cannot be nine decimal places. And I know how they do that. I'm sort of an insider, because I have enough, you know, 18,000 hours of flying experience. That does not make me an insider to commercial air, because I don't do commercials there. But I understand it enough to dissect it. So when I talk about bringing people to multiple domains, I will look at what they need. And I will dissect them and see where my lessons and principles could fit. And then I go dissect a platform, a different domain over there and see what I can transfer you can carry across. So if you want the R-word if you want reliable, don't you absolutely cannot ignore commercial air. But what I want to dissect someone, I can dissect more precisely, instead of dissecting the whole industry, I will dissect one company, how is it that they can do 15 million flights without a catastrophe? It's an impossible number, except getting it up. It's 6000 flights a day, multiplied that times days in the year, and how many years since the last accident? It's outrageous. So there is one example I am not commercial air, I don't run a thing. I don't fly with them. I'm not part of them. I will dissect enough out of them to get the lessons and principles. And I will bring those to some other company that's interested in reliability.

Tracy: Spoken like a true design thinker.

Story: Is it? Yeah. When I'm asked by oil exploration companies, how do I improve what they do on an offshore drilling rig? They want what's about the leadership, the teamwork, the expertise, the safety in the whole thing? I bring them commercial air. I bring them a NASCAR pit crew. I bring them Mission Control, NASA mission control. What's the difference? I bring in aircraft care operations. You know, in terms of reliability, the safety of perfection, there is no difference between aircraft carriers and a drilling rig. Not for me, because I see the synergies. I'm always working synergy, yeah. And the cosmos. You know, it's only humans and stuff thinks in a box, there are no differences. The cosmos is one. So all disciplines are essentially one. And the synergies are there, and you can count on it being there. So I bring aircraft carrier operations, which I know something about because that was there. But I bring that to the drilling rigs. Of course, they're the same. So that's multiple platform thinking. And so back to I think I answered your questions. But in this, you take on my level of expertise that you want to for context, so you do a contextual dissection?

Tracy: Yeah, I think that that really, I mean, as I said, it sounds spoken like a true design thinker is usually similar in the sense that we work across multiple industries. And so I worked on projects for genetics, and I worked for food and beverage companies, and I worked in the healthcare space, and you are the one who kind of comes in with that multidisciplinary view. And you provide the value because you're not so deeply in the weeds of the industry itself. And that's what's fascinating to me because then I think that that allows you the flexibility to solve problems that nobody else really can.

Story: Your solution is unique. There's no question. No, I'm not against I'm not saying I do not say that it's superior to hyper-specialization.

Tracy: No, no, it's just different.

Story: At times, you need hyper-specialization, right?

Tracy: Yeah, nobody wants me doing brain surgery on them. Because I've, I've worked for a beer company.

Chris: Story, you've got a number of years behind you as well. You do a lot of speaking in different areas. And you do a lot of advising now, and you've accomplished so much, what kind of themes Do you see what patterns where people you've accomplished so much? And I think a lot of people would look to you saying, wow, he's done so much in his career, I was just looking at your hobbies, chess, flying, gardening, literary, poetry, criticism, literary criticism, my computers parachuting, photography, reading, writing, scuba diving, and sorry, you're a pretty busy guy. And I'm curious, and you've accomplished a lot. What patterns and themes do you see that frustrate you, may perhaps, but where can you help others that say, wow, I want to accomplish three-quarters of the amount that Story did or even half the amount that story did?

Story: Are you talking about a company or an individual and they are very similar.

Chris: Yeah, this sort of back to your point is like, perhaps they're all one thing. But I'm more curious, I guess, for individuals. But I would love to hear your company example as well.

Story: Well, you can look at a company as an individual. I think we've covered that. I think it's one step at a time. I think it's where your curiosity, energy, your passions, and your dreams and where your heart is today.

Chris: I was wondering where you see that? Where do you see people get stuck in that? I think that makes sense to a lot of people. But where do you see them? Where do they get stuck?

Story: Yeah, because they don't take that step. Because they don't follow their dreams. They're stuck, because yeah, they're stuck. And so there's not a next mountain to climb? There's not a curiosity, then I am driven. I don't know where the drive comes from. And people, my biographer did one heck of a good job. And she was after, and I don't think she found it. And she couldn't find it, because I haven't found it. So where's the energy for adventure and exploration? Where'd it come from? I don't know where it came from. I don't know where it came from. But I just think that's a good point. Do you have the energy for exploration? More adventure for the next thing and x mountain to climb? The next curiosity? Is your curiosity still running? You're still in the game? And right, you know, it's December 2, what you're going to do on December 2?

Chris: Exactly. It sounds like what's true for you has also been true for us where there's also sort of a momentum that's built where if you start picking up rocks because you're curious, you only want to pick up more because it becomes so interesting and engaging. Yeah, so it's a little bit of unlocking that feeling of being stuck. And then if you don't know what it is just start picking things out of passion. Is this the pursuit of passion? If you're not sure what the passion is? Yeah, that said, I've never operated on anybody.

Story: But I'm fortunate today cuz I got a great set of clients that drive me. They drive me into new stuff, they always want new stuff. And they drive me so I gotta come across. I'm in a drop manner. The playing field is what we want. I was paying attention to the objectives while I'm going in, what am I gonna do for them? What is the take-home? What's a call to action? And number perfection? Is that providing them exactly that? 

Tracy: I was just wondering how that translates to how you raise little Story. How do you serve her? 

Story: So you saw that Steam Journal article? Well, that's the way I raised little Story. Little Story is always part of my final message when I'm talking about personal professional development. And so the only reason little Story is because it's always a nice thing to finish up the story. And I always tell a story, storytelling is massively important. It's the way humans communicate. And so I have a story that's read once in the beginning and it read once it starts in my childhood, and it ends up in her job. And so you do tell a story. But the story is made up of a whole bunch of scenarios. But I'll finish with her because it's human, but also she is an empty tabula rasa, an empty slate. So you start inquiring, and then the environment starts making a difference in the womb, but a child has a much more empty slate than an 80-year-old. And so what do you want to put in that slate? You know, of course, tabula rasa, right? So it's empty. It's empty, pretty empty to start with. Now, what experiences do you want to give her because the things you do as childhood are critical? You're asking a champion skier when you start skiing up today before I could walk? And you got the answer when you take up the piano when my hand is big enough to reach the keys h4. I see that's the way it works. When you're getting wired. It matters. When you acquire skills. When you get wired like I'm a mechanic, I have mechanical skills, but for little Story, I just think of the balance of experiences. So okay, she's massively digital, that just happens. That just happens. You got all these machines all over the place. And she does that. But for a lot of kids, that mechanical ride all-terrain vehicle, or driving tractors or that kind of stuff, I had a drive in a car the other day. And so that's the mechanical part of things, but the creatures and getting out in brown water, her love of creatures is outrageous. It's just incredible. And so she knows on its own, it bites, and they're nasty, because if you get near their nest, you know, they're gonna bite. You can't help but it's just their genetics, but they bite. They're nasty. I squatted down the swimming pool the other day, and it can't fly out of the water. So I said I got it. And she says, wait a minute, dad, she went and got a cup. She washed it out, I watched her, she carried it out and put it on a flower. And you don't swap cockroaches in this house. You don't. You catch them and carry them out. Her respect for the wigglies should go into this brown water. And all the wigglies are nibbling on her neck kind of stuff. Well, okay, she's into the dirt, she's into the mud. She's into the muck. She's into nature depths, that part of the world. And her artistic or arts and crafts table is here in the center place, it occupies the center place in the living room. It's not back, it's not in the basement, it's not in the attic. And it's not in the back somewhere, it's front and center. And so that means she does not have to go to the backroom and be unsocial to do arts and crafts. It means everyone has arts and crafts in their mind in front and center in the living room. And so you know, there's always the emphasis you paint, you're doing pool paint as I was painting everywhere. And so I just look at the total experience, and of course, reading the reading stories going to bed. And so you just look at the total experience that you give her, whether it's Mother Earth, whether it's wildlife, whether it's digital, mechanical, art, and you just look at all those things.

Tracy: Just going to say what I think is lovely about that is that you've set up a space or your life or her life for exploration and creativity. And when you were talking earlier about asking, when did you start playing piano or skiing or doing these other things. What I've noticed in the education space recently and with parents is that there's almost a drive to pick the one thing that your kid is going to do and with the goal that they are going to be the penultimate at that one thing. And what you're talking about is sort of laying everything out for her integrated into her life so that she can let her curiosity lead her to what's interesting.

Story:  Yeah. I'm not saying it's better though. Because I have toyed with, I have toyed with creating the grand champion. I toyed with Anna and did we do that or do we don't do that? Do we see some unbelievably native talent that we get to run with? And that's okay, there's nothing wrong with it. There's nothing wrong with being a champion.

Tracy: Have you decided against pushing for that? Or was there a reason for?

Story: I have in her case? Yeah, we didn't take that course. I don't know, default. You do know it is a course and you do know if you're going to take that course there's a focus and concentration on the hyperspatial but that's fine. It's absolutely fine to take that course. 

Tracy: Do you think if she'd exhibited some sort of like she's just a master artist or something that would change your opinion? 

Story: Well, last on outrageous native talent and her passion. You know if she had a passion, yeah, run with it. 

Chris: Well, Story, I know everyone asks you but you have to tell us because not many have done it. But how did being in space influence you? What was it like?

Story: Well as a three-year-old in the forest alone at night, I had already arrived. So space is very tame. You do understand what a three-year-old in the forest alone is at night? Do you know what that's like? 

Tracy: I imagined it would be terrifying.

Story: Yes, not. But it's faith. No, you have the faith that whatever there is friendly to you because you want it and you have the faith. But in the Leyland pine forest, other than the branches scratching you, there is nothing awful. And a pine forest is soft, it's temperate, the pine needles are soft, the temperature is soft, everything is soft, you know, a pine forest is soft, it's the most beautiful caring thing possible. So there isn't any harm, except if you can't see anything, you have to read with the arm so you don't get scratched. But I'm saying a three-year-old in the middle of the night in a forest is impressive. It's more impressive than being in space. So you are out there, you are way out there and you know, you got the sky and you got the stars and you could get lost you don't because you feel the bark of the tree, the bark leaves you in the bark leaves you out, because, in Massachusetts, the north side of the tree has never seen the sun. And so the bark has a very different texture than the bark that sees the sun on. Now moss, that's cheating. Mosses is to lobbyists. So you can be more subtle than that. But I just feel a bark on a cloudy night. Well, I can't see the moon the size, I walk in the forest and they come out, I know where I am by feeling the bug. And that's further out in spaceflight. And if I built my own raft and went down the river, you just lie on the back and you watch the raft, you sort of know where you are because you see the leaves and the trees overhead. So spinning around, you know, so but in terms of being out there, I had already been through that. That transcendental experience and already been through that. So spaceflight expands your horizons, certainly, you're seeing, you see geography, you see geography is only one way to see it. And you get incredibly good flight after flight, you get very good at sea, and you get very subtle about what you can see, it's unbelievable, how good you get in what you can see, and your practice and you work on that. But it's not that transcendent experience. It's just big and it's beautiful. The scale, you know.

Tracy: I was just gonna say I wonder what would happen if you put a three-year-old up in space

Story: Well, they need to. That's a shame that has not had that imagination, and nor have they flown creatures in space. So and you say yes, they have they've never flown a creature that had the freedom to pursue the freefall condition. I call it freefall. It's not zero gravity, it's freefall. They have never flown a creature and let the creature explore the zero g convention. So I came up with this whole study, I would have done, a menagerie, and what kind of experiments I would do with each one of them. Until you don't really know that until you've watched creatures pursue that. When does a squirrel leap off? When does a squirrel you know, how does squirrel orient? How do they like their gravity? What's up and what's down for them? And so they are probably orienting you, but when do they push off? Okay, they run around away. They do it pretty much three-dimensional creatures are seen as 100%, three-dimensional creature dogs are two dimensional. But when does the squirrel push off and go flying from one side to the other? And if you're in a sphere, and homogeneous sphere, which is lit the same way and has absolutely no indication of the upward down direction, what did the creatures do? And what do humans do? When there's no gravity orient?

Tracy: Where can somebody find this?

Story: It doesn't exist. We've never done it.

Tracy: Oh, I thought you said that you wrote up this paper with you, the experiments that you do.

Story: I've just pursued it myself. It's a personal thing. And I've tried to make it happen and never happened. It hasn't happened yet. We've been in spaceflight for 15 years.

Tracy: I'd never thought about that before until you just said that. 

Story:  I've never seen a creature in zero g. 

Tracy: I know. But now I want to see it. Who can we talk to to make it happen?

Story: Well, I'm all good. I tried to make it happen.

Tracy: Well, maybe this podcast will help.

Story   Well, it will but you get to think about it. You know what it might be like? I did. I flew with a bunch of rats. And that was for you in order to go and do scientific studies, throw up there in space and then do something when they get home. See what it did film then study that when they go home. My boss called me in and he said, Story, you have rats on your flight. I do, sir. Your rats are going to stay in the cage. Now that I've told you, you get on the phone and call the big boss. I call the very big boss. Mr. Musgrave, you got rats on your flight yesterday. They should stay in the cage. So you see what they're doing to me? My rats are gonna stay in the cage. Well, it's my last line. It shouldn't have been my last line, but they told me it's gonna be last should not have been my last. But if it's my last, they got no control over me. So I went to the cage and the cage had two padlocks on and all the screws and bolts that held together were on the inside of the cage, not on the outside. They knew what they were doing. I can't get into the cage. So the rat stayed in the cage. But I would have had a field day. All inside my coveralls had to put velcro booties on him, they'll go booty so they could have clung on to my cover off, how to put some power, vocal power on my cover off and they had to hook velcro on their part. And you just see this tiger, 20 rats, and me. It's just outrageous. But to the excitement of that kind of video with me playing in some closed space with 20 different rats in zero g. Now my goodness.

Tracy: I can't even imagine that. 

Story: But here you guys space station and you've never seen a creature in zero g. We promote them, but they have been attached to the hardware, or they've been in a cage. And already we were not allowed to photograph. So there you go.

Tracy: Well, this has been absolutely fascinating. Thank you so much for taking time to enlighten us with your experience and your point of view and just your own passion and curiosity for life. 

Story: Yeah, it was an incredible thing to Katia. What kind of fate was it going to be?

Tracy: Yeah, I know she did. But see it took you being the one to reach out and being open to possibilities. You don't know anything about to even contact her in the first place. 

Story: So well. That's why I ran into her too. Oh, yeah. Let's see. That's what the world you'd be surprised if you network. You'd be surprised by some of the mutual things that happen and enriches your life. You know, it's new people.

Tracy: I agree. 

Story: Yeah. 

Tracy: I hope this isn't the last time that we speak.

Story: Okay. I hope not, too.

Tracy: Okay, thank you a lot.

Chris: Wow, Tracy, rats in space, that should definitely happen. And I'm pretty much feeling like the greatest underachiever that ever lived, having talked to Story.

Tracy: Yeah, I was telling you recently, all these amazing people that we've been talking to. I'm starting to get this complex of like, how, how are you making all of these things happen? Right. Do you not sleep?

Chris: Just perhaps he doesn't need sleep?

Tracy: Yeah, I mean, some people don't. But then I think that that glorifies not sleeping, which is something that most people do need in order to achieve anything that they want to on a regular consistent basis.

Chris: Here on Results May Vary, we do not condone the use of no sleep in order to achieve your ultimate state.

Tracy: That you should get more sleep probably if you want to do that.

Chris:  Yeah, but what a great guy and I just, I find it a privilege to talk to anybody who is 80 plus, about anything.

Tracy: I agree.

Chris: Let alone Story. And here, you just have a guy that I just wish we could ask him 100 things because it felt like we were just getting started. I loved his rapid storytelling from tractors to tanks to the Space Shuttle. It's fun to listen to talk, is it just to him? It's just so obvious that that's why it happened. But as an outsider, it's like, wow, that's a pretty wild chain of events.

Tracy: I know. It's like, it's obviously a story that he is, you know, that just lives within him. But you're right, it was fun to listen to. Because it's just that's one way to tell that story, just as though, yeah. And then this other thing happened. And then I found myself in space.

Chris: I also loved the pressure he put on really questioning the notion of design, how intentional can you really be in your own life? And what I heard him ultimately saying is you the motivation, right is he was putting this sort of very complex piece together around. It's a blend of your passion and motivation, and then some happenstance, it really is a blend of things. But the idea which I don't think we've ever promoted, though, we haven't done a great job explaining is that we're not suggesting you control your life. But you can put some intention behind it using some creative tools. And that's what we're trying to do on this podcast. And when I hear him talk, that's exactly what he's doing, in some ways, in other very complex ways, that certainly we can't just claim as Oh, You're obviously designing your life. He's got a phenomenal perspective about life, in which design can be inspired by what he's saying.

Tracy: Well, I thought a really great example of how he's designing life was how he's helping to design his daughter's life.

Chris: Yeah, that was a great question.

Tracy: Yeah, it's a great question. He's completely set up an environment for her to explore all different facets of life and to get proficient with them or to just have fun and find joy in it. And so yeah, I thought that that was, I mean, all parents do that to a certain degree. But then that's where I think, to your point just earlier is that the intentionality comes into it. 

Chris: And was interesting that did not push the heavy achievement pursuit for her, which I thought was a great question to ask is what you know, why not? And, yeah, I think that that is a really good question.

Tracy: Yeah. And I think the morality around it too, like he was saying, it wouldn't have been wrong to do it the other way. And, and it's certainly not, um, I guess, part of me feels like in the current landscape of child-raising, and I'm saying this is somebody who does not have a child. So take it with a grain of salt. But I get the sense that there's much more pressure on kids to start things early and to specialize early. And I think that as you grow up and get older, it just shuts you off from the amazing complexity of the world. Yeah, and he can be.

Chris: That's right. I remember interviewing on an idea project, the coach of the Stanford swimming team, what was very apparent is that these athletes were highly, highly accomplished. And a disproportionate number of medals go to the Stanford swim team in the Olympics. But what I was watching was one lane, literally, in this case, one swim lane, without a worldview yet without really an exploration and other categories, which I found to be a little bit sad. Well, on one hand, I felt like I was watching a set of tiger parents seeing their vision come to life. I see. And not necessarily a whole person that has fully chosen this as their path. Right. But that said, what's not sad about it is you see many people, not unlike story where they simply take that learning and then go and reapply it. Yes. The next thing they just reapplying and reapplying it and then that discovery just happens in a different fashion. Yeah, versus kind of the artist’s kid that just does everything and anything, finds it in a different way.

Tracy: Yeah, I think that's you really, you really hit something there to me, which is the allowing then the transition to something else, and knowing how to take the applicable skills and apply them elsewhere. Versus feeling like this is the end all be all of your life. And you get to a certain point, I mean, athletes especially or, you know, like models or something here, your physiology starts to break down. And if you don't have the ability to make those analogous leaps, then your entire self-identity is tied.

Chris: Yeah. Yes, that's right. And we see that all the time. There are some great examples of that. But I think there's just so much wisdom in this thing. I think his tractor metaphor is really applicable to people in their adult life too is like if you want to know how to become an astronaut, start driving a tractor, and working on it. I mean, like applying our thinking to him that was his v1, right? Like that was it these things as adults can seem really daunting. And it's, especially people more like a midlife crisis level, which is like, I never, I never really pursued my rock band career or whatnot. But that definitely doesn't mean that you couldn't do open mic night. Right? Do you know what I mean? So I think this idea of like, what's the one, the version one of tractor fixing to become an astronaut?

Tracy: Yeah, I mean, if, if he, he talked about when he was three sorts of being put into a position where for survival purposes, he had to start doing things that most kids wouldn't have to do. And so by the time he was nine, and I started to get older, those were inherent skills that he had. gathered out of necessity. And I wonder, you know, obviously, it would have been a lot different if his parents decided at age three, instead, you're going to become an astronaut, which I don't think even existed, then, but they would have tried to groom him in a way that might not actually get to the outcome that they want. Because they're so specific.

Chris: Yes, that's right. Yeah, tons of learning in that. And I did really appreciate him. Like, he didn't know that either. It's not like you saying, I'm doing this to become an astronaut. That's why I love the blend between, you have no idea what these skill sets are going to mean. You just need to keep going.

Tracy: Well, and he went because he was curious about them. As he said, he was working in this mechanical world. And then it was sort of a not that big of a leap to the biological world and trying to make sense of how the brain works. So he's just following this natural progression of interests. And then it happens that his unique skill set is exactly what's needed for this mission.

Chris: That's right. Yeah, that's right. And I think people all over the world have these eclectic blends of skill sets that may manifest they may never manifest into a combined something. But I think about even you and I and our own individual curious pursuits, they may look really random, like home improvement and mountain biking, long distances and health care and design, like what's that mean? I don't know. And they may form something, and maybe they don't. And that's kind of the pleasure of life is to just do them. Do them all maybe not concurrently? Do you pursue them? And then perhaps they do create something? Or you may actually have an intention around them, which is, you know, yeah, both ways work. Where you might be realizing that you see the stepping stones that are going to get you to that thing, or you just keep doing them. And maybe by happenstance, someone says, hey, have you ever thought about combining those things? 

I think with some people, people like to put other people in boxes that they don't feel pertain to themselves. And so I, I hear you say that and I'm like, yeah, we should all you know, we should all have that flexibility to explore things just out of sheer curiosity. But it's funny, because I just feel like we then point to people and say, Oh, I know you are this, you will always be that to me. We just make it hard for each other to move beyond.

I know, our our pegging and stereotyping each other is the worst, right? That's funny, because you do that to your spouse. I mean, do you unintentionally do that all the time, to people you love. You sort of, you've got the kind of pegged. And you might even be pegging them in a way that you think is wonderful. Like, oh, I love your art and your mathematical mind in your career is great. And not even knowing your boxing.

Tracy: I would venture to say that we do that to moms, especially, you know, like, but good point. You're, you're supposed to be here for me when I XYZ, and yeah. And mom is like, guess what, kid? I'm my own person.

Chris: I think you're right. I think you're right. And sadly, a lot of times, I don't think we realize that until you become a mom or you're an adult. And you can finally see that

Tracy: Yeah. Thanks, moms. 

Chris: Thanks, Mom. This has been the mom show.

Tracy:

Somehow this turned into the mom show. Cool. 

All right. That's a wrap. Thanks so much for listening. Our dream is to build a community of people who can create and take advantage of any opportunity that interests them. To do this really well. We'd love for you to participate. Try out and share back your own life design experiments. Or if you've already got a great story of how you've designed your life, we'd love to hear from you on our Facebook page, or resultsmayvarypodcast.com. Our website is also where you'll find show notes and links to all the things we mentioned in the episode. And if you wouldn't be so kind, subscribe to the show and share your favorite episodes with friends. that'll add even more people to start designing their own lives. A big thanks to the folks who helped us make the show possible. composer and filmmaker HP Mendoza for the Results May Vary theme music, Graphic Designer Annessa Bryamer for our logo, David Glazier for sound mixing and team podcast for editing, and of course, thank you so much for listening to Results May Vary.



RMV 12 Ela Ben Ur Transcript: You Can Design An Intuitive Compass

Full transcript:

Chris: Wow the last episode, Deke Sharon. Take a listen to Deke and the world he absolutely transformed which is acapella. He did an amazing job just breaking down singing and voice and talent. His blend of education and perseverance has taken him to such an interesting place. We had a great time talking to Deke. My last experience on a flight I hopped on my United flight and there was Deke Sharon on the in-flight entertainment doing what he does best. Hats off to Deke and the people he's had a chance to work with. Today, we have Ela Ben Ur. Ela is very interesting. She's got a design thinking background using research synthesis and inspiration to help industries and individuals really catalyze themselves. So today she brings us 15 years of experience into a tool she calls The Compass. It's a very practical and actionable tool that she's built. It's really helping people move forward and just blast obstacles out of the way. Take a listen to this episode. Tracy and I really enjoyed talking to Ela Ben Ur and without further ado, here we go.

Ela: I'm Ela Ben Ur. I live in Boston, Massachusetts with my two wonderful daughters and my husband. My background is I grew up in the midwest of the US and had been here in Boston for quite a while. Most of that time, 13 years of that time I was with IDEO, a company that folks have been hearing a lot about mostly here in the Boston office, also some in Shanghai, and have been away from IDEO for three years now and on my own.

Tracy: What role did you have and what did you do when you worked at IDEO?

Ela: Well, it evolved a lot over the course of 13 years and that's the kind of nature in a place like that. My studies were at MIT. I learned Mechanical Engineering and Design there and I had gotten excited about I do an intern there between undergrad and grad school and then came back to IDEO after as a Designer, as a Mechanical Designer, and then kind of started pretty early on doing more of the now called Design Research, understanding more about people at the front end of the design process and what they need and who they are and how to help and then kind of grew into kind of the space in between, which is Design Strategy, really kind of taking a point of view on what products and product portfolios need to be. And then having kind of span the whole realm from the very beginning of the process to the very end of making things pretty early on also got asked to lead projects. So kind of thinking about how to enable a group of very different designers to really shine and do great work.

Tracy: Any specific projects that you worked on that stand out to you as your favorite?

Ela: Oh, yeah, quite a range. And you never know, it will surprise and delight you. From doing international food projects, which are, of course lovely, because you do fieldwork around the world, and you eat a lot of delicious food but you also learn a lot about people, to their culture, and their culture of food and their points of view on it. Maybe the flip side of that is doing kind of also a worldwide project about diabetes and the experience of diabetes around the world. And maybe the last one, totally unexpected, but really great was on dentures. 

Tracy: What was that one about? 

Ela: It was about how much folks know about the denture experience, but it's actually a lot of people who have the interest, many of the services for doing that, or, you know, kind of sort of not a high sense of service. And also the product isn't great. And if it's not great, it turns out, you can't smile, you can't really eat well, you know, physically and socially, your life kind of sucks. And so it's actually they're really, really important. And there's a lot of potentials to make the sort of denture process better, both technically to make better dentures. And also, as an experience, that is worthy of the importance of it in people's lives.

Tracy: That's amazing. I've never thought that deeply about dentures. 

Chris: Why was that a favorite project? I can speculate, but I'd love to hear it from you.

Ela: I think because, for the people who were involved in the project, they're actually it's kind of a longitudinal kind of thing, where we work with the same sort of older people who were kind of part of this project and experiencing, like, new ways of having dentures, that could be a whole lot better. It was so powerfully meaningful to them, that that was really inspirational for me. And frankly, that's a little geeky, but you know, I came from an engineering background. And there's like, an interesting kind of the technical side to it, too. So it really was passionate people work and really interesting technical work all blended together.

Chris: Would you mind while we're on this subject, a lot of our listeners are new to design thinking and to their credit, you know, just starting to get their arms around design thinking we haven't talked about it that much. So why are we talking about dentures? Would you mind describing briefly the process that you went through to get to denture breakthroughs?

Ela: That is a little different than a typical one. But generally speaking, we were working with a client that was sort of already experimenting and learning about new approaches. But actually, we spent the most time with people who were getting service at a real sort of high-end denture maker who makes custom, wonderful dentures and observing that both technically, just from an experience standpoint, what made that different from the average experience, what they were experiencing and what he was doing differently both in service and how that affected them and kind of trying to zoom out and if all these things that this expert is doing, what are the most important things so technically, and experientially, like framing, like, what are the most important things about this? And then trying to imagine, okay, so what could that be in a more scalable format?

Tracy: I was just gonna jump in. I wondered, you mentioned that you went to sort of a high-end denture manufacturer. And I think that's an important point because a lot of people would say, oh, well, if you want to redesign the denture experience, you should go to your target market, the middle of the road, everybody who's the average? And so can you talk a little bit about why it was important just to talk to somebody outside of that sphere?

Ela: Yeah, I mean, a lot of design is really about inspiration and, and learning from sort of the extremes. And a lot of these folks kind of had already experienced, let us say, the other extreme of denture making. And so kind of going to this kind of high-end extreme, really helped us sort of see the full range of what dentures could be, and, and what denture service could be and you're taking inspiration from that. And of course, you can't necessarily and maybe not want to fully duplicate what you see there. But you can take inspiration from it. And I think that's one of the most essential things about designers and design. And frankly, a lot of creative people in the world is just looking in creative places for inspiration and not taking it entirely literally, but knowing how to sort of frame what's really important about that for them, and taking it forward.

Chris: Alright, now that we've got dentures covered, that's a good start. I bet of all the things we could have started with I bet you didn't expect that. And this is often talked about, as you know, Tracy had this hunch that design thinking could be applied to individuals. And obviously, we're not the first ones to think that I think we might be one of the newer groups that create a podcast about it. But I'm so curious to hear about your process of designing products and things and projects for IDEO and then ultimately evolving into something you're calling The Compass. Can you share a little bit about that journey that you've been on personally and what it was that drove you to The Compass?

Ela: Yeah, sure. So I started to kind of describe sort of the litany of the list of all the roles I had at IDEO and I think it kind of got through a lot of them, you know, kind of growing in terms of responsibility, and really stretching all the time to answer these new questions. Okay, how do we make a great product? How do we empower a team? How do we help organizations really see what its strategy should be? And then just doing a lot of coaching more and more coaching of teams and okay, how do I help these people really quickly find their own next steps and really powerful ones, and figure out how they can really stretch the first envelope of what they're doing and when they need to just stop and recognize when they actually need to break? Sort of having to answer all those really different questions. I think, while I was at IDEO, and realizing along the way, for myself, you know, the question of how long do I want to be here, what's going on with me as well, like to all of that independence, David Kelley was talking about noticing that it was the coaching part that I really love and taking a step away from IDEO, realizing that that was kind of I was really loving and going independent. And now having a bunch more roles that stretch me even more, because I'm working with all these people who have no exposure to design thinking. And their goal isn't to learn it deeply, but rather, to do their great work better, whatever it is sort of empowered by design thinking and, I work with the school district, in a network of schools, and I worked with the Department of Education in Rhode Island, and completely different things like an arts thunder, and in New York, who wanted to get a lot of organizations doing creative work together, and a department store chain and athletic school shoe manufacturer, like lots of different folks and trying to really help them do great things and finding that, you know, whatever big thing it is they're trying to do is actually a million little challenges, right? Whenever you want to do something big in your organization, in your life, and your community, whatever, it's actually not just that one goal, but you know, all these things that come up that are technical or organizational or interpersonal or even personal, right, like, it's just hard, and people are like having breakdowns. So having to answer all those things and do it in a way that isn't like a one-off conversation all the time. Like I wanted to help people in a way that was much more sustainable. That kind of got me down to like, what is just a much more essential, powerful way of communicating design thinking that people can really quickly own and quickly run with and apply to anything like start to recognize, anytime something doesn't feel right, or something starting to like get stuck, whether it's in their work, or in their life, that this is a chance to pull it out. It was really important. And the final thing that really pushed me there was being a mom. So I've got two kids two and four now and realizing, you know, almost a sense of integrity like I spend all my time teaching about empathy, and experimenting, and all this stuff. And you know, sometimes I'm with my kids, and it's just not feeling like that, like, nothing isn't that big, or, and creative and experimental that could be, and also not really teaching that to my kids because I haven't really translated how to do that. So that was another thing of just, you know, sort of the ultimate crucible was trying to use this stuff with me and with my kids. And when they're facing a challenge, like how do I boil it down enough that my four-year-old or even my two-year-old can kind of use it in some way? 

Chris: Yeah. Really quick, so you formed i2i? Can you tell us what the purpose of the company is? What's the, I hate to say, mission statement? But what's the point of the company? And what are you trying to do with it?

Ela: You know, I didn't properly design the thinking form, knowing that this is gonna be a prototype. So that has sort of evolved, that's always at the heart of it has been empowering people to do great work. It's not only design thinking, certainly at the core, because that's what I know. And that's kind of my anchor, but I have been just learning a lot about things like systems thinking and adaptive leadership, and a lot of other things like that. And trying to bring kind of the power of all that together, grounded in design thinking to people in a way that is just as actionable as possible, and yet, at the same time, as powerful and profound as I can make it, because life is short, and why not try?

Tracy: So I'm wondering because I'm not sure if most of our audience would know what those things are? How would you describe the system's thinking and adaptive thought process and design thinking to your four-year-old?

Ela: Yeah, well, so all of these things, the things that I just rattle off without even getting too deeply into them. For the scientific method, or a lot of sort of creative processes. A lot of these things, they're all sort of ways that people in different kind of realms have found to stretch themselves to be able to see the present in new ways, or sometimes the past and new ways so that they can see the future in new ways from being able to dig deep into details to be able to zoom out and get big picture perspective. All of those things basically stretch us in those ways. And I think we have a pretty intuitive sense for when like, you're not moving forward because you're not seeing things in a new way they can kind of get you unstuck or you're stuck in the details or you're actually stuck in dreamland for me if you kind of think about the space that forms and creates these sort of four spaces that you can dig into. For me, framing an essential question like a powerful, but the essential question for each one of those that works just as well with a four-year-old, or even a two-year-old as it does with an executive is the way I have found most powerful and kind of giving people like a target to fill out really free to the spaces. But those four questions are sort of growing from the lower left and go around in a circle kind of clockwise. How do you really dig deep into what's going on? So asking, like, what observations Do I have What's happening? And why? It's really that simple. So what's going on? And why observations, that's kind of the first base. The second space is framing a point of view, about what really matters the most about what's going on right now and what could happen? So kind of sweeping around and trying to get to the very top of that space. So getting that point of view, some of the previous folks on this podcast have talked about values or talked about dreams. And that's certainly true at a high level. And sometimes it's, you know, you're doing something that's kind of a smaller issue than that and sometimes it's just your goal or challenge that you have right now. But what's the most important thing that's going on and could happen? And then moving into the upper right, you know, how do you get the big picture about the future is like, Okay, well, ideas, what ideas? Can I imagine? What are all the ways I could make this thing happen that I think should happen? Getting as creative as you can? And then finally, in the lower right, prototyping experiments, you heard a lot of that in the previous podcasts? What's a small step that I can take to see what happens? So those four questions, what's happening, and why? What's the most important thing that's happened or could happen? What are the ways to make that happen? And what's a small step, I can try to see what happens and then come around and back to making observations about this thing you just tried? What happened in my, if there are people involved, you know, what are they doing, saying, thinking, and feeling? Those are the essential questions. 

Tracy: Do you have an example of some work you've done recently, where you took somebody through those four questions and sort of what that looks like for them?

Ela: Sure, at a lot of different levels, I suppose I've kind of moved up the scale of teaching in college at Olin College, and also had a lot of young people that come to me for coffee, or whatever they'd like to talk and had a bunch of those recently. And when they inevitably asked me, what should I do with my life, I know enough about their lives to answer that. So we pull out a compass, and, you know, I start to ask them things like, when have you been most excited or most frustrated? When have you felt most fulfilled or frustrated? You know, when do you feel like you're most able to really contribute, sort of exploring the extremes of as we sort of talked about their own experiences? And, you know, they haven't always asked themselves those questions, and then getting them to zoom out and say, Okay, what do you think your biggest challenges and opportunities are, and you start exploring all these things visually, as well as verbally, and physically if you can, but you know, getting them to just draw, you know, who they think they are, and who they like to be and what they'd like to do and then generate some ideas about how they could pursue that. If I have any to offer, I certainly try to add some to the next and then like, help them pick, like, what's the step that you could take to just try out one of those or someone you could go reach out and talk to?

Tracy: How does that resonate with them? What's the reaction? Is that something that they've never thought of before in this way? 

Ela: You know, I think for most of these kinds of challenges, I can continue to go up the ladder to people who are trying to make changes in their organizations or the communities. I think it feels really good to stretch in those ways to see both the present and in new ways, like, wow, I hadn't really thought about that. I never noticed that I noticed that in some of the podcasts to people kind of harkening back on things that were important to them in the past, and I hadn't thought about it in a while, or kind of having new ideas, even if you have some concept of where you want to go. But either not having really dreamed as big as they could not have zoomed out as powerfully as they could or, you know, not having kind of thought about all the ways they could pursue it. I think it just feels like motion, it feels like getting unstuck, it feels good in that way. I think people that you meet all have their own ways of approaching it so far. And I would say that I don't think I've met anyone to whom all of that is new. And I think a lot of it isn't new to any of us. Really, it's more about putting it all together into one simple, like an actual visual tangible thing that you can use to prompt yourself to do these things. Because we all know it feels good to do those things. But we don't remember to do them. Usually, especially when whatever the issue is really important to us. That's when we least remember to do them.

Tracy: I just went to a workshop recently on Behavioral Economics. And they're saying that when things are difficult, we always go to the default. And when the default is to do nothing, we do nothing. So if you have big life-changing questions, then chances are you're just going to let life go on and not even take the time to look at it yourself.

Ela: And I think one thing that's really interesting that we heard in some other podcasts is actually even questioning what that default is. Because so often, that default is what we think we're supposed to do or we think other people are supposed to do, and I know that I've found in my life and the people that I've coached, whether it's in their lives or even in their organization like they're trying to do a project, and they're sure that their boss's boss's boss is just going to hate this. A lot of times actually, people forget to just even question what the default is that they're defaulting to. Because often, if you ask the people who you think are setting that default for you, you may find that actually, that's not what they're thinking that way. 

Chris: Would you mind sharing a tangible example? Can you tell us some around i2i and experiences with helping people create their lives?

Ela: Yeah, let's see.

Chris: I’m sorry, it's kind of open-ended.

Ela: No problem. So a lot of that life creation is more sort of comes part of the work that I do through my organization. So kinds of things that I do are like I work, for example, with a network of schools that was hoping to become more innovative. And I was coaching them on a like, big-scale about, like discovering and doing AI projects within their schools, these religious schools, your default assumption would be that they're sort of conservative. So they're sort of being coached to do these longer projects through the same thing, right? immerse your observations from a point of view, imagine ideas and prototype experiments, right? Not a big scale. But then the life stuff happens along the way, my general approach is usually to do some combination of like in-person workshops where you really get a hands-on together, and then remote coaching over Skype and, you know, in the especially in the remote coaching sessions, where I'm sort of working with just one group of people at a time, the challenges start to come up. So for example, I had this principal at one of these schools and told me that he really likes this stuff and thought maybe he could leave, maybe even work in an IDEO or something. I was like, oh, I really like this guy. I like this school. And I was like, well, yes, we could talk about that. But also, we sort of rewind and like, talk about this year, and what the experience has been, like of doing it, you know, at your school and try to open up sort of the possibilities, like the frame of what is it that you really want, but with the most important thing about working this way, you know, having sort of the freedom to do it was the big thing, and just sort of the excitement and creativity of it. And he was, after all the principal? So can you shape some of that for yourself, and even the place where you're working? You know, try to reframe that problem a little bit. If you've identified those are the most important values, let's generate some other ideas for how that could happen, even in the shorter run. And I haven't followed up on a Femina or how that's going experiment wise. 

Chris: Yeah, that's a great example. So where do you want things to go? As you look to your future? What do you want to do?

Ela: Well, for me, as I kind of hinted before, life is short, my kids are young, and I want to see, let's just see kind of how powerful the concept might be of getting to something, you know, sort of a practice, something between mindsets, which practices help develop, it's hard to just kind of go for a mindset on its own. And like, really complicated processes. You know, as David Kelley said, you can go read a lot about design thinking, but everyone's gonna do that. So can we get to really essential practices like just a little bit more sophisticated maybe than a handshake, but something that people could pull out, really, in any situation, whether it's designing something long term, like their life, or their career, or in the moment, designing a interaction with their boss, with their organization, you know, with the people they work with, with their spouse, with their children, you know, to be able to use the same sort of compass, for all of those different moments, I think, would be so powerful, because I know even me, I'm sort of a process junkie, and I can't hold all these different processes in my mind, not in certainly in a way that I really pull them out and use them in the moment. And so that's my really driving mission, right now. And so that's kind of where I've gone at this compass work, there's a little video on my website that tries to communicate it as quickly as possible. And that's kind of a start here. But I'm hoping to do my focus for the next while at least, and have a bunch of different ideas about how to do this is to try to put something like that out there and see how quickly people can kind of grab hold of it and start working with it and kind of close the feedback loop. Right, share back to me what they're doing with it, whether it's a snapshot of campuses that they've used, made for a campus of their experience using it, like what are their observations of trying to use it, you know, what are the challenges, opportunities that he's framed about what it was like using it? What are their ideas for how to make it better experiments they'd like me to try or they'd like to try, but try to kind of keep pushing this to be as both powerful and flexible as possible in the full sort of all the stages, scales, settings, situations of life and work, because I feel that it's one of the greatest impacts that I could possibly have on my kids lives is one for me to be able to use it in all those ways, because it would make me a better mom to them and make their environment so much better. But if sort of the world around them was meeting every challenge in those kinds of ways. Wouldn't that be great? You know, ends up maybe it's crazy. But life's short, let's see might as well try. And I think that getting it out there letting people sort of push it, break it, flex it. So we can kind of figure out, what's the level of structure, what's the level of flexibility, it's already evolved a lot in my own work. And now it's out and working more and more with people who themselves have their own networks, like some people who, for example, lead, like accelerators, for groups of education, startups or schools, and they're using it with all of their people. And so for me, that's really exciting to see, it continues to really hone it to be able to pass it to someone else, and have them be able to pass to other people, and all those people have to be sort of empowered by it.

Chris: That's awesome. Can you give us a dinner party example? So someone sits next to you at a dinner party and you strike up and say, yeah, I've got a design compass that will help you with your life. Take it to the next level. So how would you describe it? If they don't have time for the website or whatnot? Just how would you for our listeners describe what The Compass is and how people can use it.

Ela: One thing I've taken to doing, I have to confess is carrying just plain white paper in my bag, which is awfully helpful, because I can just put two lines on a piece of paper that intersect, and then start just saying, Okay, well, this is what these are, right? What we're going to do, so draw the two lines, and then we're going through them and then just be like, okay, these are observations, what's going on? And why, right, what are you guys doing thinking, and feeling? Maybe I will save some of this person's specific content, but you can get an idea, right? 

Tracy: I know, there's actually gonna say like, Is there somebody whose story you feel comfortable, like walking through what some of those things actually were?

Ela: Well, so in this case, this woman was frustrated with her spouse and feeling that she wasn't really listened to and that we just don't share the same values and those sorts of kinds of things. And just asking questions about like, when she really feels that way and helping her sort of come back into those moments. And you know, it's not all the time, and it's just trying to sort of seeing what sorts of things like, where their interests that are different than when she feels like, oh, that's just so frustrating. You know, we're just so different. And I just didn't care about these things.

Tracy: And was this a conversation or was this like, she was writing things down on the paper?

Ela: A lot of times, we end up just doing it through a conversation, the questions are kind of straightforward enough that you can kind of just ask them like, what's going on and why are you guys thinking, feeling? And then you know, getting ready, like, okay, so let's try and look at this, as the picture in any way, what do you really think is happening? And for her, it was starting to realize that it wasn't what he thought even sometimes it was like she was sort of assuming that just because he didn't like the same things, but like, she was sort of projecting that back and being like, so because he doesn't do it. He doesn't like it, then I guess that means that it's not okay for me. But I asked him, Have you really asked about that? And she started to sort of just wondering like, Is it just me being okay, like having my own time and doing my own things and having time like separately to do things? And then sort of as an idea is just like, wholeheartedly pursue some of these things that she was talking about? And feel like, Can she do that and not feel judged? Or just try to talk to him about it and see if that was changing at all right? Like, if she liked pursuing those things more, it was actually something that was actually a problem for him. And it's just the conversations, I don't know what happened. Just sort of helping to open up like what was really happening, sort of thinking about the whole system, and both herself and this other person. And like, where were the feelings really coming from? Is it things that he was really saying are sort of just assumptions that we all have, right? We just have so many, just kinds of things that we used to see what people are thinking and whether that even matters? 

Tracy: Cool! Like having listened to some of the previous episodes that you could map some of the things that came out of those episodes onto The Compass. Did you want to share what some of those were?

Ela: Yeah, sure. They were all great. You had a really wonderful group of people so far.

Tracy: We accept flattery.

Ela: Right? Well, yeah. And in your own story included, you told your own story in the first one. And so one of the things already mentioned, so kind of thinking about like that, seeing the present, like really digging deep, observing, right, what we're doing, saying, thinking and feeling people who are looking at their own past and pulling things out of it, a couple of people pulling like, I used to really love to write that of my past or art kind of maybe the walls of her room told her that she should pull that back out, but, and Aaron and making things and how important that was to him. And just noticing things like, you know, again, like what you're doing and why the whole exercise thing came up a couple of times, like David Kelley noticing that it actually works better for him if he's with other people. And I think you know, saying the opposite. But just sort of noticing, like, when that feels good, and when it doesn't, and not just kind of asking yourself but asking other people, a lot of people talked about, you know, talking to people that you know that, that love you and care about you and ask them what they think. Because a lot of times they can see you as well, they're noticing, right, they care about you and they're noticing what you're doing and how that's making you feel as well. So, those are things that I think a bunch of people talked about. And then you know, people talking about values and dreams, you know, so, like sitting around on the van just, you know, realize that he has values around having control of his own life and being able to design things and having independence and having some solitude or being able to form dreams, as Jessica was talking about. And, you know, the more you have those, the more you continue to sort of pull out from your day to day experiences and realize what those are, it was interesting to sort of hear David Kelley talk about the difference between just trying to name those without doing observation and getting a list that he didn't find himself following up on when he was on a plane and just kind of making his bucket list. And then having I think it was maybe a psychologist, I think, help him start with an observation instead. And notice, what are the things that like, on a daily basis, really make him happy, and then generating his look, you know, list of like, what are his dreams for the next years of his life, I thought that was really interesting. But having those and once you have those, it's just amazing to me how much opportunity starts to line up. Or maybe it's just because you can see it because you've got this big picture view of what's important to you now, see, you'll see the advantage, you'll see that apartment that you want, or, you know, I think you just start to see them everywhere. So the sort of upper right stretching to sort of seeing ways that you can actually make those things happen. People got pretty creative like you're in with as well, it could be a boat, or it could be a tiny house, or it could be a van, I find that you know, once you've got this vision, you start to see opportunities everywhere like even by this morning's running. And one of the things I'm really hoping for is better quality time with my kids. And I saw someone walking with their daughter, and I should start doing that. So I think me and the folks in these podcasts have been able to sort of identity, find more and more ideas within themselves or from other people that fulfill those dreams values. And then mean lower right, pretending experiments, like digging deep into new ways of seeing the future, no shortage of experiments, for sure. The blog seemed like a really great experimental platform for a couple of folks mazing with some blogging or writing serial stories, you know, ways of just putting thoughts out there in small ways and letting people respond to them. In Elle's case, responding massively to them. But also just experiments like back on the exercise, like what are like small, safe ways to try new ways of exercising, and seeing if it works for you or not, before you just kind of throw the baby out the bathwater and decide that running or whatever kind of exercise isn't for you.

Chris: Hey, you've done so many projects and you've observed and talked to lots of people and their commonalities that you observe that compass sounds like it's solving port is awesome. So many stories that Tracy and I've heard and really the point of the podcast is to get people over this gap between ultimately what they want to be and where they are and I'm curious to just hear it here, what do you think that gaps about what keeps people from acting on those higher-order ambitions that they have for themselves?

Ela: Yeah, I think it depends, as one of the ways that I sort of use this kind of is for everything. So one of the things I've done with my students and people I coach is to use it as a spider diagram, where we put like, actual behaviors in each of the quadrants, like, unlikely to observe carefully and get curious and be empathic or, you know, unlikely to really try new things or experiment small ways and be resourceful, you know, like, put those into quadrants and make a big circle, and then let people sort of draw how much of those things they are all the way around. So I find that different people just have different challenges because they have different sorts of habits that they're into. So for some people, it's not even having the dream or having the dream that's not quite the right dream, because they haven't really been paying attention. It might be because they're pursuing should, instead of must, as l talked about because they haven't sent their own most. And that's kind of what David Kelley was talking about, as well. So the people who are, you know, parlors are not happening, it's just not meant to happen for them, it's not even what they really, really want. So underneath, that's keeping it from happening, you know, nothing can go forward if your passion isn't behind it. And once your passion is, boom, right? Like, it just happens, things start to fall into place for you. So that's one is like finding the dream that really matters. Another is being able to frame it as powerfully as possible. So that's kind of the top left, you know, people who kind of know what it is, like they sort of sense but they're not dreaming as big as they could be, or they don't have it crystallized as to like, this is the change I want to make. So sometimes framing is their challenge. Sometimes it's that imagining, right? Actually, they've got this really clear frame and it is specific, they think there's one way for it to happen. And well, you know, the chances of that happening are unfortunately not very good. And so we need to be creative. We need to imagine a lot of different ways that something could happen and be flexible to those and to be really open and to really seek inspiration. And all the places you wouldn't expect to find it. So people who haven't really been able to open up to different possibilities or just haven't been able to find them is another one and then people who are more limited in the right in the lower right which is like being able to actually kind of dig deep and conceive a really concrete experiment that swift it's safe. It's a smart experiment that will actually teach them about what they're really worried about. About actually going to the heart of what they're most afraid of, or what they're most worried isn't going to work and designing experiments around that thing and doing it. So there's been so much about like, just taking that first step, I think about that middle, the point where those two lines cross as a space as well. And that's, I kind of hinted at earlier, that's realizing when you don't have any of those things like you're just, I don't have ideas. I don't have observations. I don't know what experiments. I don't know, nothing. I am just so stressed right now I've had, like clients, especially those I've worked with that are in really important positions in their organizations, they are so stressed, they can't get observant. They can't get creative, they can't get experimental. They just can't. And they need to just center, they need to not try to stretch in any of those ways. But figure out how to recenter just like, not try, but just go for a run or get a bunch more sleep or spend time with a family they need to do. And then you know, it's amazing how you pop out of that without even expecting it with the vision I know, to the biggest sort of epiphanies I had last year that happened while I was hiking. And I was not even thinking about this stuff like that. Am I what I experienced while I was hiking and I wasn't even really thinking about it, you know? And there's something to be said for that too.

Chris: Yeah. The following question is really fascinating. On the heels of that are a lot of creatives, entrepreneurs, artists, they didn't have a framework or a compass, you know, to take them through, and I think, a real gift you're giving people, but do they have something that other people just don't have? I mean, one argument that I've heard out there is everything from its genetics to your motivations higher, or I would just love your point of view on that subject is, did those people just have something that other people don't have? Or do you believe that it's in everybody, they just don't have the tools to unlock it? What's going on there in your mind? 

Ela: Well, I think that there are a couple of things. One is to decouple like talent in a particular area, like, you know, a Picasso, like someone is really, really great skilled at a particular kind of art, from more sort of broad creativity, I wouldn't necessarily venture to say that everyone has the potential to be really great in every kind of creative art, which is slightly different than saying, people, all have the potential to be very creative. I think anyone who has small children can see, and this is a really, really struck me and sent me on this mission is that kids do all four of these things, pretty well, maybe not the framing so much. But it didn't take a lot to help my kids do that more consciously. But I mean, try to walk a block with a kid and stop them from observing everything that happens, or asking you why that kid is crying over there. I mean, you know, the whole five why's that we teach ourselves to do in design thinking, right? That's what your two-year-old won't stop doing. And seeing things in new ways. I mean, you walk that block, and they frame you know, what they see very differently than you do. And, you know, if they want to do something, they find the way to do it, right. So keep trying and trying and discovering, you know, think of a new way of doing something. And they're certainly not afraid to experiment by, like, the whole classic, putting building blocks and having to fall over and try again, right, they keep expanding, as always. So I think the experience of having small children has really led me to think that we are born with it. And I know that a lot of people in creativity talk about that. But like being able to stretch in those ways, see the present new ways to the future. Anyways, dig deep and zoom out. I think we all have that capacity. And it comes back to a sort of age-old notion of who we are, what we practice, we are what we repeatedly do. Aristotle said, it's kind of a fundamental part of a lot of different practices from yoga and meditation to religion, right? Like, what are these essential things that we can do that are kind of basic enough that everybody can remember them that keep those abilities alive, and continue to grow them over the course of your life. And so for me, that's what it's really about. And if you're fortunate, and you're in an environment that, you know, continues to foster those, you mean that you have to be really, really conscious of them. Like you can just continue to be really creative, I think, and not even articulate your own process, or actually shy away from that word process a little bit. But you may not even know why or where your creativity comes from, that I think that offering just a little bit of form to that like giving some sense of what those things are and how we support them, just by asking for basic questions, opens up the possibility for all of us to create environments, in our homes, in our organizations that let people continue to develop those things.

Chris: Right. This is awesome. And I love everything you're saying. I think one question I have for you is I heard a recent podcast on someone else's podcast and they were talking about a guy who said I can tell you how to meditate. I can tell you about the different forms of meditation. I could tell you how long you should do it to be effective and I can tell you how great it is for your health but I can tell you that I don't meditate and there's a very large it appears growing population of people that are aware but won't do you know, and You leave them with something that they could take action on?

Ela: Yeah, I mean, I think it would be. So two things. I mean, one is, for me, the aspiration is that the compass is actually something that is just so available and so accessible and simple that, you know, you can just start using it. And I have to say that I've had, as I've gone down this road, like recently, the switch flip between people kind of going through workshops, and being really inspired about design thinking, and kind of getting a sense for the mindsets and all this kind of stuff. You know, they've seen me sketch it for five minutes and just talk about it. And I'm getting an email saying, I just use this with my team, I just use this as my style phase, this is my grandmother. And that, to me, is already a sign that maybe we could get there. And I think that there's two things to that one is getting to being really simple. And the other is being really, really, really applicable and like immediately obvious to people, that they want to use it, why they want to use it, how they're going to use it. So they do and as soon as they do they get such powerful results, that it reinforces really fast. All of that said, the three things I'd leave people with, I mean, I use this mnemonic EIOU, you'll see in the video if you need to, but it's pretty straightforward. It's like if you do it be all in like just put your head and heart, gut and brain, everything into doing it. Embrace everyone, anything that could be part of the system or solution that you're working on. iterate, iterate, iterate, own it, orient yourself, you can start anywhere, don't feel intimidated. Many people start with an experiment and don't even realize that you just do something different. And you go, wait a minute, what has happened, I feel differently. And you start to notice that and you go from there. But the most important thing I leave people with actually is just the poor question. Just notice what's happening in why? Ask yourself what matters most about what could happen? And then you know, what something I could try? Like, which of those things am I going to try? First? I'm just gonna and then commit to doing it. Those are the four questions.

Chris: Yeah, I think what they're asking through our call is like it is to simplify it even down to the four questions is really elegant. And just constantly, I could see people just constantly rotating through those. It's like, any morning, I'm struggling, let me rotate through these four questions. You know, just it seems like a really helpful tool, and then to take it to paper, it just gets exponentially better and better and better.

Ela: So the four basic questions are: what's really happening and why, if there's people involved, what are they doing, saying, thinking, and feeling? What's happening and why, what matters most about what's happening and could happen? What are the ways that I could make that happen? And what's a small step that I can try to see what happens, and then come back? Observe what's happening and why.

Chris: Great, amazing. It's like life simplified.

Tracy: Yeah, it definitely. I mean, I think that you incorporate them in a way that makes them more people-centered, and just more applicable to people's lives versus different activities that you need to engage in, you're just asking yourself questions. You're not necessarily prototyping and building something with your hands or brainstorming and getting five people in the room to help you. You can do this yourself, or you could reach out and do it with other people but you're really just asking fundamental questions about the present and the past and looking towards what the future could hold.

Ela: You know, I think as designers, you're pretty much asking yourself those four questions and trying to use digital, verbal, and physical ways of doing it. And that's how our toolkit of 101 design methods happened.

Chris: That's one of the cleanest descriptors of what distinguishes design that I think I've ever heard and I actually love it for our listeners. Because if you want to just put your toes in the water, ask yourself these four questions, you want to get a little bit more serious. Visualize some of the solutions. If you're ready to really push yourself out of the nest, try it out in a tangible form.

Ela: The four quadrants.

Chris: Yeah, exactly. The observation part and I think that a lot of people will just skip right through that. I've got a friend, that's like, she said, I want to really help people out. She works at One Medical, and she's in health coaching. And ultimately, if you're in health coaching, you're in life coaching. And so she's like, I'm just gonna go out to the park instead of the stand with a sign that says free advice. And a lot of people would think, hey, that would be funny, that would be interesting, or that's dumb or whatever. But what differentiates or she actually did it. And to hear her stories of what people asked her when she just set up the stand in San Francisco in a park with a sign that says free advice. At one point, she had a line of people, people were asking her dating questions and financial questions, and other people just wanted to talk and one thing that was absolutely not true or not expected is that she was busy the whole time. And what you might think, in principle is that no one's gonna walk up to a free advice bar at the park and sure enough, they line up for it. And I just loved her story and then she went back to the park. She made it real and it wasn't hard or difficult. It was just that she went from the idea to action.

Ela: Right, that's pulling that circle, the two most powerful moments really are like at the very top and at the very bottom. The top being where you've just got this crystallized vision, you can just state about the difference you want to make between the present and the future, the big picture. I want everyone to be able to live and breathe this stuff without even thinking about it, right? I want people to be able to face and recognize every challenge creatively. And then the bottom, the very bottom is this magic moment where you take something that is a future idea, you've envisioned, like a concrete experiment you can do and you come around and it's no longer a feature is actually present, you're doing it, you can observe it, you can see what happened, you can see how you feel about it, it's real, you have actually changed the present, right? You've changed things because you've put a real thing out there. And that leap feels like a million bucks. And once you start doing it, as David Kelley talked about, you know, that sense of self-advocacy, it's like it's really addictive. It's really great.

Chris: I really want to grab onto something you're saying right now and wonder if you've been trying this. It seems like people would be more willing to dabble in a lower risk category. So if I've got a little bit of confidence, for example, on how to curate a fun dinner party with my friends, I might take the compass and sort of reimagining that fun way of doing it, which grows my competence to do the thing that might be riskier, which is to play guitar at my own wedding and I'm not a very good guitarist, you know what I mean? So I love that the compass could be taken and applied to something that's much lower risk to raise the confidence for the things that would be much, much riskier, like a career move, or a city move or decision on a relationship, etc. So have you been kind of applying it that way? Or it's more on let's try the low-risk thing first?

Ela: Yeah, I mean, I think that yes, and no, I think it comes up as it comes up. So whatever is on people's minds, or the situation is, I think that at any scale, if it's what matters to the person at the time, and it instantly sorts of makes an impact for them, that's the most helpful thing you can do. And I think sometimes actually, being able to take some of those scary things on making them less scary can be really great because I think this is one of the big things that design thinking is, there's tremendous safety in iteration and little bits of experimentation. That's one of the things that all the speakers so far have talked about is actually like, talking about the big thing, right, like what they're doing with their lives, but sending just five minutes asking yourself like to look at, okay, well, what's my life been like so far in a new way? And what could it be like? That Talk is cheap, so to speak, right? And it can be massively eye-opening. And then you can discover an experiment that's quite real, but quite safe, right? You don't move to the another place, right? You just go spend a weekend, you can find ways to dabble in it. So I think that the killer app in a way is being able to actually not have so many limits about what you're exploring, but rather, how can you take a scary topic and scale it back and just do a five-minute compass on it?

Tracy: You know, I have a friend who has listened to all the episodes, and she's like, I still don't get what design thinking is. And then she went to go see John Maeda speak. And he had defined design thinking in two sentences and she's like, I totally got it. It completely made sense. 

Ela: He wasn't speaking about design thinking. So I didn't get to hear his definition of design thinking. I want to know. 

Tracy: I know. I'll look it up and put it in the show notes.

Chris: Ela, before we close, I just wanted to say congratulations and it's such a powerful tool that you've created, and for so many people that otherwise wouldn't have access to tools like this. And so it's such a privilege to talk to you and hear about the journey that you've been on and how it's being applied to help people create better lives.

Tracy: And how do we point people to you and the kind of work that you want to be doing?

Ela: My website is i2iexperience.com. The video is under ideas and inspiration or inspiration ideas. So the video that I'm talking about is created as a part of a proposal for South by Southwest education. That's a big sort of education conference. And so it gives a bunch of really concrete examples, which are kind of in the realm of education. But I think they hint at sort of the broader ways that you can use it in your life and others in your organization and everything else. So it's got a little bit of education bent to it, but it's a pretty good kind of start. And if it's something that they want to experiment with at any scale in their life in their organization, otherwise, just reaching out to me is a great way to do it. I hope to have a more formal way of closing that loop and possibly working with some folks at Harvard at schools Project Zero. That's the group that started by Howard Gardner that developed the concept of multiple intelligences and I just have good friends there and where we think it'd be really fun to play with this and just like as it goes out there and try to bring back people's experiences and like document them and how they've experimented how they've, you know, evolved thing and try to make that a bit more like a formal kind of loop closing about it.

Tracy: Nice. All right. Well, thank you so much for all that you're doing and for sharing with us today.

Yeah, that was great. What I loved about this episode was that she had just this really simple tool. It's not even a tool. It's just like quite some questions to ask, and, and get started thinking about things makes it super tangible.

Chris:  Yeah, if anything, the tool is a blank sheet of paper and your brain. This one really got me thinking, we did ask a question there and in the end, we inverted the question which was this is a great tool that helps people, but what is it that gets in people's way? And I think that that's the question we should ask often, because just looking at the problems in reverse, and I've been thinking a lot about it, because her tool is really basic. And I could still feel people listening. Even with that simple tool, they still kind of have to face your stuff and I think that she breaks down a great tool for you to sort of face your thing, and put it out there. So just to review, the questions were, what's happening? What matters most to me? Like, what's my point of view? What are the ways that I can make this happen? And then what's something small that I can try? One thing that people miss, and I want to make sure this comes out after talking to Ela is that that loop continues. So you don't stop after that. Here's some that I can try that either worked or didn't. Done. It didn’t work for me, instead, it keeps going. So you go right back to the beginning? No, that's what I tried. So now what's happening now? What matters most? And what else can I do? And then what do I try? So the fact that the loop is continuous is interesting. But I can't help but think just what is getting in the way? And I'm not? I'm not pointing fingers at people? Because this happens to you. And to me as well. It's just pulling out the paper, like, how do we get people to pull out a blank sheet of paper?

Tracy: Right? Or even just mentally ask themselves those questions, right, like, listening to the episode, but it's the, okay, what's one small thing you can do? Then you're like, oh, yeah, I could do this thing, then it's just not a part of your life. It's not a habit that you've created yet. And so there's the effort that it takes to get past it or to get started. I think what we are saying is like, it's a loop and it continues, the power is that once you start to build up some of these small wins, that starts like a flywheel, it starts to just take on its own momentum and pushes you forward. But it's really the effort that it takes in the beginning, that keeps people just stuck.

Chris: Right? And it makes me think about, you know, I think that things that people would plug into that first quadrant are already really daunting. Like she gave the example of a relationship in difficulty, or, you know, people's career and difficulty or education and difficulty. And I can't help but think if I was having this conversation with myself, every week, you know, where I took out the white piece of paper every Sunday night, and I just map and I just did the map, that just seems to reduce some of the significance. But once these things bundle and boil, I think that's what's hard is they, you stuffed them down long enough, and then they become really big things that you have to face. But if there was some sort of a ritual, weekly or otherwise, even daily, 

Tracy: I was gonna say, yeah, so go to bed at the end of the day. It's kind of like gratitude journals, except you're trying to come up with experiments for yourself.

Chris:  Right, right. It reminds me I think we've talked about it on the show before. I just love that guy that told me once he's like, I can tell you everything about meditation, I can tell you why it's great for me. I can tell you how I can do it in five minutes. But do I do it? No. And it comes back to that. And I just think that's really interesting, just as a human species, like, we just saw so exhausted or, you know, what, what is it that keeps those little inklings of rituals from finding their way in?

Tracy: Yeah, it is fascinating. I mean, Well, one thing I wanted to talk about, too, is, I mean, she was talking about her daughter and kind of using this as a tool for you know, why she's tripping or, you know, it was like a small thing. And I think that that's a really good example of how to use it in a way that isn't daunting.

Chris: It's like tiny, tiny stuff.

Tracy: Yeah, just start with those. Don't try and tackle the why is my relationship failing, you know? 

Chris: Yes, start with like, why don't I make the bed in the morning.

Tracy: Yeah, get a couple of wins under your belt and then you can start to break those larger tasks into smaller things.

Chris:  Yes. So I just want to also just recognize and appreciate Ela's past and point of view on this I mean, an engineer from MIT. On paper, it looks highly unlikely, right? Okay, this, this brilliant MIT engineer goes into human centeredness and ultimately comes out the other side with a human tool to help people. But what I like about that is an engineer's mindset is typically more practical, and often more linear. I'm not saying Ela's is, but I just found it fascinating that she made that evolution if you will, or in some ways, if you looked at it one way, say that's it a 180. But in a lot of ways, it just ends up making perfect sense. like, Okay, got it. That's a very practical, pragmatic set of tools to get me up and going. 

Tracy: Yeah, I'm actually working with a handful of engineers right now, kind of taking them through the design thinking process. And, yeah, it's interesting, because you're right, like, totally brilliant people, super practical, super logical, very problem solution-based. And what I think it does is just expands your capacity to solve problems. It's like, you don't just have the problem. And then you jump to the solution, you have the problem, you kind of expand your point of view around the world to see multiple problems, and then you select the ones to dive deeper in. So I think that for engineers, it's actually a really useful skill to adopt and apply to their own process. But I just noticed, you know, trying to teach people this new way. If there's just a lot of ingrained, you're, you're used to doing things a certain way. And so you're looking for the right answer. And I think what we're talking about, there's not necessarily a right answer, it's a series of, you know, small decisions that you're making along the way that leads to a larger answer that works better than some others would work. But I'm just struck by how you ask questions about how you would do it, how would you do sharing back your stories about people that you've talked to in the field? And it's like, well, I propose that we do it this way. That was when one of the engineer’s examples, and I was like, wow, yeah, that's so different. It's such a different mindset than I'm used to. It's like, No, we could, we don't have to propose the way to do it. We could try in different ways.

Chris: Right, that we're getting a lot of great listener feedback. And thank you all for that. And I think what I'm what I'm finding, and I know you are, too, Tracy, is there are different little pieces from different episodes that people are putting together that work for them. And I think that what I'm loving about the diversity of approaches is, is that different tools work for different folks. And so this has been just another great episode demonstrating another tool and a slight way of looking at different ways of looking at things to help people get going in one direction or another. And I think that it's fair for us to say we're, while we have a point of view, we are relatively tooled agnostic. We don't care. We just want people, to go down and to try and to let us know. So we can evolve our own way of thinking and the way of thinking that is working for different people in different neighborhoods.

Tracy: Yeah, I mean, it'd be curious if folks want to share back on our Facebook page or Twitter, just kind of some of the things they have been trying their little experiments they've been doing or if you use Ela's tool, will have it up on the website. But if you use the tool, or even just think about it in your head, give us some comments back on how it's been working or not working or, you know, changes you've made to it. She's evolving this as she goes along as well. So feedback to her would be fantastic.

Chris: Great. Yeah, check out Ela's compass on the show notes. And thanks, everybody for listening to another great episode.

Tracy: Hi, everyone. All right. That's a wrap. Thanks so much for listening. Our dream is to build a community of people who can create and take advantage of any opportunity that interests them. To do this really well. We'd love for you to participate. Try out and share back your own life design experiments. Or if you've already got a great story of how you've designed your life. We'd love to hear from you on our Facebook page, or resultsmayvarypodcast.com. Our website is also where you'll find show notes and links to all the things we mentioned in the episode. And if you wouldn't be so kind, subscribe to the show, and share your favorite episodes with friends. that'll lead even more people to start designing their own lives. A big thanks to the folks who help us make the show possible. composer and filmmaker HP Mendoza for the Results May Vary theme music, Graphic Designer Annessa Braymer for our logo, David Glazier for sound mixing, and team podcast for editing. And of course, thank you so much for listening to Results May Vary.

RMV 11 Deke Sharon Transcript: You Can Design A Cappella Into A Global Phenomenon

Full transcription:

Tracy: Hi, and welcome back to Episode 11 of Results May Vary. In our last episode, we spoke with fishmonger turned award-winning podcaster Mike Duncan about how you can design the past. Today we talked to the Father of Contemporary Acapella, Deke Sharon. In college, Deke decided to make a career of acapella even though people laughed at him and thought he was crazy for doing so. Since then, he's arranged for The Social Network and served as music director and arranger for Pitch Perfect 1 and 2, The Sing-Off, and his new show Pitch Slapped which premieres this week on Lifetime. In this episode, we talked to Deke about how you can design a whole new industry based on passion and perseverance.

Would it be fair to say that you have a slight interest in Acapella then?

Deke: I think that would be a reasonable assessment from any perspective, any angle. People ask me like why do you love acapella so much as a question. I don't know. Why do some people love football, as you know, I also love football, but I don't know that we get to choose the things that grab us, but acapella definitely grabbed me. And in a way, in particular with me, I've always been very musical. I saw the potential within it. That was something that I felt like I understood in new and I have this vision. If people only knew if people only realized how wonderful acapella is, both from the inside and the outside, it would take off like wildfire. And the fact of the matter occupies the oldest music. It's a tradition that's been throughout human history. In every culture, you go to any part of the world as a tradition of acapella singing there. It's just that recently, the combination of recorded music and American Idol making fun of people who aren't perfect, and this kind of Western ideal that they're really good people should do and everybody else should stop doing it has warped our sensibilities and taken away from us the gift that everybody used to have, which was that everybody used to sing around the campfire at the end of the day, at the end of the hunt around the piano. I mean, like all these classic novels, everybody makes music together.

Tracy: Yeah. Well, how old were you when you first realized that it had potential? What was your introduction to it?

Deke: Well, I started singing in the crib bouncing my head on my pillow and seeing myself sit before I could speak. My parents were worried I was giving myself brain damage. It was like this little baby acapella headbanger. I kind of got an early start there, I think so I went to Tufts University. 

Tracy: Did you go there specifically because of the acapella group?

Deke: There were multiple reasons that I went there. I was also at New England Conservatory of Music at the same time, I wanted a real Liberal Arts education. And I wanted a real conservatory experience like I wanted to walk down the hallway and have all these different kinds of music going on in the practice rooms and violinists who practice 11 to 14 hours a day and just the whole thing, like the crazy long-haired composers and that kind of experience.

Tracy: Sorry, I was just curious. Like, it seems like all of this was more or less self-directed. Were you getting any support? Or was anybody a part of your experience up until you got to college sort of encouraging you? or how did you navigate your way?

Deke: Well, everywhere in the music world, music educators, people teach music, they don't do it, because they're going to become rich and famous. People who go into it have a deep love of music and are always looking to help inspire music in young singers and young musicians. So every person that I worked with, who was an adult, helped me and touch my life in some different way. And particularly the choral directors at my elementary school and then at University High School, Dr. Bruce Ahmad, who's still there, the longest-running member on faculty, he was phenomenal, and a professional musician. He creates music and conducts and directs American Bach soloists. And he's very involved in the California music scene. And yet for him, high school music education was his passion. And I was lucky enough to be able to study under him for four years. And it rubbed off and he didn't expect. I mean, I think something that said, when you're reading Malcolm Gladwell, and you get this perspective, like what helped people through their journey, this through the road less taken, and it's several people who help you find your own path. And don't expect less than excellence, don't talk down to you don't dumb things down for you. And then when I was at the New England Conservatory of Music, I joined a department then called Third Stream Studies, it was the only place in the world you could study this now called Contemporary Improvisation. And the first two years of it are crazy ear training. You start by having to memorize like 100, 120 different melodies from around the world. And then there's nutty, intervocalic, ear training, being able to hear all these intervals and that person would stab the piano and play like five-note chords, and then another one, and then another one. And then another one, you'd have to just write down with our chord characters. So you see, you get a sense of what chords colors are, how they sound so that you're really quickly able to identify this stuff. When I got to the New England Conservatory of Music, in fact when I tangled with a young artist vocal program before that, I was honestly frustrated that people weren't better than they are. And that sounds a little snotty, it sounds a lot snotty but hey, I'm from San Francisco. That's what we do. We're pretentious, that's our go-to. I couldn't believe the number of vocalists in this vocal program who didn't know what the circle of fifths were, who didn't have any understanding of music, they just liked to sing and had a nice voice. And it goes to the old adage, unfortunately, that there are singers, and then there are musicians, and that bugged me. But when I got to the New England Conservatory of Music I placed out of all of the undergraduate theory they taught. So when I shifted from my third-string major over to fearing composition, I had to take all graduate courses. And I say that only because I went looking to understand how music works and would buy music theory books and books about music and listen to music and try to figure out what it was and analyze it. Because I was interested in the nuts and bolts of it. And I think that's one of the most essential tools in any field, knowing how something works, just saw a great interview with Steve Martin last night and somebody asked him, so how do you make it in this business, how do you make it in this industry? And his response to that person was not what they wanted to hear. But it would be better than anybody to be so good that you're undeniable, like make people need to call you because they want what you can do and what you have. And I'm constantly barraged with people, how do I make it an acapella. how do I get more involved in acapella and how do I do more? I mean, forget the banjo in the movie industry, and screenwriting and plays and novels, and he creates so much material. But most importantly, he created the brand of Steve Martin and his style of humor. But he worked hard. He was at Disneyland, seven days a week and he studied the magicians, and he studied the performers and those like old-timey theater performances, and he really understood balloon animals and he understood the timing of jokes. And I continue to aspire to that level of craft, that level of knowledge of everything. So it doesn't matter what somebody throws at me if they're like, Oh, we want to do this kind of barbershop thing or this vocal jazz halos thing, this gene purling sounding stuff. We want to do something that sounds like the Bulgarian women's tradition and or you know, or we want to sound like ladies with black Mambazo or earlier than the original recordings of the Lion Sleeps Tonight. Whatever it is, that's all acapella. And I've gone out of my way to study and understand acapella music from around the world. So I have those tools, I have those colors, because ultimately, I want to paint with all those colors, and no one's going to tell you how to get those colors, no one's going to tell you the right thing to do. So if you want to be an animator, watch every cartoon ever made, understand how it worked with forced perspective, and the road of scoping stuff that was done by Ralph Basky. Like everything goes deep, no more than everyone knows every single bit of information. So when that phone call comes, and someone's looking for someone, you can say yes, and you'll be on the right track already.

Tracy: I love that because when you said earlier that you were kind of underwhelmed by other people. It points to a drive and curiosity that results in having the knowledge To be able to apply your creative craft in a way that's different from other people. And it's not that people are kind of born loving singing and being compelled by that. But it wasn't an innate talent. It took practice and time, and energy and passion.

Deke: It always does. And the thing that frustrates me so many people say this of, of millennials and people getting out of college right now, but honestly, it's probably the case for every single generation, you know, and that is the idea that people want to just jump to the top. And people ask me cool, I want to be like, Pentatonix, I want to be rich and famous. And that's nice. So does just about everyone else. That's not a thing. Your desire to be famous is not a commodity of any value whatsoever. Nobody cares. What is it that you can do? That's great. What is the gift that you have that you want to give to other people? How do you want to change the world and make it a better place? That's the thing, I think.

Tracy: That really resonates with me, I had the same experience at IDEO, which is a really great company to work for. And people would always reach out and say, Hey, I read up about it and I really want to work there, like I think I would be a great fit. And yeah, I'd said the same thing like you and everybody else. So show me what's different about you why you stand out from other people. But it is the idea that if you feel connected to something, it's almost like you feel like you deserve to have it because you've recognized its value.

Deke: Yeah, I think that's right, the thing that I want for my children, the thing that I want for everybody that I work with, is to help them find their passion. And I don't mean something they like, everybody likes a lot of different things. I mean, the thing that makes you get up in the morning, the thing that you would do, even if you weren't getting paid, and frankly, if you're gonna make a career of music, that might be the case for a long time. So it has to be okay with you. In fact, I was looking around at my life just before this whole thing off Pitch Perfect thing blew up. And I was happy. I was like, well if this is what I'm doing, I get to travel around the world and work with some choirs and help people and do some arranging and help spread harmony through harmony. This is my life's work. This is what I wanted to do. I'm perfectly happy, I succeeded. My goal, yay. And I'll just keep moving forward. And then all hell broke loose. I mean, it just went ballistic. And I can tell it everywhere now. Which is amazing. Because when I started this whole thing, the idea was to help spread this harmony and help share with other people the experiences that I've had when singing and give them an opportunity to have a similar experience. When I was in high school, I would go around to all the different CD stores and try to find other vocal harmony and acapella albums that nobody knew about. I mean, there was no place or central clearinghouse for information on this stuff. So I'd have to go digging it. Oh, here's this group from the Netherlands called Montezuma's Revenge, and, oh, there's some cool Mills' Brothers stuff that it's got a guitar, but then there's a comedian harmonist from Germany that are similar, but they're singing in German, sometimes some of its acapella. And, like you had to dig deep. It's so much easier now with the internet. Whoa, it's easier.

Tracy: I mean, in those moments, what was fueling that drive in you?

Deke: That I don't know. I don't know. I mean, what makes people excited? What makes you get up in the morning? Why do you love something? I think we don't entirely know that. And your best bet is to try to trigger it and find something more than an infatuation that's short term, try to find something that's a long term love. Because the other thing is if you're doing something as a career, you're going to be exhausted, you'll hit burnout at various stages. You want to love that so deep that you move through it. So it's different from like, oh, I took a watercolor class, and I really like watercolors. And that's fun. And I'm enjoying painting. It's different from that. It's like you fall asleep, and you have visions of if the paint gets a little drier, and then you apply it to a wet Canvas, how it spreads and how much it'll spread. Like, if you're thinking at that level, then you probably have the bug. Like if you're dreaming about it.

Tracy: Yeah. I wonder, was there a moment in your earlier life when you were finding this passion, where you hit a really huge roadblock or impediment that almost knocked you off of your path?

Deke: Oh, sure. A big one. In fact, it's kind of a legend within contemporary acapella circles. Let me set the scene for you. I go to Tufts University. I'm really excited about the Beelzebubs. I have learned a bunch of their music and have some of their previous albums because the one from my high school acapella high school choral program was sending back a couple of arrangements. And so I knew and was excited about the group. And my thought was, this group is so good, their music is so tight. I love it so much. They've got to all be amazing musicians. So I show up for the audition. And I'm really excited about all this. And they say, all right, well, you sing a song, sing a tune. They're like oh, that's really nice. Now let's check your ranges. Have you seen some scales up and down as well I can tell you, here's my high note, here's my low note and here's my break and they're like, whoa, whoa, hold on, kid. We'll test it anyway, and then we'll let you know. So then we sang it up and down. And they said, well, you're exactly right. Those are exactly the notes. I was like, okay, good. And then they said, I know we'd like you to sing this song here. It's Vaughn Williams’ song Bushes and Briars. I said, let me stop you right there. I have your album score from the early 80s and I know this is one of the tracks on it and I don't think it'd be fair for me to sing a song that I already have heard. And they were like, well, that's fine, why don't you do it anyway? So I sang the second tenor part perfectly and then I sang the first tenor part perfectly, and then I sang the baritone part, and I stopped at the end, I said, I'm really sorry, I just want to let you know, measure 17 second half of the measure, there's a whole note, it's supposed to be a B, I sang a C, they both work in the chord, but I just want to let you know that I knew I got it wrong. So the thing I didn't know, as if these guys had like one guy who kind of studied music and knew it a little bit, and everybody else's, like Pre-med and Computer Science, like whatever, right? So they're looking at me, and they're like, who's this freakazoid kid. And meanwhile, all I'm trying to do is let them know that I'm at the lowest level and ready to learn from them in this group, right? Yeah, there's a total disconnect. Then I come back for the callbacks. And I'm going to sing really well. But I'm worried that maybe I'm not going to be able to blend in as well. And I blend. Blending is one of the key things I've done. I was just a band choir when I was five years old. But what happened is we'd stand and sing in a circle. And different guys would come and swap places next to you so they can hear your voice. So I would turn toward them and sing a little louder so they can hear my voice. Anyway, I think I freaked them out. So I didn't get in the group, bottom line. And they were like, yeah, we just don't feel like it's a really good fit. So I was crushed. Like, no one's ever wanted to be in the bubbles more than I do. So then I wait until the spring. And I moved to the Arts house and had a roommate who also was a Voice major at New England Conservatory. And I convinced him like let's try it for the Bubs and he was like, I did before, I don't know if it's right for me. I said no, it'd be super fun. Long story short, he gets in and I don't which is terribly awkward. I go right back into the audition. And they still all these guys are seniors and they're like this guy. I don't know. He's just overzealous was the word they used. And my roommate feels terrible because he didn't even really want to do it. But I convinced him it would be fun if we both do it together. The upside of the story is that there's a nonfiction book written about the college acapella world, this chapter about me in there, and it tells this story. And that got reworked. The book is called Pitch Perfect. And that got reworked by canon into the first movie Pitch Perfect. Where Skyler gets in the troublemakers. And Benji doesn't. He's the awkward kid on the other side of the room with the Star Wars posters and the magic. And I swear to God, no Star Wars posters in my life. No magic, never done it. But I guess it was just too good a story to let go and not have in the movie of this kid who wants nothing more than to be in this acapella group. But he's just like, it doesn't work.

Tracy: Yeah, when you're telling your story. I was like, wait a minute. This sounds like Pitch Perfect. I just watched it the other night.

Deke:  Yeah, it was great because of the movie. I told Ben Platt. I think I told him until we were making Pitch Perfect 2 and he was like, dude, you're fucking with me, are you serious, I'm you? I was like, no Star Wars. No magic. I swear. No dove releases, I promise. Anyway, he was laughing. He's a great guy, by the way. Anyway, so then the third time around, it's the fall of my second year because it's a five year program. So it falls in my sophomore year. And I realize there's only one way to get in this group. And that's to act like I do not care at all. I don't give a shit. So I go in there and they say, okay, auditions, what do you want to sing for yourself? And I said, you know, I don't know. I haven't really thought about anything. Maybe. I don't know what you wanna hear? No, like, oh, uh, so I guess it's summertime or something. You know, some time and I live in New Jersey. Like, I was like, who cares solo? And then Okay, here, my scales. Great. Here's my up and down. Fine. Okay, so I'd sing this, okay, great, whatever. And I just waltz through that whole audition. Like, I did not care at all I got in the group. And of course, I got into the group. Oh, good. I'm a music director. Nothing. I mean, that's the funny thing. So then, I was the music director of the group and was constantly pushing and in the group developed a new sound involving vocal-instrumental sounds of percussion and took that into being professional. And like all the rest, the study was written, but it was actually very helpful to me because the music director is the one who calls the people who make the callbacks but don't get in the group to tell them and I could empathize with them better than anyone before me or after what it's like to really want to be in this group and not get in. And I always tell people, audition again, don't give up. Keep going. Frankly, not getting in the group until the third audition, coiled my spring tighter and may have been a fueling source for me. It may have really helped drive me to do everything that I've done in my life because I learned, if you really want something you don't give up, you don't give up. And it was a hard long freshman year. And I'd go to the concerts and I'd sit there and listen to them sing the same song something I should the second tenors flattened guys come on, like you don't I mean, I really saw that it was a bit of an off-year and like, they weren't all the way up to par. And it was frustrating for me, like, if I run this group, I'd be able to make it better. Okay, all right. I just need to get into this group. I just need to figure out how to make that happen.

Chris: As you're telling your story, I'm wondering if are there people out there that seeing that you say that you look at them, and you go, you know, no matter how much effort you're gonna put into this, the penalty is just too high, you're just not going to be able to pull this off. I know, it's contrary to everything I'm hearing from you. But is there anybody out there where you tell them? You know, you just, well, maybe singing is not your thing

Deke: Everyone can sing. If you can speak, you can say and now so many people in American culture say I'm tone deaf? And the bottom line is no, if you talk like this, your tone-deaf. If you can't say if your voice can't rise at the end of a question, you tend to have like, what are you doing right now? Like if someone can't you know, what's up, you know, what's up, you know, and if you can't have a rise and fall in your voice, then you are fully tone-deaf. But I think there are like three people on the planet who are actually technically like, all of our sax problem with their brain tone-deaf, everybody else is not tone deaf. The problem is a matter of matching pitch. And just as, okay, not everybody's gonna be Michael Jordan, right. And maybe someone's like, I want to be Christina Aguilera. Well, she just has a certain amount of vocal fluidity that is coupled but she has an incredible instrument. And she's been singing every single day, since her very young life as a mini musketeer, whatever they were called, right. So she's ahead of you, you will probably never catch up with her unless something strange happens. However, to use the basketball analogy, hitting a note is like hitting a free throw. And if you've not been shooting hoops, you shouldn't expect to get the ball in the hoop very often. But if you go and you start shooting hoops every day after work, just for an hour, you start getting better, you start getting better, you start getting better, you may never be a professional level, but you can absolutely do it at the level that is enjoyable. And that is of quality, end of the story. But everybody can, everybody is used to singing, joined a local choir, got together with some friends, going to karaoke night, the vocal cords are just muscles and it's a muscle that everybody can use. It's just hugely underutilized in our culture. I think it was when recorded music started becoming popular John Philip Sousa that, you know, the March guy, Stars, and Stripes Forever. He remarked that this will change and in many ways ruin music in America around the world. And he was right. Because before then people had to create music, if you wanted music, you made music. You have some friends over for dinner after that somebody retires to the piano and you have a sing-along. When's the last time anybody you know, anywhere ever had a sing-along? Maybe a caroling party. But even those are an anomaly. Like it's so rare now for people to get together and sing. And it used to be a given standard. So our culture has really changed. And that's why I say as people sing in the shower. people sing while they're driving to work, but people are afraid of getting in front of the people. And singing because Simon Cowell has so tainted, so poison to the well. So destroyed people's own sense of their ability to sing through this horrible pageant where they take people and they are terrible. It's terrible.

Chris: To say, I'm giggling because it's an interview so timely. Alyssa and I are, we don't sing and I can barely play guitar. But we're doing a duet at our own wedding in front of 70 people just because we thought that seemed like a good idea at the time. And the way that we set it up as it'll either be cute because it's horrible and people laugh because look at this couple just trying or it'll be something where it actually sounds pretty good. And we'll be really proud of ourselves. So either way, it's a win. But I'm nodding as you're saying how rare, it's so rare that we will casually do that.

Deke: Yeah, but it's going to be great because here's the thing that people forget about music. Music is an expression. Music is emotion. Nobody at the end of the day picks up their iPhone, their iPod turns on the radio and says I want to listen to the most intune piece of music I have. I want to listen to the most technically precise thing. No, no, if that were the case, the Alan Parsons project would be the Beatles. The fact of the matter is people listen to music because it gives them a feeling. It gives them joy. And that's why people go hunting on YouTube and find these unknown singers or some child or some moment some video of someone's singing at their wedding and you tear up because it's so honest, so powerful. I just worked with some singers down in San Diego this past weekend, and they were incredibly powerful. Technically, they were really good. But they sang with all these kinds of fake gestures that come from the sweet outline tradition. And so when I closed my eyes and listened, it sounded really nice. But I opened my eyes. And it just, their faces were kind of fake and their hands were moving in their heads, shaking, and it just felt like a giant pulling on. And the song was You Are My Sunshine, oldest thing ever, right? So then I told him guys, I had to stop them. And I had to call him out for all of these fake movements. I said you have to sing music, that means something to you. Otherwise, it's meaningless to the audience, you have to connect with them. And one of the women's eyes started tearing up. And it took a little while to get the story out of her. But it turns out her husband of 14 years, lost his battle with depression the previous year, and he was her sunshine, and all of a sudden, shit got real. And I said that that's really singing about that. And then we started working together. And it was a transformative experience. And all of a sudden, the audience was like tears in their eyes. And somebody captured this moment on their iPhone or something grainy, the sound isn't good or whatever. And in the past 72 hours, it's been viewed 25,000 times on Facebook and forwarded over 500. Like, it's like a masterclass with a barbershop group. But it's real music, they did something real. People want that so much. Now they're so hungry for that experience, for that sound for that real connection with other humans. And that's one of the things that acapella does better than anything. And the reason I'm telling you all this is that when you're up there, and you're singing that song, with your new wife, don't get caught up in Oh, this isn't good enough for Oh, I should be more polished or whatever, no, just sing the song. And it will take care of itself. That's what we don't have in our culture anymore. And that's what people want. I guarantee you, it'll be a beautiful moment. It's, by definition, it's a beautiful moment. This is the fact that you're doing.

Chris: Yeah, a question. We talked to a lot of successful people you included, and you've got people to find their thing, and they lock on. And in your case, it was at one point, it wasn't necessarily your thing, and you just kept persevering. And lo and behold, it all worked out with a lot of time and energy. I'm curious now, in your life, do you still take on things in new categories that you suck at? Or do you allocate the majority of time to the thing you're really good at?

Deke: When I'm arranging songs, I try it and I've done over 2000. I try every arrangement to put something in I've never done before, to try something new to continue to push the envelope and I always have a fallback position. If it doesn't work, it's not like everything is genius. But I've found that my life's work is to spread harmony through harmony. So I'm continuing to do that. That's where I should be spending my time. It's my vocation and my avocation. It's my passion. And much of my time is spent doing that. However, I like moving outside of my comfort zone. And in fact, who expects to get a phone call from Lifetime Television saying they want to build a reality television show around you at age 47. So I had never been an on television personality. I'd never worked with a high school group for more than a couple of hours. And yet, lo and behold, a couple of months ago, I found myself in Cherry Hill, New Jersey for two months, working full time with a high school acapella group and having three cameras follow me everywhere and capture that whole experience of what it is to make music, not just on stage, not just with professional singers, but with this ragtag after school Bad News Bears type program. So that was unexpected. And now I'm working on a musical that's going to Broadway and hasn't done that before. I mean, I sang in musicals when I was in high school, but that takes me outside my comfort zone. And like that, so it's definitely the thing I should be doing with my life right now is the thing that I'm doing. But it's not a matter of me continuing to do it in the same way. I want to expand out what acapella is doing and how it's permeating the major media right now, in hopes of inspiring more people to sing and get more vocal music out there.

Tracy: It seems like your dedication when you were saying earlier, make yourself be the person that somebody calls because you're so valuable. It seems like this is a moment for you that you've spent all of your life working towards this and having successes and high points. It's all sort of coming together. Like you said at the age of 47. Why do you think that's happened now for you?

Deke: The thing that I told myself, when I was graduating, I was starting a career if this was it, if people only knew how great this is, they would love it. And that's been my mantra all the way throughout the experience of singing in an acapella group of other people. The IT professional amateur is transformative in that the sum is greater than the individual parts of the interconnectedness of your voices. It's unbelievably powerful, and I highly recommend it to anybody who hasn't done it before. It's so much fun. And music is the engine of international language, it speaks to things that you can't use language to say, and the connection that you have with the other people in the group. It's beyond any sports team. And if you do it right, you always win. I mean, that's another great thing about music and particularly singing. But to get back to your original question, the nature of I always knew that. It's great. And it was a matter of distribution. It was a matter of getting it out there. So that's what I did. I started a nonprofit organization, I started a publishing company, I gave away arrangements to help groups get started whenever possible. And when I graduated from college and started the contemporary acapella society, there were maybe 200 College acapella groups. Now there are over 3000, I wanted there to be a march madness of acapella the same way there is for basketball. So I started the N-double-CA, which became the ICCA, the International Championship of College Acapella, which is now in the movie Pitch Perfect. That's kind of the centerpiece of it. It's a real competition. I started it shortly after college, because I knew to popularize this kind of music, you needed some kind of a competitive form, on the collegiate level, and so on, and so on, and so on. So, this was always the goal. I didn't know where it would go, but it got more people interested, more people interested, more people interested. And again, as Gladwell pointed out, there seems to have been a tipping point and all of a sudden now, everybody knows what acapella is. Back when I graduated, nobody knew what acapella are. Most people didn't if you said the word they thought maybe classical choral music or barbershop doo-wop. church music. I mean, it wasn't really clear. And then maybe 10 years ago, acapella was a punchline. In scrubs in the office, It was like, oh, that geeky thing that people do in college. And then once we got The Sing Off on the air, and we could show people what it really was, people started going, Oh, that's actually awesome. That's impressive. I mean, Pitch Perfect, made it really popular. And now it's a thing. So the bottom line is, I knew that it would be popular, I knew that it could be popular. Let me put it that way. There's no point, if I went back and started this whole thing, again, lots of different things could be different. And luck is luck. I mean, I don't take for granted, that's probably the most important coefficient in anybody's life story. But I knew that it could be huge. I just didn't know how, or specifically what my role in that would end up being down the line.

Chris: Next level, are you there at 47, you get this show, and everything's just orders of magnitude, bigger, more influence, more people. And this was a place that you never thought would happen. And so now that you're in this place, I guess two parts of the question is, do you feel like you have a sense of control over where it's going? And do you now have your sights set on the next thing? Or how do you kind of sit in the place where you are now?

Deke: That's a good question. Well, I continue to do what I've done, which is to try to allocate my time as my most valuable resource as effectively as possible. And after being on the road and touring around the world and performing myself in my own group, the house checks that I started out of college, I had to finally leave the group because I'm too busy with too much going on. Broadway coming up, we've got this lifetime show Pitch Perfect three is definitely gonna happen. I've got other great new projects in the works that I can't talk about yet. But the overall goal remains the same. But I do see my role shifting to elder statesman as the pyramid grows taller, and I'm rising up on the top of it, I see that the nature of what I do changes and varies and it's still really important for me to continue to interact with the media on the highest levels. That's one of the most important things because that's where we reach the most people, I feel. And it really is a life's work. It really is a mission to spread harmony through harmony. When you get people singing together from all different cultures, all different walks of life. It not only changes their life, but it creates bonds, connections between people. And that's one of the greatest things about college acapella. You got a group, you got the jock, you got the pre-med guy, you got somebody who's a computer scientist, you've got somebody who's like crazy arts dude, the people in a college acapella group are really varied more of a cross-section of a college demographically than possibly any other pursuit or activity, you find people that I found, I became very good friends with people I never would have met or known in college because you have your circles and you run in your circles. And then you end up having to create things together. You have to work together, you have to agree on things together. You have to push through problems together. That is incredibly valuable. Those skills are unbelievably valuable. And that's part of why the college acapella thing is so great. And it works across life as well. These community acapella groups, there's a group in Memphis called Delta Capella, and they just won a competition and traveled over and performed in Shanghai. I was there with them a month ago and they are a cross-section of Memphis, it's all guys. But their youngest members are like 19, 20, and their oldest members 70, something black and white. They're rich and poor. I mean, it's a real cross-section of what Memphis is. And Memphis is a town that does not have a lot of real integration like that, with these people are friends and their comrades. And so when they perform around the area, they're making a social and political statement at the same time, that's just entertaining people, but they're not doing it with a heavy hand. They're just showing people who they are. And now we're going to sing another tune. Now we're going to sing an old folk song. Now we're going to sing a pop song on the radio, it may seem like our society in our culture doesn't need that right now, particularly as the three of us sit here in San Francisco in our enlightened ivory tower of political and social awareness. But America needs this and the world needs this very, very much. We need to understand each other better, and to respect each other more. And these kinds of experiences singing together, do that better than anything else I've seen anything else I've experienced? Yeah. And hopefully, there's someone listening to this out there who's got a crazy dream. And all I have to say to that person is work hard and find out everything you can about it so that then you're able to create your own success because it's absolutely doable.

Tracy: Yes. What a superpower

Chris: Superstar. Super voice. Pitch Perfect.

Tracy: That's right. I mean, he basically, you know, wasn't the only person but was one of the most instrumental people in bringing acapella to the world.

Chris: Yes. And right off the bat, you were asking him about his path. And you asked a pointed question around. How did you fall in love with this? And how did you know this was going to be your pursuit? And his response to you is really interesting, sometimes you don't find it, it finds you. Yeah. And I think our listeners would either respond favorably to that, which is like, Oh, cool. Well, it'll find me or they'll listen in a little bit of frustration, which is like, ah, man, mine hasn't found me yet.

Tracy: Yeah. Well, it's interesting. I just was yesterday, watching Elizabeth Gilbert do her soul Sunday talk with Oprah, about passion, and how she used to really talk about how important it was to find your passion. And once you found it, you could just go to town. And, you know, it's like, that's great because she's the kind of person who has found her passion, similar to deep. But she got this really long Facebook post from a woman who was so frustrated because she felt like there was something wrong with her, that she tried searching and wanted to feel this fire inside of her. And that that simply wasn't her reality. And so Elizabeth Gilbert was talking about this concept of either being a jackhammer, where you know, you're passionate, you just drill down, or being a hummingbird, where you're sort of being led by curiosity, and you're pollinating all of the other people in the world with your different interests from, you know, time to time as you're changing up. And I really like that. I think we've talked a little bit about passion on the show before with Jessica, and others, and I wanted to bring that perspective to our conversation as well.

Chris: Right, right. And it goes on the heels of what would you be willing to suffer for? And I think that's true when I think about that article. And I think about when I listened to Deke, that that's certainly true. In his case, he put in a lot of effort to get to where he is. And the other part about his story is there are a lot of people that put a lot of effort into him to bring him there. And it really stood out to me just how many people invested in him and believed in him and just the importance of these mentors and people that you find on your path that believes in you. Yeah. And well extract it out of you, you know, as you hear him talk about his processes, some natural born gifts, you know, his ear sounds like it's very, became very natural for him. But that alone wasn't enough. He needed to be trained, and he needed to know the way and he needed to be exposed. And you can just imagine how many thousands of hours he's invested in his year and his training.

Tracy: Yeah, absolutely. And it's when people talk about somebody being self-made, you're meeting someone halfway or you're meeting multiple people halfway, you're doing your part he did his part. He was really looking into different types of acapella singing, and he knew everything there is to know about music. He was putting in that time and effort, and because he was doing that, and people were there supporting him, those it all worked symbiotically. That's right.

Chris: The other thing that stood out for me that I found to be a little sad really, is on the other hand, in a modern America, we're very liberated to explore whatever we want. And on the other hand, I feel like it's sad that when we were talking about singing just how singing is now reserved for the greats, you know, you're either good at it or you don't do it at all. And there seems to be a maybe a funky way of saying it's kind of like a demise of vulnerability like we're living in the demise of being publicly vulnerable. And I think for our project, that's, in some ways, we're trying to reinvigorate that to expose a little bit of your vulnerability to start to grow and nurture and go forth with this idea that we just don't sit around and sing anymore is, I think, pretty sad.

Tracy: Well, it's interesting to me, because it's almost it gets a little bit back to what Steve Coleman was talking about where, you know, you have creators, and then you have people who just sort of sit back and consume, and we have all these distractions, we have all of this content being provided to us. And I was just talking to some students today, who were well, they were saying, How do I design productivity? At the end of the day, when I came back from class, and I was asking, Are you really talking about wanting to be more productive after you spent a whole day of being productive? Or are you looking for a way to unwind that feels productive, you know, like, right, there's a, there's a difference there. And you have to have a balance. And we have now gone so completely to one side, which is to just sit back and consume, where we used to be creating together because that's how we created closeness and entertainment. You didn't have American Idol or whatever, to watch other people be vulnerable. You just did it yourself. Right? 

Chris: Because I think of our podcasts like that. I look forward to it. You know, it takes effort, but we like doing it. And I just think of it as a productive craft. That's a relief. Not necessarily just more work. But yet I feel like we're producing something. And that feels fun. So good for us.

Tracy: Yeah. Yes.

Chris: The other thing, though, that I wanted to mention is we recorded the episode weeks back, and soon after the episode, just by coincidence was our singing debut at the wedding. And, and his points were spot on just, it didn't sound perfect at all, yet, it was totally perfect and really fun. And probably one of the highlights of the experience. And the overall experience was awesome. And so this is super fun, and just really validates that kind of just sticking your neck out there and doing something really unexpected. So that was fun.

Tracy: Yeah, I was so inspired by the two of you doing that. I mean, I played music growing up. And it took a lot for me to ever get up on stage as a part of a band to do that on the day that I would say is probably one of your most vulnerable days as a human being anyway. And then adding that extra layer on top is pretty superhuman.

Chris: Yeah, not really, though. But yeah. The fun is actually quite natural in the end so deep as accomplished a lot. What I really liked about his storyline is when he was evaluating his life, and he thought, if what I ended up doing is traveling the globe, not making much money, but supporting these groups and bringing the best out of people's acapella experience, then that's that's a pretty good life for me. It is always neat to just hear that the really successful part is really just kind of all the gravy for the hard work that was there and I see Deke could be a pretty happy person, regardless of if that happened or not. And this is giving him an even greater platform for people to be exposed to his great work.

Tracy: I agree. And I think there's something universal that he's tapped in with this. I watched Pitch Perfect. And then over Thanksgiving, we watched Pitch Perfect with my mom who likes to sing and is in a couple of choirs. And there's just something about that natural music and harmonizing together. It's exciting to watch. I know maybe it sounds corny, but I really got into it. I thought it was super entertaining.

Chris: And as you're describing your experience with it. I can't wait for our synthesis episode because there are so many consistencies here. Whether it's the writing or Andy we're or the way that Kira kind of reinvented herself in the healthcare world, or the way that Steve runs writing workshops. There are so many similarities. It's like you could just we're almost getting to a place where I feel like you could find and replace the content area and there's like some very universal truths. And one of the heart-facing universal truths is just that I think people want it to be easier than it is. And in a weird way, it's almost a relief to know that it's just supposed to be hard. So that when it is hard, you're like, Oh, I guess I'm doing it right. Because I think a lot of times you think of hard things like I must be doing something wrong. Because other people have this success. It seems to come easier, or they have their calling. And it seems to just hit them over the head or stuff that we're talking about. But as you go down this stuff, and you realize that no, it's actually supposed to be hard, then when it is hard, you're like, Oh, good. I'm doing it right. Doing it, right. It's supposed to be hard. And in a weird way, that makes it easier.

Tracy: No, it does. Because it yeah, it validates that you're on the right path, for sure. I love that. Well, I also, he talked about this idea of your commodity of wanting to succeed. And I just thought that phrase really stood out to me and saying that it's of no value, like saying I really want something. I always think that when I watch America's Next Top Model, which I watch guilty pleasure models are like, I just want this more than anyone else, and therefore I deserve it. And it's like, No, you know, you could want it as much as you want, but it doesn't, this is great.

Chris: Yeah, like you owe it to me. You owe it to me because I've always wanted to be successful.

Tracy: Right and like the idea too, that it's a commodity, this idea that everybody wants that everybody is saying that to you and you're sitting there. As someone who decides, you know, you move forward or you don't and this acapella world, tell me something different, like, be really good at what you do or be really knowledgeable, have that passion, shine through so that I can see it.

Chris: Right. I had a note that it came up earlier in our conversation, but I think in Deke's words, he said Your best bet is to try to trigger it. And he was referring to the passion thing. And we've concluded this before, but I think that the idea that if you're not sure what it is, then curiosity is the passion. So the search, the search is the passion, which is to me, again, is a big relief. So it's like, if you're in a rut, just start this search again and get passionate about the search, which is pretty easy to start to excite yourself around like, Oh, cool. I'm going to try this. And I'm going to try this. Because even the failures there don't feel like failures because you know, you're just in a curious state. Yeah, there's no expectation. And that's when he talked about being a kid this like a baby acapella headbanger. I love that. I laughed out loud when you guys were talking about that.

Tracy: Well, another fantastic interview. Another generous interviewee and we're on a roll. Let's see what's in store for 2016. All right, that's a wrap. Thanks so much for listening. Our dream is to build a community of people who can create and take advantage of any opportunity that interests them. To do this really well. I'd love for you to participate. Try out and share back your own life design experiments. Or if you've already got a great story of how you've designed your life, we'd love to hear from you on our Facebook page or on our website, resultsmayvarypodcast.com. Our website is also where you'll find show notes and links to all the things we mentioned in the episode. And if you wouldn't so kindly subscribe to the show and share your favorite episodes with friends. that'll add even more people to start designing their own lives. A big thanks to the folks who help us make the show possible. composer and filmmaker HP Mendoza for the Results May Vary theme music, Graphic Designer Annessa Braymer for our logo, and David Glazier for sound mixing and team podcast for editing and of course, thank you so much for listening to Results May Vary.



RMV 10 Mike Duncan Transcript: You Can Design The Past

Full transcript:

Tracy: Hi, and welcome back to Episode 10 of Results May Vary. In our last episode, we spoke with Bestselling Author and Co-host of the Dear Sugar podcast, Steve Almond about how you can design your creative practice and live a more deeply examined life. Today, we're talking to fishmonger-turned-award winning podcaster Mike Duncan, best known for The History of Rome, and his latest endeavor, Revolutions, which is a weekly podcast series examining great political revolutions. His upcoming book, The storm before the storm, will examine Roman history between 135 bc to 80 BC, with special attention given to the question, if America is Rome, where are we on the historical timeline? In this episode, we talk to Mike about how you can design the past to engage more people in our shared human history, as well as to gather insights that are useful for us to design our future.

Why don't we just start off by you telling us a little bit about yourself?

Mike: My name is Mike Duncan. I've been a history podcaster. Now for eight years, I started doing The History of Rome in 2007, July 2007. I did a whole run of episodes to cover the entire history of the Roman Empire from beginning to end, which took me five years to get through. And I took a year off and came back and now I'm producing Revolutions full time, which is a show that focuses on great political revolutions in history. And I've done the English Revolution, the Cromwellian era, the Protectorate, of the American Revolution and then I just wrapped up a huge cycle on the French Revolution. And I'm taking a break and in a couple of weeks here, I will be back to cover the Haitian Revolution, which is the first and really only successful slave uprising in world history.

Tracy: You haven't just done these things, but you've delved in with the most extreme detail and care and have turned your passion into a really successful career.

Mike: Somehow, yes, I have done that. It definitely started as just a hobby. I think almost all podcasters initially start out as I have something I want to do, I'm passionate about something and I'll just do it for the love of it. And it was a good two years before I even put up a button that allowed people to donate money to me. I had a full-time job. I was just doing it on the side. I didn't really need to get into it. I didn't think it was going to make much money to begin with and then things just started piling on. I was able to take advertisements, we've done listener tours, which Tracy you may possibly remember that we do. 

Tracy: I think I remember. Yes. 

Mike: We had an awesome trip to Italy.

Tracy: Yes. So, Chris, I actually met Mike in Rome, right? We were in Rome to start off the tour. We went to so many different places. But I was trying to remember where the beginning was.

Mike: Yeah, we started in Rome and ended in Istanbul.

Tracy: Yeah, it was amazing.

Chris: The perfect person to travel with, Tracy, the author of knowledge.

Tracy: Well, and the great thing was, too is that Mike was so inspirational that my husband had been thinking about doing his own podcast. And I think that the two of them together, meeting Mike and kind of hearing his story inspired him to start following his own path down to ancient history. 

Mike:  Yeah and famously one of the ideas that I had for what I was going to do with the show after the history of Rome was to go into the early Mesopotamian civilizations, it was just one of the things that I was kicking around in my head and Scott took it. Scott had the idea first, he’s like, I want to do this.

Chris: Mike, can you take us back to the origins of your passion for history? Where did this all start?

Mike: I've been a huge history nerd from the time that I was just like a kid. It's always been there. I would just read encyclopedias, but I would skip all the science. Now skip all the hard sciences, not really super interested in but like though just an encyclopedia entry on the Roman Empire, on the Mayans, every biography I could get my hands on, I would read and I just inhaled this stuff. Like there was a whole period of time like I'm kind of a comic book nerd too but I had as much fun reading like the encyclopedia, they had, like the Marvel Comics, encyclopedias, and I had as much fun reading those as I did the actual, like comics themselves. And then when I went through school, it was all for political science and philosophy, but those are heavy doses of history. If you're going to study Political Science, so I just kept getting and getting and getting it in my head. And that's just been what I've been focused on really, practically my whole life. 

Tracy: I was just gonna ask them what happened after college? What did you decide to do with that or not?

Mike:  Well, after college, I was fairly adrift. I think that I graduated and made it all the way through to get my Bachelor of Arts. And then I came out on the other side and was like, oh, now I have to like to find a career. And as I was just in my early 20s, that's when I fell into reading all the ancient Latin and Greek histories, which I was just reading for fun. So it's like the Libby and Polybius passage. So I was just reading these and reading these. And there are so many good, interesting, fascinating stories that are buried in these old texts that nobody reads because it's impossibly dry. If you pick up the early history of Rome, unless you're super into it, it's gonna be hard to read the whole thing. So I was like, I can take these stories, pull them out, kind of put them into more modern language, and release them as podcasts. And I can get this information that is out there that is so inherently interesting. But there's a barrier to it, because of how difficult it is to actually read through the text without falling asleep.

Chris:  You've just scratched on something that I wanted to ask you about early on in our conversation is, it seems that America at least is not all that interested in history. And you've just alluded to a little bit of why. And it seems like you're in this very cool position, which is to make it more interesting and engaging and tangible. Can you talk a little bit about why you think we have such a resistance to history as a learning platform or inspiration platform?

Mike:  There's probably some deep-seated American psychological thing, because like, I have a lot of fans in the UK, like in Britain, and they're all kind of naturally inclined towards history in a way that Americans aren't. And it is possible, you know, we came here to the new world, and we're always looking towards the future rather than the past. But just on a kind of a nuts and bolts level, I do get a ton of people that tell me, oh, history was just my least favorite subject in school like I hated history. And I think it's just because so much of it is, here's the name, here's a date, there's no context for it. Here's a name, here's a date, memorize this, memorize that so as they have like the football coach teaching it. It's a place to stick, I don't know, not particularly passionate teachers. So they're just reading out of these textbooks. And so it becomes incredibly dry missing completely, that history is storytelling. History is one giant story that tells everything that's happened up till now. And I think as soon as you start looking at history, you start telling history as stories instead of as facts to be memorized. Suddenly, the whole thing comes to life. And like you say, I'm in a good position here. Because I'm so passionate about all this stuff. And I'm so interested in it that I'm just going to have my enthusiasm, carry you with me, and before you know it, you're sending me an email that says I had no idea that history could be this fun and interesting, thanks.

Chris: Yeah, amazing.

Tracy: Yeah, I wondered about that. I mean, if you could design your perfect history class, maybe even just for younger kids to get them started, what would that look like?

Mike:  Well, part of me getting into history, to begin with, I think I might have actually had that was I had the fifth-grade teacher. And fifth grade is, I think, probably still today is when they start rolling out American history. You do like a big American history, push in the fifth grade. And she would say, put your books down, put your paper away, put your pencils down, just sit there and I'm going to tell you what happened. I'm just going to tell you stories about what happened. And that just all on its own, made it fun, made it more captivating when you didn't have to like be under some sort of pressure to learn it right then and there. She's just like, just sit there. And I'm going to tell you what happened. And that I think was a great way to approach introducing kids to history for the first time. Because if you just start throwing numbers at them, it's like it's this weird discombobulated version of math.

Tracy: Yeah, absolutely. I can never keep the dates in context. Once you get beyond into World History. It's like, yeah.

Mike:  And I personally have a knack for holding names, dates, timelines in my head, so it all comes pretty natural to me. But if it doesn't, then yeah, like who knows what came first, like the Articles of Confederation. Or the Stamp Act like which happened? Like, who knows?

Tracy: Well, what I love about what you just said for the perfect classroom is it doesn't take a lot of sizzle. Like, you don't need a lot of things in the classroom activities or whatever. It's just you can be a good storyteller. And that in itself can be enough. 

Mike:  Yeah, and it lets the kids engage it with their imagination, too. Once you start going overboard with audiovisual stuff, trying to make it more flashy, more bells and whistles, you kind of lose a bit of personal connection to it. Whereas I think what my teacher did was just here's an audio story. This is probably where my history of podcasting comes from, it's like that class. You allow people to use their own imagination, and then they start having a personal connection to it. And so they just become interested in it on a deeper level.

Chris: I read some stat recently that the world's information knowledge has, in the last two years, disseminated more than it has in the last hundred and 50 years. Just by the tools, we have the access to information, where do you go to dive deeper into history? And how do you find the historical truths? You know, I think a lot of history is hard to decipher what was a myth? What was real? What was the story? And what was the fact?

Mike: Well, I go to old dusty books. I actually just got in Madison now. And, you know, just as a citizen of the state of Wisconsin, I'm allowed access to the University of Wisconsin's library system. And so I can go, and all of those, like, sort of academic monographs that are written for academics by academics, which are even more boring than reading but they're so information-rich that I can go through all of those. And I'm a popularizer in that sense. So I'm able to go through all of these historic graphic arguments about the French Revolution, or about the meaning of the merchant class, vis a vis, the taxation of the 1760s, and pull it out and use it as a basis for trying to tell a straight-line story. When it comes to like, you know, separating myth from reality, that's just an ongoing conversation that you need to have, that all historians have amongst themselves. And then I did this a lot. So often, like in The History of Rome, I would use some formulation of you know, there are two versions of what happened next, or there are three versions of what happened next door, you know, here's the story the Romans told themselves. And here's what kind of guessing might have actually happened based on archaeological evidence or coins. And really, it's just a matter of trying to be upfront with the fact that we can only know so much from the sources. And some of it is conjecture, and some of it is filling in the blanks. And I think as long as you just talk openly about what we know, and what we don't know, you can get rid of a lot of myths that way.

Chris: You've created a really interesting platform for people to engage in history in a whole new way. I'm wondering how your podcast is reframing how they think about history. So in other words, what's the story of your listeners' story?

Mike: It ties back a little bit to the people who went through school and history was so boring for them. And they didn't like history. There's a whole chunk of people out there who are using podcasts, and then other things you can find like YouTube, other medium stuff on the internet to fill in gaps that they had, that they feel that they had in their own education growing up. So they're adults, and they're like, wow, I don't know anything about what happened, I emerged as a fully grown adult, and I know nothing about what happened, so they come to like history podcasts. And there's now an extremely fertile and great history podcast universe out there, that if they want to fill in the gaps, we are kind of there for them, doing it in a way that is accessible to them in a way that obviously, trying to learn it in the past wasn't particularly accessible to them. So I get a lot of those people that are trying to fill in gaps in their knowledge. And they're like, thank you for doing this because I never would have known this before. And you've actually made it comprehensible to me. And then there's, of course, just the other side of it is the people who want to inhale all the history that they can find all the time. And these are my people. I have also been able to make connections with my people from all over the world, which is fantastic. So I get to sit around and have these really interesting conversations with people that are sitting in Australia and Britain or you got like ex-pats living in South Korea that want to have a conversation about what was going on with Cromwellian 1663 that's really, really fulfilling.

Tracy: Yeah, I was gonna ask about your tribe or your community because it seems like this is a solitary pursuit going, reading the dusty books, and then recording your podcast and you do it all yourself. So what are some of the ways that you connect with people? Are you actually scheduling conversations? What does that look like?

Mike: Well, no, a lot of it is just by email. So people will email me questions, then I'll get on that. And then I have just now, after, however long Twitter has existed, I finally got onto Twitter, like two months ago. It's so silly, I'm at Mike Duncan, come find me. But now that I'm actually on Twitter, all these people have found me and now I'm yeah, I just have a running conversation going with people about history and current events and intermixing the two and it's been great.

Tracy: That kind of brings up we lived into it a little bit before with the History of Rome tour that you ran. But there are other ways that you've been engaging your audience. And I'm wondering if you wanted to talk about those a little bit.

Mike:  What I do is write the show and put it out and write the show and put it out and write the show and put it out. And so my level, like the relationship that I have with the fans, is a lot of it, just putting out the show like a clockwork forum every Sunday night, so that every Monday, a lot of them will get up on Monday morning and see what they listen to on their commute. And so when I go away for a week, if I have to take a week off, or like right now I'm on hiatus, I get these great tongue-in-cheek emails from people that are like, you bastard, I got up this morning, I did not have an episode to listen to you suck it back to work. Like I just had another baby, I need to take care of the baby. So a lot of it is that I'm a podcaster who somehow made a living in whatever new digital media. I've never been particularly great at social media, like social networking. I mean, I've just now gotten on to Twitter. So my interaction with the audience has primarily been emails, some comments, and then just me putting up a show for him every week so that I'm always there. I'm just a part of the routine of people's lives. That's where I want to be anyway.

Tracy: And how do you think I mean, you kind of joked before, when we first contacted you about it, you didn't intentionally design this as your lifestyle at all. How do you think that happened, that you're able to do this, because so many people out there are starting podcasts, and they're hoping to be able to sustain themselves in some way or supplement their income? What are some of the things that you think you were able to do successfully to make that happen?

Mike: Well, I think part of what I just said, is a part of it. When I started back in 2007, I had two basic ideas that I was just going to cling to. One of them was I was going to put the show out on time, like whatever. And I said Sunday nights, that's when the show goes out every week. And I hit that deadline. Because so many podcasts and this is true. Even today, it happened back then and it happens all the time, where people start with, oh, this episode was late, or I got distracted. And so I didn't have time to put this one out on time. And I think that makes it difficult to build a really regular following a really regular fan base. I think the really successful shows do operate on a kind of a professional basis in that way. Like you don't have network TV shows come out and say, Oh, we didn't do a show this week, how we're gonna run an infomercial, instead of like the latest episode of Game of Thrones, they don't do that. So that was one thing that I really wanted to focus on was just hitting my deadline being there. So like I say, I become a part of people's routine. The other thing is, I don't mess around with anything. But content, right? It's an intro to the show, like intro music. And then I just start talking about whatever this week's topic is. I don't like to mess around a lot with talking around the show or talking meta stuff about this. I like to do interviews like this, so that I can actually talk about the meta stuff because I don't talk about it on the show at all. It's just Intro music. Here's this week's show. Outro music. That's it. And I think people appreciate that. I've gotten a lot of good feedback at the beginning, which is like, I really like it. You just go right in for it. You know, there's no sort of chit chatting around at the beginning of the show.

Tracy: We don't do chit chat. We just got into the interview. We do chat at the end. 

Mike: The end is a good time to chit chat. And I do listen to a lot of podcasts. And there is a lot, you know, the first five minutes, I just feel like, hey, you should just cut that right out. And yeah, get cut to the chase.

Chris: Mike, where's it going for you? Where do you want to take it? 

Mike:  Well, just a couple weeks ago, I signed a book deal with the public affairs press to write a book about the Roman history about the beginning of the end of the Roman Republic. That's about to fulfill a lifelong dream of mine, which is to write a book. That's something I've always wanted to do. From the time I was a little kid. So it looks like it's finally going to happen. So yeah, right book. I'm hoping that the book is successful. I can write another book. I want to keep podcasting. I want to keep doing it. I've listened to or said we're going to go back to Rome in the fall of 2016. We're going to go on a trip to Italy, and then another trip to Spain. So I just want to keep doing those because those two words are the most compressed fun that I think I've ever had. Because it's usually really smart, really nice funny people who are really passionate about history. And then we just go around and nerd out on the stuff that we all share a deep passion for because otherwise, you wouldn't be on the trip. So the tours are great. And then in the future, like, who knows, there are others, there's TV, there's just doing stuff like video-wise on the internet, I don't really know what the next step is. beyond that. And then after that, take over the world.

Tracy: Well, you'll have all the keys to the kingdom, because you have history as your guidebook?

Mike: Right. I can say, all my mistakes will be new, I'll make new mistakes, and will at least be making the same old mistakes that we always seem to keep making.

Chris: I just realized, I don't know that we've referenced the name of the podcast yet. I just want to make sure people know where to find your podcast and what its name is. 

Mike: Right now, I am Revolutions, revolutionspodcast.com. So I can be found on iTunes, Stitcher, any podcasting medium, I'm about to be on Google's, whatever they call it as soon as they launch it. So I'll be on. There'll be an android app that you can get it for. And then on the web, I am at revolutions.podcast.com.

Chris: Great, you talked about this starting as a hobby, and then ultimately, it transitioned and became a livelihood. Can you take us a little further into the history of Mike, around that time when a lot of what the premise of our show is about is designing the life you love, and people really struggle with where to start and then how to evolve? Can you take us into the context of your life when it was switching from a hobby to a much bigger thing? 

Mike: Yes. So I was working as a fishmonger. When I started the history of brown, I was cutting and selling fish at high-end retail supermarkets. And that's what I was doing for the majority of the show. When I started getting some ad revenue, I was able to cut back to part-time. And that was actually a really nice balance in my life. Because I was doing the fishmonger gig, which I kind of kept purposefully because it required no brainpower. I'm in my late 20s. At this point, I'm married, by the time that the show actually starts making a little bit of money. But I didn't really want to get into a job or a career that was going to take up a bunch of, for lack of a better word, my brain space, because my heart and my soul was at that point then completely in The History of Rome. So I would go to work for eight hours and cut fish and come home smelling like fish and go to work on the show. And then we moved I was living in Austin by then, I started the show in Portland, then we moved to Austin and then after The History of Rome, we moved up to Madison and part of the deal in moving to Madison was I was not going to look for a job, I was not going to work for any job, I was just going to try to make podcasting work full time. And it's been two years, I've managed to make it two years without falling on my face. So who knows what the future holds on that. But so far, it's going well enough that here I am, two years later, still just doing it full time.

Tracy: How did that feel? When you made that decision in the move? Like what were some of the emotional things that you were going through or questions you're having?

Mike: Sheer terror because we had Elliot, he had been born by that point, he was one. So I had a one-year-old, and we were moving to a completely new city. I was also transitioning from The History of Rome to Revolutions. And I think a lot of what made The History of Rome successful initially was that people are just interested in Roman history. So somebody who's interested in Roman history naturally goes online, they look for a podcast about Roman history, they find me because, for a long time, I was the only thing around when it came to Roman history podcasting.

Tracy: Well, and you're the biggest.

Mike:  Yeah, it's still a thing. You know, it's like when it comes to the world of Roman history podcasting? Yeah, The History of Rome is a big thing. So are people going to follow me over to Revolutions? I basically walked away from a fairly massive fan base and a fairly successful show, because the time had come to wrap it up, it felt like a good natural time to conclude the show when I did it. So I didn't know if people were gonna follow me two revolutions if it was going to be successful. You know, it wasn't how much if it was me how much of it was just a natural interest in Roman history? Am I going to be able to keep making an ad? Is there going to be ad revenue? Is podcasting even going to exist? Like, is it just going to fall apart? And instead, what happened is podcasting has become even more popular now than it's ever been? Whatever happened kicked it over into like a really mainstream awareness of what podcasting is that it really the medium really got a shot in the arm, which got helped me out a lot. Because I've been around for quite a while. So yeah, and I'm still terrified, right like, I'm terrified right now. How I'm going to keep it going, because it's not a job that has a steady paycheck or any kind of sort of promised security, it's just, am I going to be able to sell ads? Are people going to donate any kind of money? If I do a fundraiser is anybody going to want to buy what it is that I'm trying to sell to keep the show going? So it's just it's the life of, of any kind of person who's just an independent. I, technically, I guess I'm a small business owner now. But not, I don't feel that way. But any kind of just independent entrepreneur, it's, it's a lot of it is just sheer terror. And that's a great motivator. You probably know this, that fear is actually a fairly exceptional motivator.

Tracy: Yeah. I wondered, what are some things that you might do or put in place to help you deal with that terror? How do you feel that and do it anyway?

Mike: I focused on the work, I think if as long as I'm putting out the best product, the best show that I possibly can put out, there's really nothing else I can do. So I just focus entirely on making the show as good as I can possibly make it. And if it works, it's going to work. And if it doesn't, then it was never meant to, but at least it was the best that I could have possibly done with it. So that's where all the energy and focus goes, when I start to, you know, when I'm lying awake at night, like God, I hope this works. Usually, I'm pretty motivated the next day to like, really put out a good show this week.

Tracy: So you said that the book deal that you just got was about kind of the fall of Rome. And I thought that another piece of that was also looking at current history and drawing conclusions or making hypotheses about what's happening now. And I wondered if we could talk a little bit about that, like how history applies to the current political situation?

Mike: Yeah, I mean, it's a really dangerous game to get into any kind of like, serious, historical analogizing, because everything is different from everything else. But there are some parallels, there are things that you can look at. And if you're not studying history, try to learn something about the present, or I have this little formulation in my head where you study history, to make decisions in the present that will make the future a better place. Why else? Are we studying history? Otherwise, it's just an academic exercise with no real-world application. So I do think that their mining history and trying to figure out times when it was like this before, what happened? What are some of the things that went well? What are some of the things that went wrong? And then just try to do it a little better than they did it? I mean, why else are we in this game? So when I look at, say, Rome, in the United States, for Rome, and like the industrialized West, I don't think we're anywhere near the fall of the Roman Empire. But there are some things that are going on, at the beginning of the end of the Roman Republic. And so we're like, we're way before Caesar even, we're nowhere near Caesar. But there are things that are similar that we can look at, without being like, Oh, this is I get laid, it's not some Galeon thing where there's a force of history and like, it's we're literally in some science fiction universe, where history is repeating itself.

Tracy: One of the things that we do in the design process is to look at analogous industries' fear in healthcare, there was an example where they were looking to redesign the ER to be more efficient and save more lives. And so they went to see a NASCAR pit crew to watch how they handle high-pressure situations and get things done speedily. So I think, yeah, I totally understand that it's not the exact same. But I think, yeah, there's so much there to mine to help us make sense of what's happening today.

Mike:  Yeah, it's an entire civilization's worth of experience. So I do think that that's where you want to go, that's a really good example, right? Because then somebody would say, Oh, well, there's not a car involved. So how can they possibly be the same? Like, well, you know, step back a little bit, look at sort of the bigger chunks that are moving around. And yeah, go from there. So I'm, in part, yeah, writing a book about the beginning of the end of the Roman Republic, which is the period from about it's really after 146, after the final defeat of Carthage and the conquest of Greece, through the dictatorship of Sala. So again, we're in the generation or two before the actual fall of the Republic.

Tracy: And what are some of the lessons or things that you think that people could keep in mind today as they're trying to figure out the landscape of current political situations? In regards to Rome specifically, or just in general? I think just in general, just historically, is there anything to keep in mind?

Mike: I think that one thing to keep in mind always is the likelihood that what is happening right now has never happened before or somehow crazy different than some other thing that has happened in the past. That's probably not a trail. Like all that is old is new again. I think practically every single thing that we are hearing right now, like at this very moment, I mean, we're having a conversation right now about Syrian Refugees, and whether or not they can come into the United States, like, we have had this conversation before. We've had this conversation before, many, many times. And it's really super easy to go back and look at some of the things that we said, I go, Wow, why are we acting like this is somehow completely different than all the other times. And there were Jewish refugees trying to flee from Nazi Germany when there were Italians who were accused of being like radical unionists and anarchists. And we can't let them into the United States, because they're going to destroy our civilization. You can look at those times, and then look at today and be like, wow, maybe we should actually act on the fact that we know that this has happened before, rather than trying to pretend like this is somehow new when you need and oh, my God, this is unlike anything that's ever happened before. It's like now. Now it's happened before?

Tracy: That makes me wonder, shouldn't there be more of a role for historians in the political landscape?

Mike: Yes, absolutely. I agree.

Chris: And the design landscape, Tracy, I was just thinking, as you pointed out to analogous industries is, what a great source of inspiration for anyone, including a startup to say, let's look back in time, who's had a similar challenge to this before? What are they trying? What can we learn from analogous parts of history in another place? It's just a fuel cell of amazing inspiration and content and watch-outs. And like you're saying the context always changes. And it's definitely not the same situation. But you can certainly glean a ton of insight from it.

Mike: Yeah, it's never the same. And so it's always really easy to say, oh, no, but this time, it's different. But yeah, like you just step back, look at the larger pieces in play, and things will fall into place a little bit. And yeah, and if we're not using our own history to try to guide our actions, then we're just this disconnected bubble floating around. Right? That seems very silly to me.

Chris: As a modern historian, when does history start? In your mindset is, when's the starting point of looking back? Is it yesterday? Is that the 70s? Why? When do you say like, Okay, this is where my time starts in terms of looking back?

Mike: Well, I have a very large timeline that I work off of, which is one of the reasons why if somebody tells me like, Oh, that was 50 years ago, you know, people need to get over that or that's 50 years ago, that was ancient history. Like, no, no, that was a week ago, last Tuesday, in the grand scale of things. The project, the civilization that we're living in right now. I mean, it goes back to settled agriculture. However, many 10,000 15,000 years ago, that was Scott can tell me, because I hate what is theirs, I stopped studying it. But yeah, it goes back to settled agriculture. And then before that, so much of this is just Pac, mammalian politics that probably can find its roots in the jungles of Africa, when, before we even become bipedal. Like there's probably huge chunks of our behavior right now that can be gleaned from just looking at primate behavior. It all seems very similar to me, I think that explains trout 90% of what we're up to, is just primate pack behavior. So it goes back to basically the origins of life. It would be my answer. That's what history goes back to.

Tracy: So that's like, around the 70s.

Mike: Yeah, around the 70s. 

Chris: And my question is, up until when? So when do you become either a little bit more disinterested?

Mike: So when does something happen when we are far enough away from it? Okay, so there's a great quote from Mao, I think, somebody asked him, what was the impact of the French Revolution? And he said it's too soon to tell. So what is history? Right now, kind of pre World War Two seems like you're moving into a very historical time period, as opposed to like, more current events style. And then the other probably big breaking point that we'll see eventually will be like the end of the Cold War, that'll probably be the next sort of, as we look back the next day, there probably is like a closed historical circuit between the end of World War Two and the collapse of communism in the early 90s. And the further on we get, we'll start marking the early 90s. The 90s are going to be like this weird interregnum between the fall of the Berlin Wall, and at least in America, 911 that will open up a new epoch, probably historically, once we start drawing these lines. But we won't actually be able to draw those lines for probably 100 years. But that's my guess that's when it'll happen.

Chris: When in all of your readings, do you ever see yourself in it? Like if you could put yourself back into any point in history? Is there a place where you'd say, Oh, I would love to live at this time in this place with this going on?

Mike:  It's a pretty brutal, smelly, disease-ridden world humans lived in for a really really long time. I think what we have is pretty good right now. We're living better than and like any Emperor ever lived. We have all human knowledge in our pockets at all times, like this is insane. You know, like in the Roman Empire, the golden age of the anti-Knights was really great. But most of those people were just hardscrabble peasants farming, dying of childhood illnesses. The past is not a particularly pleasant place to write. 

Chris: Yeah, you make me smile. When I think about things like the trend of the Paleo diet, for example, it's like no, actually, you're not eating the way that people ate in that era, you're just kind of convincing yourself that you are. So you must get a laugh out of some of these historical references as well but just have no relevant context. 

Mike: Yep.

Tracy: Cool. Is there anything, any last thoughts that you'd like to leave our audience with? Or anything that we didn't ask you that you expected of us?

Mike: Oh, probably. I plugged the book, right?

Tracy: Yeah, plug it again. 

Mike:  As long as I plug the book. The book is going to be called The Storm Before The Storm, the beginning of the end of the Roman Republic, then in about three weeks, or I don't know when the show is going to post but I'll say December the sixth, I will come back and start doing the Haitian Revolution, which the Haitian Revolution is one of the greatest stories that people have never heard, like, nobody knows the actual, like the process of what happened in Haiti. We're not aware of it at all. Some of it is probably purposefully that we sort of, for a long time, just ignored what was going on down there. But we've been talking about reading history, and then looking at current events, reading through the history of the Haitian Revolution, and then turning around and reading about contemporary American politics, like, man, we are locked in to a series of decisions that were made in the 1700s, that has really affected all of how our society has stratified itself in the last 200, 250 years. These were actual choices that people made. And so I'm gonna talk a lot about that European colonial policy in the new world, and then especially in Haiti, created the framework within which we live today. And so this is one of those things people say, Oh, well, you know, why haven't we just gotten over it yet? Because we really rigidly rocked ourselves into it. And it's really difficult to untangle ourselves from it. So come back, we'll talk about Haiti. It'll be a great story. 

Tracy: See, you just made history sound super exciting to me. 

Mike: I can promise there, I would not have wanted to live through the Haitian Revolution.

Chris: Mike, thanks so much. This is really fascinating. And I can't wait to drive the listeners, including myself to your podcast to check it out. And just have a new way of thinking about history in a way that's much more story-centric and exciting.

Tracy: And I'll be seeing you on the next History of Rome tour. 

Mike: Yeah, come to Spain. 

Tracy: Sounds good.

That was awesome. I knew that he was really successful and all that he's done with his podcasting work. And I was really curious to hear how he approaches it, both as a lifestyle, but also just how he designs the past for people.

Chris:  Yeah, I think it's so new and fresh to just hear, it sounds like a contradiction, but just to think about how a new and fresh approach to history, and how so many people are turned on to it. I hadn't thought about it for a long time. But the way that we deliver history is broken. And so it reminds me of Khan Academy are these new ways of introducing material that's a lot more compelling to different learning styles. And the fact that he brings the story in a compelling way with a lot of passion as well, you can just hear it is really new and different and fresh. It's also cool to hear that that's happening on a very modern platform, you know, known as podcasting. It's like blending the very old with the very new.

Tracy: Yeah, I know, I was thinking, I mean, for schools where you do have that dispassionate history teacher, would it just be better to have some curated podcasts to do that storytelling. I mean, the one thing I was really interested in was the fact that his teacher didn't have all these hands-on activities, or building things or time traveling back, it was just simple storytelling. And the power of that is amazing to me.

Chris: And I also appreciated his point of view on that classic, you know, don't let history repeat itself is that the context is always going to be different. But you can glean some insight from the past. That's really helpful. Yeah.

Tracy: And I think that actually matches what Kyra Bobinet was talking about in one of our previous episodes about how you design for this thing for groups of people, and it's really it's about the individual designing the best thing for themselves. And your point about looking to the past as analogous examples to design against I think we tend to focus on recency and don't understand or take advantage of all of the knowledge that we have from the past. And that each one sort of lends itself to this new context. Like you can look at that and apply it in a new context.

Chris: Yeah, and just looking at how other people, we talk a lot about constraints, their constraints for people's individualized design, like time and energy and family responsibilities and career and money. And but when I look back and say, well, let's look at someone who had a design breakthrough, where they had even less time, even less money, even fewer resources, and use that as fodder for both personal inspiration, but whatever it might be a startup idea, or a business idea, or just innovation in general. Yeah. So I think that's really fascinating. I also just love there's certainly a bunch of patterns emerging around people moving from hobby to suddenly this becoming their full-time scenarios, such as Andy with the Martian, and even Kyra and her shift and what she went through and man, Jessica, and Aaron, even Aaron, just kind of going into the bandwidth just embarking on it. So I think what's interesting about that is no matter who we talk to, no one ever says, it didn't cause me any emotional strife, there's always fear. And the fact that he talks about that fear being there even now is interesting, or as he wonders what the future of podcasting is, and he's not on stable ground. And I think that despite the fact that from the outside, it looks like he's on incredibly stable ground. So I think that people having comfort with that fear, that's just sort of always gonna be there seems to be a big takeaway, and to lower the bar is to just do it in a smaller way. So his idea of what we can learn from is sending the podcast out Sunday night, no matter what, I love that this is like a guiding principle that kept him chipping away at this thing.

Tracy: I know, you're right. We haven't created a regular schedule yet. But when he said, not putting out the Game of Thrones on time, I had a very visceral experience. I was like, no, that is not acceptable.

Chris: Or, like, you know, the evening news comes out and Anderson Cooper just says, like, you know, we just didn't get it done.

Tracy: We're still working on it. Well, that was another amazing, insightful episode, where I just, I feel like we're meeting so many amazing people, that the thread that runs through all of them is that they're doing things that they love, and designing their lives to be what they want it to be intentionally, sometimes not always, but that we can learn so many lessons from them. But I love that they're all in such different industries and have such different interests.

Chris: I agree. And I'm also impressed by the backgrounds of people that we know. And we didn't go into much detail, but you're, I'm just picturing you and Mike and Scott walking around and just did to history, some of the best in their field just absolutely geeking out as you're wandering down the streets with them. Super fun.

Tracy: That was kind of how it was, it was more than I mean, there were probably about 15 to 20 people on that trip. And so I had always wanted Scott and me to go to Italy together because I'd spent a summer there when I was younger in college learning Italian and so I thought, oh, it'd be so romantic to go with my husband. And yeah, I was like, just looking around buying gelato, I think I brought my camera so that I could focus on taking pictures to engage while they were talking to deep, deep history. It was still a wonderful trip. Totally glad that I did it. But yeah, they're just there on a different level.

Chris:  Which is somebody who's a black belt, you're like you can't go in and say something like, can you tell me the history of the Colosseum, they all just roll their eyes like, really?

Tracy: I like thinking of them as historical black belts. That's about right. All right, that's a wrap! Thanks so much for listening. Our dream is to build a community of people who can create and take advantage of any opportunity that interests them. To do this really well, we'd love for you to participate. Try out and share back your own life design experiments. Or if you've already got a great story of how you've designed your life, we'd love to hear from you on our Facebook page, or resultsmayvarypodcast.com. Our website is also where you'll find show notes and links to all the things we mentioned in the episode. And if you wouldn't be so kind, subscribe to the show, and share your favorite episodes with friends. that'll let even more people start designing their own lives. A big thanks to the folks who helped us make the show possible. Composer and filmmaker HP Mendoza for the results may vary theme music, graphic designer Annessa Braymer for our logo, David Glazier for sound mixing, and team podcast for editing. And of course, thank you so much for listening to Results May Vary.



RMV 9 Steve Almond Transcript: You Can Design Your Creative Practice

Full transcription:

Tracy: Hi, and welcome back to episode nine of Results May Vary. In our last episode, we spoke with psychiatrist Dr. Ellen Vora about designing mental health. Her preference is not to prescribe drugs if possible, but rather to design solutions based on the root causes for each individual she cares for. Today, we talk to New York Times Bestselling Author Steve Almond about how you can design your creative practice. A former newspaper reporter and the author of Candy Freak and My Life and Heavy Metal. Steve's latest book Against Football: One Fan’s Reluctant Manifesto details why after 40 years as a fan, he can no longer watch the game he loves. In addition to writing thoughtful and often hilarious commentary for the New York Times Magazine and the Boston Globe, Steve Almond is also the more baritone half of the popular and profound Dear Sugar Podcast with Cheryl Strayed.

Well, thank you so much for agreeing to do this. For people who may not know who you are, do you want to just give an overview of what you do, what you've been up to, and what's exciting to you right now? 

Steve: Sure, yeah. Well, I'm a writer and teacher, I guess. Let's see, I started out as a journalist for a daily newspaper. And then I went to a weekly newspaper. And at a certain point in my late 20s, I guess, started reading much more for pleasure and in a way that made me realize that I was not living, I guess, is examined to life as I could, that I've wanted to try to write things that were more about the insides of people rather than just journalism, even though I really liked journalism. And the journalism I was doing was interesting. I was asking the wrong questions. It was a kind of investigative journalism that was about nailing people. And I was more interested in why people would suddenly do self-destructive things, for instance, or what was happening, the internal questions or the why questions? Why do people get themselves into these dilemmas? What in the human arrangement causes people to not get what they want, or when they get what they want, they do not want it anymore. All that stuff, I guess I just realized I needed to do something, and wound up taking a number of steps to get more serious about creative writing, including auditing a bunch of classes and eventually getting an MFA. And then I moved up to Boston, where I live outside Boston, and just have been essentially writing for the last 15 or more than 15 years, and have published a bunch of books, some fiction books, some nonfiction books, and do a fair amount of freelance journalism, and teaching and management consulting and stuff, basically, to try to support the bad habit that writing is.

Tracy: Yeah, it seems like writing doesn't pay enough on its own, almost certainly support one person, let alone a family.

Steve:  Yeah, that's the catch. I mean, I talk a lot with people and move through a world in which people are going in search of themselves in many ways. And usually, for the people I know, it's through writing. And I think that in and of itself is a beautiful, unnecessary thing for people, they, they want to be precise about their lives and understand what they're up to, and commemorate that whether it's in fiction, or nonfiction or poetry, somehow use the language to try to get a grip on them their lives and their internal lives, and maybe understand the world a little better. But that's very different from trying to support yourself, and for me, support a family. And so then you really do have to start to design you know, be conscious of, okay, how am I gonna make this work time really is in a very basic way, it's money. And you can sort of indulge in the fantasy that you'll just get up at four in the morning and do your writing and then go to your job and everything. But I think for me, anyway, I can't do that. And so I've had to think very carefully about over the years, you know, sort of how do I make writing sustainable? How do I do that in a way that allows me to uncouple creative work artistic creation, from financial expectation and that takes some doing, I'll say.

Tracy: Yeah, I was wondering, well, there are two things when you first made that leap from being a journalist to recognizing that you had some other thing that you wanted to say. Was there a specific instance that happened that allowed you to see that? And then also, what were the specific steps besides auditing classes that you took to get there?

Steve: Well, I mean, it's a great question. And there's sort of the larger emotional and psychological turn, which is, John Prine says, you know, your heart gets bored with your mind, and it changes you. And that's sort of what was happening. I had gone into journalism because I think I was not from a family, I was from a family that was sufficiently ambitious, but also, you know, sort of concerned about having a good job and being able to support yourself. And you know, that kind of thing. There weren't any artists in my family. So I didn't have a concept that you could just do creative writing. In college, I didn't do creative writing, I worked for the newspaper. And I didn't even take any creative writing classes. There were certainly students at the school I went to that were identified as creative writing students, and that was their thing. I was not one of them. And so it took me really, I was sort of stumbling towards it, I think people oftentimes get into this pattern where they don't necessarily go into the thing that they really want to do, they sort of move into an ancillary field or something that sort of, you know, in the same neighborhood. So for me, what happened is me, I can remember being in El Paso, Texas, where I worked as a reporter, and I was always thinking, oh, I'm going to end up like, the goal is to end up with the New York Times that would sort of make my Jewish mother happy and that would fulfill her concerns about me making something of myself. So that was what I was thinking all throughout my college years and post-college years. How do I get to the New York Times? How do I do that? But interestingly, along the way, there were a number of turns that I took that were sort of against that model. And I can give you a very clear example. And that speaks to this idea that there is this invisible hand of art, that's sort of what your gut that says, No, you should be doing this, even if it's against the preconceived plan that you have for your life, which is usually something that's imposed by family, by cultural pressures, by your own anxieties, whatever it is. So I was working in El Paso, I got this job, and I'll pass it but I really had applied to all these better newspapers, frankly, more highly respected newspapers and none of them would hire me. But there was one in Quincy, Massachusetts, that I really wanted to get a job there because I knew it was a feeder paper, what they call a feeder paper to the Philadelphia Inquirer, the Boston Globe papers that would lead much more directly to getting a job in New York Times and I remember interviewing and sort of hoping that I would get this job and I didn't get the job. I met an editor who seemed simpatico and a couple of weeks after I took this job in El Paso, which was a very amazing, totally weird place to move to. I'd never lived in Texas, I didn't certainly never lived in El Paso, which is on the border with Mexico. And you know, it was just a place that was extraordinarily exciting, but it was completely off my map. And I remember driving into El Paso, from California, did it all in one day. And I was already sort of loopy, driving down the highway at night. This is maybe 18 hours into this journey and there's this sign, you know, one of these green signs that say El Paso, 11 miles and underneath that it says San Antonio, 592 miles. I thought, holy crap, that's where I am. The next big city is 590 miles away. So it was just a very odd place. And I got this job. I was like the rock critic, and it was terra incognita for me. I was like a white suburban kid, who was sort of very conventional in my thinking, I didn't really have a good grasp on what real poverty is like. And it was very odd and disorienting to be in a place like El Paso where you're essentially right up against Mexico and you realize, oh, I can get up in the morning and walk onto my balcony and look across the border at Mexico and everything there as 10 times the material power that I have. I can remember when I left El Paso was not for a daily paper that what I should have done is gone to a big daily paper like the Dallas Morning News. Well, USA Today. That's where I'm the guy who I'd replaced in El Paso and he was considered a huge success like, wow, you made it to the big national paper. Sure, it looks like a TV that's just been printed on the but you know, business card. He's flying around interviewing Eric Clapton, it's very exciting stuff. And I ended up going to a weekly paper that didn't cost anything. They did pay their staff writers, but it was a very unusual choice and I remember that people, if the daily paper were like, what are you doing? This young reporter you know, you've got some chops, you're really good at writing clever rock and roll reviews, why don't you try to get a job at the Dallas Morning News or USA Today or something. But I remember why I took that job in Miami in that weekly paper. And it's because I met an editor. He is a really thoughtful guy, who I was just immediately aware was going to be important to me, we're on the same wavelength. I don't know. It's like an anxious Jewish depressed guy or something. But it was also that as they came to find out only a couple years later, he had done an MFA, he had a literary background. And the first story I ever did for him was the story about the women who are hired by Dade County, the animal control, people who pick up dead animals they drive around are these two beautiful young women who dressed in like these beautiful after they looked like they should have been aerobics instructors. But their job was to drive around and pick up all the roadkill off the roads of Dade County. And it was this amazing thing where I didn't have to write a story that had any hook. It was really a character study. And I gave the story to this friend of mine, Tom, the editor, and he really liked it. And he got that he immediately recognized, okay, this guy's trying to do something. And I guess the point I would make is that I had to make a bunch of decisions that were a little bit unconventional, that went against sort of the path of least resistance to get myself to the New York Times. And each time I did that people around me were saying that's probably a mistake. But inside me, I was saying no, I don't think so I think this is what I'm supposed to be doing.

Tracy: Yeah, I mean, maybe today, everybody wants to be a writer and there are certain steps that you can take, and certainly the internet helps. But I feel like part of what we talked about in any pursuit that you have, whether it's creative or professional is really just exposing yourself and immersing yourself in what's out there. what's possible. And so I would imagine that there are people today who have this burning inside of them to express themselves creatively, but haven't had the exposure to the right switches to flip that on inside of them to be able to move forward and do it.

Steve: Yeah, I think that probably describes most folks. I mean, I think what's happened is that in a larger sense, people have gone from lives in which creative endeavor was a natural part of what they did to lives in which you're just really trying to make money to support the buying of products that usually put you in a very passive mode. And so what I mean is that specifically, and again, I don't mean to romanticize what it was like to live in the era of cholera, and without penicillin, and were whole huge segments of the American population were either indentured disenfranchised or literally human possessions. I'm not trying to romanticize the past. But I do think that one thing that is happening increasingly, is that capitalism has gone so crazy. And it has become so effective at enabling people to distract themselves, that there is this sort of huge yawning chasm where people need to find meaning in the world. And traditionally, that was because people played more music, and they whittled, and they tended gardens, and they built things themselves. And they repaired things themselves, and they cooked meals, and they had built religious communities and all of these kinds of basic things that we just don't do as much anymore. That, you know, they're not like writing the great American novel but making the stuff that you need in your life, all that stuff is created. And I think there was a time when people just did that more naturally because there wasn't TV or an iPhone, or whatever it is, that puts us in the mode of being in front of screens, passively consuming entertainment, I think that's mostly we're participating in conversations that can be funny and entertaining, and maybe even enriching in certain ways, but aren't the same as the kind of sustained attention that you give to a creative endeavor. So I think people are desperate for that. And it makes sense because it doesn't matter how much stuff you buy, or how many things you consume. That's not the same as creating yourself.

Tracy: Absolutely I mean, even in my past, like I knew I wanted to be a writer from the time I was in second grade. But as I got older, I realized I didn't want to be poor. And so instead of becoming a creative writer, I became an advertising copywriter. And then after 10 years of knowing that that wasn't really what I wanted to do, I told my boss I was leaving to become an author. And then I found this amazing job at IDEO, which was different enough in skillset to be interesting but similar enough that I could make that leap. And then I worked there for seven years. And then finally, just in February, I realized, like, I have the security that I always felt like I needed to be able to take the leap to do the thing I always really wanted to do. But the funny thing is, after leaving, I had this period of freaking out about what I do, and I have no income. And so I started to take on all of these projects that left me no time to do the creative pursuits that I'd left for. And so now I'm back in the state of rebalancing.

Steve: Yeah, it's tough because my wife and I struggle with this all the time and think about it all the time, as much as it can be exciting. And people say, oh, I'm going to write that novel, I'm going to become a chef, I'm going to do this. And it's a lot of hard work. And it's frightening because you're undertaking something that you don't know that you'll be good at, or good enough at, or good enough at two, you could be great at it and still not be lucky. And in other words, art is something that there's no guarantee that you'll be able to muster what you need to muster in the way of dedication and talent with the language and allowing yourself to disclose things or get into scary parts of your internal life that are usually what you need to do in order to produce good stuff. So there's a lot of things inside everybody that you might be saying, on the conscious level, I want to do this, but gives you a lot of eggs, to be good at something. And to know that you have a mastery of it, I spend a lot of time doing things that I already know how to do, because it makes me feel okay for a short period of time. And when I undertake writing a novel or working on a short story or a big difficult nonfiction project, I don't always know it's going to be successful. And oftentimes, it isn't successful. And that plunges me into a certain kind of desperation and depression. And that's no fun, given a choice between that and doing something that I know how to do, and somebody is going to pay me and that's a big temptation. And what you're describing is what people do all the time, partly because in the end, that's really what they want. I mean, it's an odd thing. But I think more and more people can say that they want this thing. But really, their behaviors are what are really saying what they want to do. And oftentimes, it's very difficult, as you're discovering, and as I am constantly discovering, it's very difficult to go for the thing. That's the hardest and the most nebulous because it's lonely to write. And I find it anyway, very doubt provoking, and I never quite feel like I've got a sound footing. I don't know whether I'm making the right decisions. And I don't know whether it's very easy for feelings of hopelessness to kind of creep in there. And if not hopeless, then real doubt. And then it's the first thing I want to do is do something that I know I'm good at, again, whether it's teaching, or working on freelance journalism that will make some money, it's things like that. So that struggle is it's really perpetual, inside of anybody who's kind of involved in creative work. Because the thing is that the work you were doing, undoubtedly, at IDEO, and even as an advertising copywriter, that's creative work. It's got a very clear ulterior motive, but it's still creative work and you're recognized for it, and you have a certain mastery at it. And it's very difficult for people to walk away from that into their own doubt into their own uncertainty into an endeavor where there's really no guarantee that you're going to do the right thing that you dream of writing. I mean, hopefully, will, but I haven't yet. I've been at it for a while.

Tracy: Yeah. So you'd mentioned earlier about how you've sort of been able to create that balance. Am I right in guessing that it's the teaching and the journalism that sort of sustains your ability to then have time to do the creative writing pursuits?

Steve: Yeah. Oh, absolutely. That's how it goes. I mean, there are some writers, and Cheryl Strayed, our friend is a great example. Maybe Pam Houston is to some extent, you know, I know some other writers who are so good at what they do, and their stories and essays and things are so deeply compelling that they just can support their creative work with their creative work. But for most other artists of any sort, in any time in history, you require a patron, you need a patron, sometimes their patrons are ad agencies, sometimes it's a law firm, sometimes insurance companies, sometimes it's the king or monarch, or, you know, wealthy. For me, it's various newspapers and universities, primarily for writers, it's universities, and the academy. And that's actually the natural course of things that if you don't want to live a very bare-bones life, that you're probably going to have to try to find some patron who will support the creative work, at least initially. And I think that's fine. I think that's sort of the way it goes. I think people who take a little bit longer and have the wisdom to, or at least just wind up getting very good at something that's profitable, are in great shape. I always say to younger people who are thinking of going into the arts, well think about what skills and talents you have, that will allow you to support the life of making art because especially literary art, you know, we're not talking about TV and movies, literary art is existing on the fringe of the culture. And it is not a going concern, you might say. And so the question then becomes, okay, well, if I want to by myself, three or four hours every day, or 20 hours a week, or 30 hours a week or a summer to just work on the creative stuff, not worrying about whether it's going to make money, but worrying about whether it's telling the truth and telling a good story, then how do I make that work. And I also think that people need to be very honest about what their needs are like you said, I don't want to be poor, I don't want to have to struggle in that way. Well, good. Don't lie to yourself about that, know that there's something in financial security that's important to you. And it's elemental to you. Because if you don't do that, then you wind up being in such a state of anxiety and insecurity and unhappiness about that, that you can't give yourself over to the work to the state that you have to be in to produce successful work, which is not worrying about where your next meal is coming from, or having to live in some apartment with a bunch of roommates who drive you crazy, but is worrying about your characters that you're writing about. And that's where you need to be able to go. So I think people oftentimes will sort of have a vague sense, or think, well, it's the artist’s life. And so I should be suffering, and I should be drinking too much. And I shouldn't be not getting enough sleep or whatever. And I'm always like, yeah, that's not actually really how it works. The Myth of the suffering artist is pretty insidious. And you need to be the boss of your own existence, especially if you're an artist and figure out what your material needs are, what your financial responsibilities are, what your emotional psychological responsibilities are, to family, to aging parents, to your friends, to whoever it is, that's important to you. And make sure that you are organized about how you kind of budget, your time and energy, and your attention, and put the writing where it needs to go with it needs to go first and put it first then there's the rest of your life also.

Tracy: Can you give an example of how you sort of organized your own life? Like, do you have set a few months that you do or how do you actually tactically go through it yourself? 

Steve: Well, I think I would be a much more productive writer if I had a better plan. That's the idea. Anyway, I mean, certainly, the idea before I got married and had three kids. What I did was I just did as much writing as I could, and I always wrote in the mornings. So that's, I think the first thing people should do is do that big self-inventory. And at the beginning of it should be when do I work best? Like what literally, what time of day? Do I work the best and under what circumstances? You know, a busy coffee shop or on my own? Do I need a room of my own? You know, should there be music playing? Should I be drinking coffee? Should I be having a glass of wine? What brings in me the best work out? And then to try to say okay, if I know that I'm really a night owl and that I'm the sharpest and most creative between the hours of 11 pm and 3 am, then how do I design the rest of my life so that five or six or seven days a week I have that time to write? That's not always possible. But that's the ideal, I think, is to say, when do I do the best creative work? How do I structure everything else around that? And it means sacrificing certain things, potentially, you know, a professor of mine in grad school had to get up every morning at four to write because that was the time that he had to write. And I remember, you know, him telling us this, and it was this real revelation of like, Oh, my gracious, it's like that. And, oh, I'm gonna have to get up at four in the morning. Well, that was just his life at that particular either in a moment. But it's also a pretty good example of the way in which you have to put the creative endeavor first, and then try to structure everything else around it for me, I've tried to clear my schedule, to the extent that I can, you know, between eight and 12 when I feel like the most alert and awake and I talked about that with my wife, we're all the time engaged in the conversation about who's going to get what time and when and to what extent we need to go away and go on retreats and get time just on our own where that's all we're doing. And it's really a struggle and for people who have kids and you know, family, it becomes a huge struggle because my kids don't care what I'm working on. They care that I'm present and you know, available to them and emotionally awake when they're around and paying attention. So in a sense, all of this has a big asterisk. I think when you realize you're not just a writer, you all the other things that you are and all the people who depend on you, whether that's an employee or a parent, or a daughter, or good friend, or a lover, all that stuff, those are real responsibilities. And the best you can do is to try to communicate effectively with the people who depend on you and whom you depend, and say, Look, I need this for my soul, I need to be doing this work. And so I need to let you know that I'm kind of restructuring things so that they're not just caught unawares, by that, and also so that they can support you and understand what you're up to.

Tracy: Absolutely. So I want to sort of shift the conversation. Now, if you don't mind. I'd mentioned when I emailed you, in the workshop that you'd hosted in Palo Alto, you brought up Candy Freak, and sort of the process of you getting to write that book was being in a state of depression. And that's something that I'd mentioned, you know, my family has been through, my brother committed suicide when he was 23. My mom is in this really deep depression right now. I've suffered from depression. And I'm struggling, because my mom lives in Ohio, my parents live in Ohio, and I live in California, I'm the only child left to deal with things and I have no idea how to help my mom, even if it wasn't from a distance, and even knowing what depression feels like. And so what was really powerful about the story that you shared about candy freak was sort of you talked about asking yourself in the depths of depression, what it was that made you happy? And then you sort of followed that that seemed like this thin, little light that was creaking through a crack in the door. And you were able to follow that to find some healing. And I wonder if we could talk a little bit about that?

Steve: Well, yeah, I mean, I think that's exactly what it was, like, in the sense that that book is, I think some people find it to be, you know, I mean, it's funny, or they think it's funny anyway, and it's intended, I mean, I use the comic impulse to try to contend with how upset I am about whatever it is in life. But I think the thing that was clear was, I was just quite disappointed in myself, very down on myself, you know, just that place you get to where you really, it's just dark, and you don't see a lot of ways out. And I knew that I needed to, I think what I did was not just realized that like, I love candy, but also, I gotta get out of my house, I got to go get out into the world. And I, fortunately, this is where I really relied on having been a journalist, and realizing like, okay, sometimes when you're really depressed, it has this centrifugal force to it, and you can get sucked inside your own sorrow. And you cannot see the world outside. And I think part of what I was doing, was realizing like, wait a second, I want to get out into the world. And once I visited, I basically gave myself where I got this assignment to go visit the Necco Wafer Factory and go see candy production up close. And I was immediately for the first time and, you know, really months, totally captivated and totally taken away from my own unhappiness and self-hatred. And the moment I left the factory, I was still kind of buzzing, but then it kind of came back. And I would be in my apartment sort of simmering away. And I realized, look, this is the only thing I'm excited about. Let me figure out how to go visit more candy factories, and it wasn't so I could write a great book, it will be a seller and people will read it was just like, let me figure out the thing that I can do right now that will take me away from this pain, and this solipsistic, self-destructive spiral that I was in. And interestingly, I mean, when people talk with me about, like, I was just talking with my wife about this, you know, she was remembering how depressed I was in your shoes, like, yep, I remember that. When you're writing Candy Freak you were just so down in the dumps. It wasn't like I was skipping through, you know, with Willy Wonka just sort of skipping through these factories. I was really deeply unhappy. Whenever I wasn't in a chocolate factory. I mean, I like talking and being in that world. And I kind of had basically sort of used that. I don't want to say it was a crutch, but the fact that I was able to talk to other people who were really into this thing that I was into candy production was something that was sustaining, but the actual process of writing the book, I mean, I was so down on it, that I didn't even show it to anybody. I just put it in a drawer. I mean, it was a nutty thing I did. It was beneath my dignity, I was supposed to be writing a great novel and writing more short stories or whatever being a literary person when I took to be a literary person. And I guess the point I'm making is that sometimes you can be doing good, interesting, important work because you're pursuing what matters to you the most deeply the best you can. But you can't see that from within, from within, you're just saying, well, Jesus, that was a failure. And sometimes that's where you need good friends who are there to essentially say, Well, wait a second, you know, hold on a second, try steaming, what you're doing, the situation you're in is extraordinarily difficult one, because you love your parents, you have suffered the burden of knowing precisely what your mother's going through, and how painful it is, and how difficult to extricate herself. And also knowing that you can be supportive, but depression is a seal, it really seals the world from you. And yet, on the other side of that, it's harder to do, but you have to say, well, I've managed my depression, I managed to get this work that I wanted to get, and get very good at it in a way that allowed me to get some financial security. And I then managed to make an even more destabilizing decision to say I'm moving away from that place where I'm so esteemed and so rewarded materially, narcissistically, and otherwise, and try to do creative work. And now I'm trying as well as I can to attend to my parents and be loving and supportive to them, even though that's a difficult thing to do. That's pretty amazing work. But it doesn't feel like that I'm sure for you internally. And so you need people outside of yourself to say, whether it's a therapist or good friends or you know, loving family, who can kind of give you a reality check and say, Look, do the best you can you're doing the best you can, here's what you've done already. And if you haven't done the rest of it yet, try to be a little patient with yourself.

Tracy: You give the best advice.

Steve: I wasn't Cheryl Strayed but I do.

Tracy: Well, I was gonna say I mean, it's kind of no surprise to me, I actually didn't realize that you were connected to Dear Sugar because I had only read the book that Cheryl had put out. So when you guys started doing the podcast, yeah, it was surprising that there was a second sugar. And then when we went to SLN and had the writing workshop together, and I got a chance to sit in on your classes. I mean, you were actually the only teacher who gave feedback at the moment to people on their writing. And it was very specific and tactical, and not just on the literary aspects of the writing, but also sort of, from a therapy point of view. So I wonder, could you talk a little bit about how you got to this place where you're giving such great advice and feedback to people and kind of how the whole dear sugar thing came to happen for you.

Steve: I mean, look, I think, Dear Sugar the column, that's really Cheryl's literary achievement. And it's quite remarkable. And I couldn't do it, I don't think I certainly, my strategy was much more horsing around and so forth. But the seed for me of it was that people are in a lot of pain, and life is short, and you got, I don't know how many years 18 years, I guess if you're lucky, or 90, if you're lucky, in the last 10 are going to be probably going to be worrying a lot about your health and not feeling great. So you've got this limited window on Earth, to transmit love and compassion and to connect with people in a deeper way. And I'm ravenous to do that. And so when I get in a room with a bunch of people who are giving me the great gift of writing about what's really going on inside of them, and the things that they're most, that's really who they are, you better listen up and really, really, really be listening and thinking really, like locked on to what they're saying, like the Vulcan mind melt, because that's what they fucking showed up for, they didn't show up to get a pat on the head, or lecture about craft, they showed up because some part of them really needed somebody to listen. And to know that the language can be a path to being heard and perceived and understood. So that's my job. That's the job of a good teacher, and whatever you're teaching, but specifically with creative writing, or the way that I want to teach it, I know that people are going in search of themselves. I mean, it's heroic to me that people can come in, and when 20 minutes or 30 minutes probably write things that they haven't told people who they're very close to in their lives, you know, family and friends, that they can summon that kind of courage to really talk about what's going on inside of them and memories that there are still haunting them, whatever it is. And so my job is to really be listening carefully and thinking about some things that have to do with the language and how they're setting it down with the language, but mostly to be saying, that was true, and that was true, and that was true. And that was beautiful. How do you express that truth? And here's maybe a little moment where it was a little less true because I could feel you as a writer worrying about whether you were getting across. That's all I'm basically trying to do. But the hard work is what people are doing, which is being really kind of heart-wrenchingly honest about the stuff that they're struggling with.

Tracy: Yeah, I was really surprised when I went to the workshop, and Cheryl started off by saying, you know, at the end of this week, you guys are gonna have shared all of this truth and honesty and feel so connected to the group. And, you know, there's the part of me that's like, whatever it says that and there's this forced intimacy when you get together with groups. And I was just coming there to work on my novel. But what ended up happening was that all of the exercises were really about looking internally and sharing those truths. And, yeah, I wrote some stuff and read some stuff aloud that I never would have thought I would have put down on paper, let alone shared with other people.

Steve: Yeah, we tricked you. But you know, that's the trick that people need to have played on them if you know what I mean. Because otherwise, it's very tough to access that stuff. And it's painful to get into all that. But when that's and this is true of the letters that we get, you know, dear sugar, it's like people are really struggling. And when somebody tells you, here's what's really at the bottom of what I'm struggling with right now, like, what kind of person isn't going to really be there and be present in that moment, and give the best that they can give in terms of really thinking about it and reflecting on it. And mostly, they don't want advice. I mean, sometimes they want advice, but what they really want is permission to feel what they're feeling. And to know that they're not crazy, or nuts, or, you know, out of control or, and that's mostly what we do on the podcast is, in a world that sort of swirls with kind of human advertising. You know, Facebook, everybody's always sort of airbrushing their existence, and cracking wise and being witty, and so forth. And that's all like, you know, okay, that's part of what human beings do too. But at the bottom of it, they're really people who are really struggling with stuff and unable to work through it. And, and that's a real, and I think Cheryl feels the same way, we're both kind of junkies in a way, we really want that kind of truth and intimacy with people. And even if we never get to meet them to hear their stories, it's like, as profound as if we could probably, you know, live with them for 10 years. And we wouldn't necessarily get as deep and searing and sink a picture of what's going on as we do and in some of those letters. So for me, it's like a real honor to be able to set my mind to somebody writing, whether it's in the form of a letter, or you know, if I'm consulted, doing a manuscript consultation, or just listening to what people generate in 25 minutes when they're not worrying about being a writer and just talking about things that are still with them. So that's the part of my job other than the writing, that I think I get the most pleasure out of.

Tracy: Are there some things that you see as patterns kind of coming up in the form of the advice that you're giving, are there some principles in life that you would issue for us to people?

Steve: God, you know, the only thing tarde, I mean, I think that the central thing is that if you are struggling with something, the best you can do is to try to find compassionate counsel and not bottle it up, or, you know, press it down. And then I think it's also very difficult to sometimes and you know, this, if you've suffered from depression, it's very difficult sometimes to realize that things change, and you change, and it's not permanent, the way that sometimes I've been recently waking up with a lot of dread and anxiety and whatever. And when you're in one of those moments, it just feels like it's going to go on forever. And you have to kind of remind yourself, okay, this is tough at this moment, but it's not going to be like this forever. I think the other thing is that it doesn't help to say to people, but there's so much joy to take in life because really, that's in its own way kind of a guilt trip. You know, it's like, wait, why aren't you happier? It's what, you know, the central thing that people need to hear and that I need to hear when I'm in these states is okay, this is a part of life too. And you're in this pain, this sounds difficult. It sounds like a really tough thing to be in. And I probably can't do much other than to say that I hear that you're in it and I'm sorry. If it's appropriate, I love you or somebody you're really close to, but even if it's somebody that you don't know intimately to just be there and say, I get it, I hear it. And that sounds rough. I don't think there is any great kind of set of principles that we carry around other than your human being and it's tough to be a human being And when you're struggling, you need to try to, to the extent that you can, you need to try to be as forgiving as you possibly can on yourself. And when you can't do that, you have to talk to other people who will force you to recognize that you're being extraordinarily hard on yourself. And that's tough because I feel like there are lots of people who are sort of, I don't want to say skating through in life. It's like everybody is burdened with a complicated, tortured internal life, that's just a part of the basic arrangement of being a human being. But I think that there are people who are kind of dulling themselves out by just kind of losing themselves in material goods, or watching lots of TV or playing video games with, but even those folks and their own way, in how they engage with that stuff like it's deep. There's nobody who's superficial. There's nobody who you can, Paris Hilton has a deep, complicated internal life, she really does. And she might not want to engage with it and face it, but she still does. The struggle is for people who come to art and writing. Probably people come to this podcast, and certainly, the people come to do sugars. They're people who are really facing head-on. They're devils, they're ghosts, the things that haunt them. And that's not a lot of fun to do, it's really tough because I think almost everybody gets knocked around in their family lives and in their adolescence. And then in addition to that people have real biochemical things that really make it hard for them to feel the joy, to feel to esteem who they are and what they do. And that's not going anywhere. That's something you manage, you don't cure it, you don't get rid of it. You don't suddenly have a magic pill, but you manage it as best you can. And that's, I think, probably what most people wind up doing, if they're, you know what I mean? If they're smart, they just realize I'm not going to like, make this go away, and need to take the pressure off that I'm going to do that. I'll just try to manage it day to day moment to moment.

Tracy: Yeah, it definitely. I mean, for me that has been what has worked is when you start to see those signs, there are some triggers that all notice about myself and realize like, I'm starting to slip back down. And now I need to pivot and figure out some other strategies so that I don't keep going down further.

Steve:  Yeah. And there are certain things that if they sound dopey, but they're people have to exercise, right? No, we'll have to try to eat. Well, people have to try to get sleep, it sounds really elemental. But it's like, well, you got to do basic, or it really does help to do certain basic things your body does need, you know, for me, exercise is really important. Making sure that I try to get out and get some sun in this, you know, when that is possible, and, and also remaining really connected or as connected as you can to the people in your life, even though it's very tough to encounter them because you feel very diminished. You know, it's hard for me to admit when I'm really struggling with my wife, because I want her to believe in me, and I have a certain idea of who I am in her eyes. But it's a great relief when I can tell her that I'm struggling and know that Okay, then it's been that's our struggle.

Tracy: This has been amazing. And I'm really glad to have gotten a chance to meet you. And just thanks for the work that you do. And I look forward to even more success for you. And thank you.

So what did you think about that?

Chris: Steve just dropped these bombs of brilliance around kind of life. Wisdom, yes. And you just never know where they're gonna show up. And he kept dropping them, like sprinkling them throughout the interview. So I felt like on one hand, hearing all this brilliant, and I felt like he was just giving great advice all the way through. And you couldn't help but be like, here's my problem. How can you help me with this one? Yeah, exactly. Which was really cool. Because it was just really interesting to hear him even listen to what you were going through and give you really, really cool, like nuggets of wise thinking.

Tracy: Yeah, so I took a writing workshop with him at Esalen. It was Cheryl Strayed and him and three other writers. And then he did another writing workshop in Palo Alto, where he's originally from, like a month later. And both times I just washed away from that experience with just the idea that he is so wise, and he's also so generous with his time and with his attention. And I think that's really what people are looking for, that’s why they go to those sorts of workshops.

Chris:  Yeah and for those that were listening, that aren't writers or aren't aspiring writers, I felt like this interview was a really good example of writing as a proxy for anything that people are trying to do in their own lives. And, surprisingly, you know, he's pretty strong. Right, we talked about the way he organized his day around optimizing in the mornings because that's when he does his best work. And then this idea that the myth of the artist's life, I loved when he was describing that, that you should just be partying too much and barely making it and in a rough state most days, and that's where you're going to get your most creative. Yeah, that he really put it down in a pretty practical way is like, what are your material needs? What are your emotional needs? What are your financial needs, etc? And how are you going to budget your energy to do that, but that this whole, like starving artists, abused artists thing is just a big myth. And that's not how it really works. The other thing that he was saying that was really, you know, it's not that it hasn't been said before. But what he was saying in this context is really unique, where he was talking about modern life and this consumption and buying a product, putting you in a passive state. We hear a lot about this argument in terms of mostly in the category of sustainability, that capitalism and consumerism, it's just not necessarily the most sustainable thing to be doing for the environment. But he put it in this context of stripping you of your creative, meaning it enabled people to distract themselves and just consume in a passive state which takes you out of your innate creative capabilities. You know, are you saying historically, people would be playing music and wiggling and tending gardens, and I thought that was a really interesting point of view that I personally can align with that, perhaps all this consumption is just kind of passively putting us in a state called not creative.

Tracy: Yeah, that totally resonated with me and it made me think of the project that you helped me with, with the outdoor industry association, one of the insights that we found was around the return of pickling and chopping wood and getting back to those things again, and I do think it's one of the reasons the why behind that is because there was this era where we wanted to automate everything, to free ourselves to do the things that we really wanted to do. But then we ended up just not doing those other things because everything became so easy. And then there's like this last generation that didn't learn these fundamentals, survival skills, and the broadest context of that word. And now we're going back to that we're yearning for. And we're looking for ways to reconnect with the world again, and to be creators and not just consumers.

Chris: Right and we have this show, this crazy show I caught a couple of episodes in my passive consuming state called Naked and Afraid, and they just tune in to the world and like, go for it. So it just cracks me up. Because we're okay, I'm consuming the most extreme part of that storyline, you will not have any food and you will have no closing. We'll see if you survive, but just kind of back to the basics is more like it. And even if it's a really modern form of this, right, like I look at a really modern form of this would be like coding an app. Right? It's really creative. This doesn't have to mean go back in time. I think people have lost sight of is that he puts it in terms of you said this in a slightly different context. But I think it still applies as the boss of your own existence. It's really like that is that you do have a lot more say in this than you think you do. And I think what we've seen on the show is that that doesn't mean that because you have the means to do that we've seen this boss of your own existence thing apply across all boundaries of socio-economic boundaries, and different constraint sets of the last couple of people we've talked to you have both had career-defining hobbies turned to full time while maintaining families of two or more, yeah, and not having a big paycheck. To me, I get really inspired by being the boss of your own existence and carving the discipline and the sacrifice that it does take. And I think that's something that we don't like to talk about that much is that this stuff can be hard, but it doesn't mean it's not rewarding and fulfilling. But it is hard.

Tracy: I just recently went to another writing workshop with Elizabeth Gilbert, the question was asked, What's something that you're willing to give up that you actually do want, like to make a serious sacrifice in your life, to say, well, then maybe I'm not going to spend as much time with family or friends right now. Because I am committed to this creative pursuit. And it feels like a sacrifice, but that is the work of a creator.

Chris: That's a really good point. And I think that may, in fact, be one of the greatest struggles not that people aren't willing to pursue their thing is that there's a great book title once it's like, I could do anything. If only I knew what it was kind of like, I just got to decide what it is and I think is one of the best things I've ever heard on that campus. If you don't know the pursuit is that The project, right? So you may not know that you want to be a writer or start a company or paint or play a song, but the fact that you just start pursuing it could be a really interesting life design project if you're in the pursuit of what it might be. And that pursuit may never end, I think I'd be one thing that was a relief for me is just to keep that maybe that's all that it is, is that you are acknowledging that you're in the pursuit?

Tracy: Well, in the tracks back to the design thinking process, which the step of getting inspired to being curious being open before you jump to a conclusion is to allow yourself to get into activities and experiences and points of view that you don't normally come across? And then being able to take from that what's valuable to you, and move on to the next step or not, like you said, have your life be one of constant curiosity and exploration? So one thing that I can't get out of my head since I did the interview with him originally is him talking about how even Paris Hilton has a rich internal life, it just really stuck with me, because it's not something I'd considered before.

Chris: Yeah, I think that point around that there is sort of a universal struggle, is it very liberating, right? Because it's so easy to kind of hold people up. Like, uh, if only I had that condition set or that talent, you know, idea with music allows, like, I think the secret is like, yeah, I'd like to be a great musician. And you can easily write it off like, I just never had a voice, right. So you can look at people and be like, ah, if only I would have had a good voice. Yeah, really great. And the truth is, is that the people with the best voice are probably looking around going, ah, for me, I had cooler hair.

Tracy: Well, and one thing that it made me think of too, is just, I mean, empathy for others. And I think as humans, we're conditioned, to only be able to think empathetically for small groups of people, you know, once you start turning it into data, you start to lose your connection, and especially with what's kind of going on in the world today with Syria and all of the conversations that people have been having about refugees, and that it's keeping in mind that every single human being has this rich inner life that really thinks about and desires the same fundamental human truths and needs love, and, you know, all the Maslow's hierarchy, the basics, covered off on and then up through self-actualization. Yeah, it just may gain empathy for Paris Hilton and think like, gosh, I really do wonder what goes on in her mind when she's not portraying a persona.

Chris: Yeah. As you're talking, you're reminding me that I think a lot of this behavior is sort of contagious, right? So when you see it around you, you know, I think you're more likely to try it out like our friends left the Bay Area and moved to Cape Cod, and they opened a food truck, and now they open the restaurant. It's like, oh, that's neat. You can see it and if it's around you, and this doesn't have to, I think a lot of times, they come in the form of business examples, because we've spent a lot of time there. But it certainly doesn't have to be where you're just watching somebody try something new, this idea that it's like they're gonna go to an open mic night, or it's something as little as we're trying something new. And we're going to trivia night on Wednesdays. This is like a tiny new behavior. Yeah, that speaks to that curiosity that feels like two things happen. One is you start to gain momentum. Like, if I did that, that was pretty fun. What if I did it again? Yeah. And the second is kind of this social contagion. If it's around you, I think it helps support you. We probably use too many Silicon Valley examples. But the fact that the kind of place is known first starting things and trying things and being in tech, then it's more technical things, you know. So I think that creates a kind of self-fulfilling landscape of people that are almost kind of weird to not try one.

Tracy: True. You do feel a lot of pressure. Yeah. I mean, it's not like it's spread around equally. It's not like there are small populations all around the country, equally doing these things. Its people are drawn to certain places, and yeah, it's in the air.

Chris: They feel like you and I've discussed this, like, why is that always so narrow to the business application, right? There are so many forms of this, whether it's like the way that you want to parent your kids or the way that you want to be a better provider for an aging parent, or, you know, they're all design opportunities.

Tracy: And I think that's a good question. Career kind of offers the easiest way in for you to find your people or your tribe, obviously, since the internet's come about it. Makes it a little bit easier to find your niche online. But yeah, when you said that I was thinking about people who are aging and wanting to find a community of like-minded people to age in place with or, like you said to a parent, how do you find people in your community who have the same educational philosophy as you so that you can create a school together? Those are all opportunities. I think it just is a little bit more difficult to find your people than like a company that already stands for something with a clear purpose that you're joining.

Chris: Right. 

Tracy: Cool.

Chris: Super fun, Tracy.

Tracy: Yeah. This is good fun. Well, thanks, everybody, for listening. We love bringing you these episodes and can't wait to share more. 

All right, that's a wrap. Thanks so much for listening. Our dream is to build a community of people who can create and take advantage of any opportunity that interests them. To do this really well, we'd love for you to participate. Try out and share back your own life design experiments. Or if you've already got a great story of how you've designed your life, we'd love to hear from you on our Facebook page, or resultsmayvarypodcast.com. Our website is also where you'll find show notes and links to all the things we mentioned in the episode. And if you wouldn't be so kind, subscribe to the show, and share your favorite episodes with friends. that'll add even more people to start designing their own lives. A big thanks to the folks who help us make the show possible. composer and filmmaker HP Mendoza for the results may vary theme music graphic designer and Annessa Braymer for our logo. David Glazier for sound mixing, and team podcast for editing. And of course, thank you so much for listening to Results May Vary.

RMV 8 Dr. Ellen Vora Transcript: You Can Design Healing With Holistic Psychiatry

Full transcript:

Chris: Hey, everybody, it's Chris from Results May Vary. Welcome to our 8th episode. We've really enjoyed producing these shows. Tracy and I get a kick out of all of our guests. Each episode has been really fun, but I have to admit the last one, Kyra Bobinet, do yourself a favor, if you haven't listened to that show, check it out. It really blends the best of neuroscience with emotional behavior, and it will explain how your brain works. And if you ever wanted to change your behavior, somebody else's behavior, take a listen to the episode, there's a lot of really interesting bits that I think you'll take from it. On with the show today we have an awesome show in store. We've got Ellen Vora here today, though she's not a household name, yet, I would not be surprised if she is in the very near future. She's got a tremendous gift to give to the world. She's a personal friend. And as you listen to Ellen, you'll pick up on a lot of unique qualities in her philosophy in life, in our profession. She's a psychiatrist that prefers not to prescribe drugs and really looks at the whole picture from sleep, nutrition, relationships, foods, spirituality in order to help people optimize their lives and repair a lot of healing if they're in a really tough state. So look forward to hearing this episode. We can't wait to get your feedback. I look forward to hearing from you. Take care.

Chris: Thanks for joining us on the show, Ellen. To get us going today, would you mind just telling us a little bit about yourself and what you do? And maybe a little bit about what makes you different?

Ellen: Sure and thanks for having me on the program. I'm really excited to be talking with you, guys. I'm a Holistic Psychiatrist and what does that even mean? I constantly struggle to define it. But basically, I'm a conventionally trained psychiatrist, so I went through medical school and residency, and then had a bit of a crisis of, I'm not sure if I'm totally aligned with the way conventional psychiatry is practiced. So I just kept pursuing all of these other interests, ways of approaching health and healing. And here I am today, I do a real hodgepodge of different things, a little bit of acupuncture, some yoga philosophy, breathing exercises, meditation, nutrition, Ayurveda, there's a lot of different influences on how I approach when someone walks into my office and they say I don't feel well. It's depression or anxiety, or insomnia, or maybe ADHD, or bipolar. And I have a big toolbox that hopefully helps me bear witness to what they're going through and think how can I really get them back on track to feeling well.

Chris: One of the things we are really interested in talking to you about today is there are so many things people would like to change about themselves, good or bad. Why is change so hard for us as human species?

Ellen: I think, I'm not sure if after however many years I've been practicing, I have the answer to that. I think that there's tons of fear and uncertainty and just comfort and inertia. And here's the misery I've got. I see a lot of people who come to me after having seen multiple psychiatrists and therapists and doctors, and they haven't gotten better, and that's demoralizing. And they think of me as maybe the last resort like okay, I'm going to try something pretty radical now. 

Chris: Are there commonalities or traits that we could share with our audience that says, let's learn from those that are literally in a position where they have to change for their survival, and help those that are looking to change, probably not for their survival, but they would really like to change these things?

Ellen: One thing I've noticed just recently is that we do stay a little bit stuck until something can really shift our perspective. It's an opportunity to completely shift priorities. So I recently experienced a loss. It felt like the only thing that was really real in my life or relationships with people. But I think every once in a while you can leverage the big shifts that come from a real change in our circumstances.

Chris: If I were to hear you correctly there, it's sounding like in a way embracing some of the sufferings is actually a way-through.

Ellen: Sure, well, yeah, we need sadness. It's part of the whole picture when we can't just have joy. I think that embracing some amount of the mess of our lives, the suffering, the sadness, not being afraid of those aspects of the human experience, I think to help round out the overall picture of a meaningful life.

Tracy: How does somebody work through sadness when everybody is so afraid of feeling that feeling?

Ellen: Yeah, a good friend of mine who's an acupuncturist gave a lecture on Chinese medicine, and she gave an image to describe this that really stuck with me. And it's basically that we should strive to be like a bamboo tree swaying in the wind, in this analogy, the wind can come along, and that can be an emotional wave, maybe it's sadness, or suffering or anger. And this tree can sort of sway in that direction and lean towards that and feel that way. But similarly, when something joyful, or some lightness or some reason to laugh comes along, you can just as easily sway back the other direction. I think the more easily you let yourself sway and probably the more easily you let yourself sweat as well, with some caveats.

Chris: Well, Tracy and I started and others can we create environments where we can help people design for themselves as an individual, the right person to help themselves?

Ellen: I think we can be, but many of us are not. I think that there are a lot of factors and influences in designing our lives. For us, there's corporate interest. There's this sort of as you go through a grocery store, even you know, the products being sold to you at eye level, that's something that's designing your life. That's not you, but it does influence our choices. Where we work has a lot of influence on how it designs our life, you work these many days, these particular hours, this kind of environment, open workspace in an office, what have you, it's rare that those greater forces really, truly have our best interests in mind. But it does take a lot of conscious effort to design your life against that tied to having really good buddies that are good at pushing you to constantly be questioning and reframing. What is it that you really want? That's a great way to design your life, have a team.

Chris: You succeeded in this pioneering role, and you're still on it, which is really interesting to watch it grow and evolve. What is it that you're doing that's making this work?

Ellen: Yeah, I think misery mostly, it's really convenient to be someone who shouldn't have gone to med school, go to med school, I was forced into reaching a tipping point pretty early on in my medical career, whereas a lot of my classmates were happy enough that they kept going with the flow. But I was the whole time and sort of this existential crisis. So I was just kind of going through the process of med school and the whole time feeling not aligned with the approach to health and healing. I had to kind of make a call pretty early on, am I going to drop out and do something different? Or am I going to somehow make this work for me, and the way I made it work for me was to just with all of my free time and elective time, I pursued the things that did feel in alignment. So that's what I started doing things like yoga, teacher trading, and acupuncture, trading, integrative and functional medicine training, so that at least I was spending at least some portion of the day doing something I believed in, I was passionate about. I had no idea how this would all come together if it would at all, but I had to do it kind of for survival.

Tracy: How did you steel yourself against the influences of your classmates? And I'm assuming also, the faculty that you're interacting with sort of being this lone wolf?

Ellen: Well, I'm not sure it went that smoothly. I think my friends in med school, I didn't really feel philosophically at odds. We were all struggling. It was you know, it was hard for everybody. Whether you philosophically agreed with it or not. There was camaraderie in the trenches. How do you get people started? Can we curse on the podcast? One of my favorite things to talk about with patients is a shitty first draft, the idea of getting something down, we hold ourselves to such high standards, that it's crippling. So I really encourage people to get a shitty first draft down, because it's so much easier to edit your shitty first draft and to start from scratch. And it's so much easier to get anything down on the paper. If you've taken all the pressure off of it has to be good, or it has to be right. When people kind of have their crisis like, Okay, I'm a lawyer and I don't want to be then someone says, Well, what are you going to do? And there's all this fear that rushes in. There's disappointing your parents, there are financial obligations, there's the sunk cost of I've done law school and I've paid my dues at this corporate law firm. And people think, well, if I'm going to leave this, it's going to be for my passion. But I think it's a lot of pressure to say, well, what's your passion and to figure that out? It's so rarely clear. It's more about figuring out where your flow states where you feel a bit challenged by the activity, but you feel good at it, you're able to meet that challenge, and time falls away a bit. People also benefit from defining what kind of work environment they thrive in. Some people want to work in a really social environment. Some people don't want to have interactions when they're at work. And some people want to work from home or have a flexible work schedule, some people really thrive with structure. So defining that is important as well as I think that just getting into a flow state, and having a positive micro work environment, that's enough. I don't think you have to figure out that you're a cartoonist at heart, those two things are enough to have meaningful work.

Chris: A lot of people, ourselves included, are trying to do something that for the most part, they just suck at it. But they're just really curious about it. The idea of being in a flow state in something that's so foreign and brand new, will they find that flow state that early? And if not, how do you guide them through that?

Ellen: Yeah, I don't think that's an easy answer. You can't go looking for your flow states, you kind of have to know what some are. And they might be few and far between, and they might not seem to be all that professionally applicable. But just keep spending time on those things. And just vaguely in the back of your mind be scanning for parallels of how that might apply itself in a professional capacity. I mean, for me, if someone had asked me, what's your flow state when I was trying to figure out what to drop out of med school or not, I would have said, Well, I only really get into a flow state when I'm playing Dance Dance Revolution and so I should probably become a Beyonce backup dancer. That was kind of my going hypothesis for a while. I don't know what I wanted to do. 

Chris: By the way, Tracy Ellen is a phenomenal dancer that needs to be added to the record here.

Ellen: Everybody manages expectations, particularly any patients. But that is something I love to do and I could not see how that translates. At the end of the day, it didn't translate. I'm not actually dancing for Beyonce, although I hear that this podcast is a global phenomenon. So Beyonce, if you're listening, I'm available. I'll drop everything I'm doing. I will do that in a second.

Tracy: But I will, it will be sure to put the video of your dancing routine on the blog so people can see and get it to Beyonce.

Ellen: Okay, perfect. Yeah.

Chris: How do you describe your relationship to the patient? Are you a coach for them? Are you their inner voice that's most powerful? Like, what role do you play in that interaction?

Ellen: Yeah, I think it's really different patient to patient and even week to week within a given patient. And I find it's really evolving over time, especially as I grow and mature in my own life. So I was a health coach, and I had this medical training. So I could have an eye towards whether we need to start this medication, is it dangerous for you to take this on, is this actually Hashimoto's, like a thyroid condition, it was a lot of health coaching. And I think that's actually really shifted, where I'm at right now, and will probably continue to shift. But where I'm at right now is that I think, a major part of what people need is to be witnessed, and to be heard and understood. So it's a lot of empathy and kind of holding space for someone to give their narrative. And so I don't know what that is, it's definitely not a coach. I think it's basically someone trusts you, and then you're giving them that generous gift. That's a really therapeutic thing for someone to go through. But it does require a kind of belief in you as a worthy person to be holding space for them to earn that. 

Tracy: Yeah, I'm just and this really resonates with me right now. Because I have a loved one who's going through a deep depression. And so I'm really at a point where I don't think that they know how to begin, they're so far into the depression that any step seems herculean. And so to even get to you, or to consider you in the first place, how does somebody take those first few steps when they feel completely hopeless?

Ellen: Yeah, so that's often the million-dollar question with depression because it's sort of this catch 22 of an illness where what you need to do to get better requires this energy and motivation and effort. That's by definition, what you don't have because you're this depressed. So I use a lot of different tricks. It's really a lot of different tricks. The different trick works with every person. But I think some people actually need to feel that there is a reason for hope. And I think there's so much reason for the hope I have like a real bee in my bonnet for the way mental health is practiced. And I think that we're not leaving people with a lot of hope. Right now the party line is depression is genetic. It's a chemical imbalance. If your mom had depression and you have depression, you're always going to be depressed, but we can medicate it with this treatment. And we're sort of talking about depression as a serotonin imbalance, basically a Zoloft Deficiency Disorder. And I don't believe it's a Zoloft Deficiency Disorder. And so I think when someone feels hopeless, they basically feel like they've already exhausted that treatment. hasn't worked for, you know, their relatives, haven't worked for them. So they think why should I believe this doctor, feel hopeful, and that doesn't make it any easier to get out of bed to go see somebody and get started. So I'd like to correct that. I think where we're at right now, it's a really exciting time, we have a more evidence-based hypothesis for depression, then the serotonin model, which was never really all that evidence-based. And so it's really the inflammatory model or the cytokine hypothesis of depression. And it has to do with the fact that when we're inflamed, the brain manifests. That is feeling depressed. For some people. For other people, it manifests in different ways: ADHD, or anxiety, or maybe bipolar. But depression is a really common manifestation of depression. And it makes sense, this is called sickness behavior. So if you have the flu, your brain, it's adaptive for you to feel like you want to stay in bed all day like you want to socially isolate because then you don't go get everybody else sick, you're not interested in sex, that wouldn't be the right time to reproduce, it's a time to rest and heal, you don't feel a lot of motivation, it'll affect appetite choices, it's kind of everything that we know to be depression is really consistent with here's how the brain experiences and manifests being sick, virus or bacterial infection. And that was our evolutionary model. So it made sense to go and rest, and then you got better. So these days, the trouble is, it's not really an infectious disease, that's our number one culprit of inflammation. These days, it's kind of this very rare, weird illness that hits us, which is the mismatch between our genes and our environment. So we're all being inflamed all the time. But it's not really from catching a bug that our immune system knows how to fight off. It's from catching a Doritos for a snack, or bad air quality or bad water quality or chronic stress or chronic sleep deprivation, or that we've taken antibiotics, or we've been born by C section. And so our gut flora is compromised. And these are at the heart of a lot of inflammation these days. So when you get sick like that, and then you feel depressed. And that's the adaptive response so that we stay home and rest and get better. Your immune system is trying to fight this off. And the immune system does not know how to fight off Dorito-fueled inflammation, so it doesn't work. And the immune system keeps trying and trying kind of goes rogue, maybe this relates to why there's such an epidemic of autoimmune illness. But basically, we don't successfully get better, and then bounce back a few days later, we're just in this self-perpetuating cycle of inflammation. And so I think that correcting that in people's mindsets and sort of giving them validation, of course, you don't want to get out of bed, you effectively have the flu, this is not a moral failing. This is not because you're lazy. You know, this is your body inflamed, and it makes sense for you to respond this way. But we have to outsmart the system a bit to address the inflammation because our system is used to fighting infectious disease. That's the source of inflammation. These days, it's different. It's Doritos. So we need to support the body and fight off modern-day inflammation.

Tracy: I find that completely fascinating. I brought up a question to me of in third world countries or places that don't have access to clean drinking water, there's a lot of air pollution. Are there high rates of depression there as well, because I almost feel like depression is a first world problem, right? 

Ellen: Yeah so it's, it's something that I don't have the statistics in my pocket by any means. I don't know if I have the authority to speak to the question. But there's pluses and minuses to both situations. In a third world country, maybe some of the quote advantages are that people do have more diverse gut flora, they're less likely to be born by C section and have had multiple courses of antibiotics in childhood, or even to have antibiotics and their food supply or the residue and their water, drinking water. However, I'm not inclined to say that everyone's happy and okay, and they're not experiencing this as we have been gut flora deprived, privileged, first-world person. I think that there are other things that matter to mental health beyond physical health. And I think, for example, you're more likely to have experienced losing a child if you live in a developing country. That's a factor in happiness, that it's pretty universal, for the most part, that's going to make people less happy. And so we can't just say, okay, so like, you don't have clean drinking water. You have old friends, you have the old bacteria and the parasites in your gut, and you're good to go. Because then there are real harsh realities of daily life that can still impact our overall mood. 

Chris: Hey, Ellen, this is fascinating. I think, looking at the flip side of this, what's your definition of a healthy life? 

Ellen: One of my biggest influences in how I think about health and really everything is a guy named Chris Kesser, who's based in Berkeley, California, and he's a functional medicine practitioner and I'm gonna roughly quote him, but he basically says, health is the ability to lead your version of a fulfilling life. So physical health kind of optimized physical health can be one part of that. Because if you're not physically healthy, that can get in the way of your ability to lead a fulfilling life. However, once you get into my world, and people start to really, really optimize their physical health, and they start to be what's called like Orthorexic and kind of obsessive about eating everything, right, you get diminishing returns or even you kind of get over to the other side. And it becomes counterproductive in terms of leading or fulfilling life. So if you start to turn down an invitation to a homemade dinner at your friend's house, where all these people that you love are going to be sitting around and drinking wine and talking into the wee hours of the night. If you're like me, and you find that enjoyable, and you turn that down, because you don't eat gluten, dairy, corn grain, whatever, then you've missed the big picture, I really agree with that idea that you have to kind of define for yourself, what's your fulfilling life, and then do the very hard work of constantly making conscious intentional choices about does that mean? I should eat this brownie sundae right now or not. And I think it's often a tough call, there are physical health and the overall way of enjoying your life and sharing experiences with the people you love. They are sometimes at odds, so you have to kind of make those decisions case by case. 

Chris: Interesting. So it seems that from our observation, and I think yours, too, that those that are living that definition of a healthy life are kind of rare. So what are they doing that is different from the rest of us or the rest of America?

Ellen: And you mean the people that are leading a healthy life?

Chris: Yeah, that's balanced, mentally there and, you know, just really fulfilled and, you know, devoid of suffering, what characteristics set people up to live in that optimized healthy way?

Ellen: Yeah, I think it takes a lot of luck and a lot of conscious choices. And some of the things that are lucky are how well you were parented. That matters, not like you needed to be perfectly parented, it needed to be good enough. And then I think when people put relationships first, people first and their other-oriented, and that's that priority, it becomes second nature to make those intentional choices that create happiness, and fulfillment. And that can look like so many different things, especially on the scale, you can put people first and it can really just be your nuclear family. Or you can put people first and you can have a ton of friends. I think they're both versions of that. But I think that's something that sort of creates a cascade of other choices that create happiness. If you're not prioritizing people, I think you're more likely to prioritize prestige or money or working longer hours, or having a bigger house and a longer commute or really just shopping more and buying more crap, I think there are all these ways that it'll just sort of subtly push you towards the choices that we're being very steered towards. But we know it doesn't really create happiness.

Chris: So good. I'm just absorbing what you're saying, it's so spot on.

Tracy: I liked what you were saying about being other-focused because I was thinking, another thing that you could do is try and amass a lot of friends around and have really shallow relationships with them, or have more selfish relationships that are just trying to feed your loneliness. So the aspect of being other-focused and generous with those people, really creating deep meaningful connections with them. That's more of the path you want to go in. But I could see how you could bastardize it just how you're talking about with food, and gluten and corn and all of those things.

Ellen: Yeah, and I think even other-oriented, there's nothing you can lean completely into the more the better. It is good to kind of know your own limits and your energetic limits. I think being other-oriented is a beautiful way to go through life until you start being so other-oriented, that you've compromised your energy. And it's not really sustainable, we have to be other-oriented in a sustainable way or else. There's nothing other-oriented or self-oriented about it, if we burn the system out, so sort of being sustainably other-oriented is really important and hard to figure out that balance. And then, of course, all of these things like the scarcest resource at the foundation of it is our time and our energy. Those are just scarce things other than money in modern life. 

Tracy: I feel like there's almost a pride in going beyond what is physiologically possible to your superiority as an individual And in the Bay, with Silicon Valley, how do you help people manage that and sort of creating barriers or boundaries for themselves such a good point. 

Ellen: I love how gentle you are with saying there's almost pride with it. Yeah, people really pride themselves on it, they drive on it, they think they're thriving on it. It's that feeling that kind of hypomanic feeling of thriving on it. if I know that someone is so conditioned to think that productivity is the only thing that matters, and that rest is valueless, it's a waste of time. It's a weakness. Then I talk about burnout. And I talk about the fact that rest is the new productivity, that getting enough sleep makes you more efficient during the day, or that meditating actually makes you more creative, more productive. But if you think about it, all of these things are framing rest only in the name of let's get back to productivity. It's not what I truly deeply believe I actually think that we are human beings and not just human doings. And so the more that someone can actually embrace the idea that rest has value and has merit in and of itself, even if it's not creating more productivity, that just being sitting without any technology without any distraction without any productivity is a very worthwhile endeavor. So if someone's ready to go there, we'll talk about the merits again. And if they're not, I'll say you need yen to get more young, just to kind of trick them nice.

Chris: Ellen, I'm so sensitive to privacy and I know you handle this really well. So maybe I'll just ask the question, and you can tell me if it won't work. But is it possible to anonymize a story for us that shares someone going from crisis to thriving in this way, you just define a healthy life?

Ellen: Yeah, I think that it fits in a few categories. And it is hard to know what vertex of the triangle somebody needs the most. And I'll have some people that think that the problem is that that triangle is mind body spirit. So there are people who think it's my psychological patterns, or it's my history of trauma, or it's not feeling aligned with my job. And that's why I'm unhappy. And in fact, sometimes those are the people that have a really inflamed gut, and they're just really systemically inflamed. And that's actually the 80% of why they're not feeling good. So sometimes just getting someone to feel their gut, clean up their diet, get off of the things they don't tolerate, and get a little bit more sleep, and then they're not unhappy. And we didn't really have to go through the whole jungle of psychological patterns and trauma and all that it's important. And it's such a beautiful thing to kind of work through that in a therapeutic setting. But it's not always necessary to get someone back on their feet and feeling well. So sometimes it's really that it's just focusing on physical health. And then I'll see a lot of patients where either they're already maxed out on the physical health stuff, and they're doing everything "right" and they're still not feeling well. And then that's harder, I think, and it's really a careful listening to where they are stuck? Why are they not in balance, not in alignment, it is really hard. But I think I'm learning that a lot of times people need to just feel really heard and understood and talk. And I think as doctors, we really want to feel like we're doing something and we're offering a service or providing something. I think it comes from a fear that we otherwise would be impotent or useless, and someone would stop seeing us. But I think that there is a service and just holding space for that, or encouraging along that conversation. Because a lot of us don't feel like we have the right to tell our story in that way. Nobody wants to listen. So oftentimes, you know, even if it's these patients that I've kind of been coaching, and we've been saying, okay, gluten-free, did you have gluten? Oh, well, that's the reason you're still not feeling well. And sometimes it really, it's hard for me, but really important to kind of just completely scrapped the physical health peace and say, wait a second, you know, where you feel like in your life, like, you don't have a voice or you're you know, you have a boss that has really wack energy, and you're in that energy all day long every day. And it's starting to kind of seep into you. Or, you know, what's breaking your heart in your life right now or how's your community, or how are your relationships? Or are you actually just really kind of urban-fried, and there are just technology and artificial light all day long, and you're not feeling recharged? I have a patient right now who we've been coaching and I think that I missed a cue or two, like for a year probably where he was doing everything perfectly. And I think that I was barking up the wrong tree with that. And what we really need to do is figure out why is he not in alignment? And I think in his case, it's sort of a chronic stress situation.

Chris: Why do you think if eating well and avoiding stimulants I could see where that's a downward spiral, I don't feel well therefore I can grab a stimulant and some sugar and feel a little bit better. Why is it that people get into so much trouble there? if these are the very things that make us feel great and thrive?

Ellen: If I understand it, right, like a cup of coffee makes us feel good. So why isn't it just a good thing? 

Chris: There's that I think it's all of it, right? Like if you start to extract the physical bodies, that it's very common to not eat or act in the way that you're describing from a physical self standpoint. So if we take those things out and feel great, why is it that people are naturally drawn to them as a default, right versus eating in the way that you're describing as a natural form? Because we know it makes us feel better? I'm curious why they get stuck in that loop then?

Ellen: I love that question. Yeah, so I think that a lot of places around the world actually do have a food culture with wisdom kind of handed down generation to generation, where there was a bit of an understanding of, maybe it's not fun, but you gotta eat this way to feel good. If you think about and like one of the Blue Zones and Okinawa, they have an appreciation of you got to kind of eat to forget what they said, like 80%, full, and maybe sometimes even they want to eat more, but they have been passed down this wisdom of this is what you got to do to feel good. The United States for all of its lovely qualities, we don't have a food culture with wisdom that's been passed down. And that's part of what's great about us, we're a melting pot, everyone seemed to kind of start fresh here, you know, not everyone we've been overlooking, who was here to begin with, we've kind of defaulted our food culture, it's been bought, it's basically been bought by big food and big agriculture. And that's who's handing down our food wisdom now. And it's not food wisdom, with our best interests in mind. It's with the corporate shareholder's best interests in mind. And so what's happened is they're really smart, they have great, brilliant scientists, and they figured out what humans can get addicted to with food. And so I think that many different choices along the way have created a mainstream food culture. That's kind of a collision course of various addictive foods, things like gluten and dairy, which can have an opiate effect in the brain, things like sugar, which people equate to cocaine. And I've also heard interesting stories, that is really not an accurate presentation of the way it behaves like a drug but we'll kind of say that it's good enough for this discussion. And then I think that for some people, some of the food additives, like MSG can have an addictive quality. So, I think that it trumps our body's wisdom. And so if your body's thinking, on any given day, oh, you know, what I really need are some omega 3s and some iron, and I need, you know, fully, maybe we'd be drawn to eating a piece of salmon or chicken liver pate, or some, like stewed beef, but what's happening instead is we're walking through the day, and we're seeing, it's kind of like, we're crack addicts, and we're seeing our dealer on every corner or dealer saying, Do you want this muffin? Do you want this pizza? Do you want this Chinese food? And we're kind of like, Well, okay, you know, and maybe somewhere buried in there was our body's wisdom, saying, like, I need a little bit of iron. But instead, we're just distracted by our drug dealer that's saying, come get ahead of what you're really craving. And once you're on the roller coaster of any kind of addictive relationship to food, it's its own self-perpetuating system, because we'll be crashing. And then really the best antidote for opiate withdrawal is an opiate. So, pizza begets pizza. So I think that that's part of what kind of steers us in that way, even though it's not what's best for us. I think that's for some people, not for everyone, certainly, but for some people who really struggle with food addiction, I like to get them abstinent from the addictive foods for a period of time. So they've really healed their relationship to those foods. And they start to hear their own body's wisdom, their own intuitive appetites, you know, I'm hungry, I'm full, those voices start to reemerge. And then they can make choices kind of with more freedom, and start to listen to what their body really needs. Not everybody needs it to be that extreme. But some people actually do think it's kind of like with alcohol, you can't really have just one glass, and you can't really just have like one bite of pizza sometimes.

Tracy: No, you definitely can't just have one. I mean, what's so unfortunate about that, and you're referencing the big food and big agriculture is that while you're trying to be abstinent, you have your drug dealer in your face all day, every day. It's just so hard to find the chicken liver pate or the fresh salmon when you're living this busy lifestyle of productivity and pride of not sleeping, you're running through airports or sitting through conference meetings where you're not even in charge of what food is being served to you.

Ellen: Yeah, airports. There's no real food. There are only drug dealers.

Tracy: Good luck.

Chris: Just a totally, totally different tact here, different category question altogether. But what do you most commonly ask at a dinner party, when someone figures out what you do for a living?

Ellen: And I'll say, for the most part, I love this aspect of what I do. I think that the commonality is not what I'm asked, but that I'm asked something so as soon as it becomes apparent that I'm a psychiatrist, somebody will at some point that night, pull me aside and tell me their life story or tell me what's going on in their family. And I have to say, for the most part, I do not resent this. I love what I do. And I consider it a privilege to have that role in people's lives. So I am a bit of a living room psychiatrist to a lot of my friends and that's like a huge violation in terms of how you really practice mental health. And I don't actually think of it as being someone's psychiatrist, but in the world of what I do, and the holistic nature of what I do, you can actually do a lot of work without messing up with the boundaries with people. So I think every time, I love it, but it's everywhere I go, this is something that's wonderful about psychiatry. You know, if this were nephrology, I guess, one in five dinner parties, someone would be like, I have like a second cousin once removed on dialysis, and psychiatry, mental health, it affects everybody. Even if someone doesn't feel like they've met a DSM diagnosis, this is about the human experience. So we've really all can identify with a lot of the mental health, even if someone doesn't go full, true blue depression, anxiety, bipolar, a lot of us have at least dabbled in what it feels like to be down or to feel a little panicked about something. So this affects everybody. And I love that aspect of it, it feels very, very relevant. And I like being able to have that unique relationship with my friends, where I have my regular relationship that's public and out in the open, and we're all hanging out, and then I'll get pulled to the side by somebody. And I can really, sometimes play a pretty profound role in someone's life. And it's a total honor.

Chris: You've got a gift. I know, Tracy probably has more questions as well. I just want to make sure we have a moment here. Are there books or references that you recommend to people? Or can we send them to your website, just for all our listeners that have been very intrigued by the conversation, including Tracy and me? Where can we send them? 

Ellen: Sure. So there's a growing number of Ellen's and the exciting thing is, is that med students, so not my colleagues, not people that are kind of like more mid-career like I am, but the younger generation, there's a tidal wave of interest in this. So it's coming. I mentor so many different med students and residents, they're interested. So we all have to be a little bit patient. Basically, my book recommendation list is very long and growing, but some of the ones that I'll often recommend, in the realm of mind and spirit, I really love to direct people towards Jon Kabat Zinn to read books like Full Catastrophe Living or wherever you go, there you are. I love for people to pick up Thích Nhất Hạnh that Peace is Every Step and then in the realm of physical health, my bible is Chris Kresser. His book, The Paleo Cure, used to be published under the name, Your Personal Paleo Code. And I like the New Health Rules by Frank Lipman. I like the Autoimmune Solution by Amy Myers. And then there's just so many good books like this website. And so I work at a place called the Eleven Eleven Wellness Center, which has a great philosophy on health, and that's on the website. And then I have a little dormant, very unimpressive website that I maintain just as kind of a place to keep my handouts and resources that's called Meridian Psychiatry. Meridian like the acupuncture term. And then there are people around the country doing this in New York City. There's a psychiatrist named Kelly Brogan who has a practice very similar to mine. In the Bay Area, there's a woman named Kat Toups, who I believe is a functional psychiatrist. And then every time I kind of go to these networking events, I meet more and more kindred spirits. So it's a growing movement.

Tracy: Is there anyone that you know, in Ohio? 

Ellen: Let me get back to you on that. I actually did have a patient who had a consultation with a functional medicine doctor in Ohio, to where in Ohio, I can't remember what the name of the doctor was, I can't remember but it's findable. So yes, I think in a way, rather you go right now there's somebody some crazy rebel doc, practicing this root cause resolution approach to health as opposed to the conventional approach, which is more like symptom suppression. It just makes so much sense. And so I think that more and more people are kind of seeing the light and you know it when you're in the presence of a functional doc, like the ones who are really willing to spend more time to ask more questions about your whole story, and really take the whole holistic picture into account and want to figure out not just like, okay, you're having heartburn, we'll take this into acid, but the ones who want to say like, well, why are you having heartburn? There are only a few possible reasons and let's figure out which one it is and why is that happening? The kind of doctors who keep asking why. I think that's for me, that's my compass when I want to entrust my health with somebody I want them to really be getting at the why question.

Chris: Are virtual visits effective and is that a growing trend as well?

Ellen: That's a great question. I think that it fits squarely in the better-than-nothing can. But certainly like what I do practicing mental health and well, acupuncture are really still in their infancy.

Chris: Don't be a test driver. 

Ellen: 3D computer robot practitioner. It probably will, like hold up to, you know, like those studies real acupuncture, sham acupuncture, robot acupuncture, getting needles in you, it can be beneficial no matter what. But better to do that with a really skilled practitioner who cares about you in the room. With mental health, I think there, it's definitely better than nothing, especially if you're in an area where you don't have access to somebody who's really good, that you really trust. But I must say, the way I like to practice ideally is very much being in the room with somebody, I think there's a lot of energetic stuff that's going on between me and the patients. And that there's something kind of physical or it's, it's in the air, it's happening physically in the room with somebody, so I need to see them. But it's more even than just seeing them on screen. I need to really feel what it feels like to be in the room with them to know how to help them best.

Tracy: You are so wise and lovely. And I'm so glad that you had the courage to pursue what was really deep inside of your heart instead of just going the default path.

Ellen: Thanks, Tracy. Like I said, it came from being the wrong person in med school and just trying to figure out what I enjoy doing. And it's really an honor to be proud of this podcast, which I listened to. And I love and I think it is becoming a global phenomenon. So these are really thought-provoking questions. And I think we all need to be intentionally designing our life. So thanks for including me in this conversation.

Chris: Thanks, this has been amazing. Appreciate it. This goes without words, this has been such an impressive conversation, and thanks for everything that you're doing.

Tracy: So Ellen, I just thought was so wise. And what I loved about her story is that she could have completely said, this isn't for me and stopped doing what she's doing and did something else. But she actually went through it with this different point of view about how psychiatry and medicine, in general, could work for people. And I think so many people think I'm not in the right profession, and they leave when that rabble-rousing perspective that's a little bit of a troublemaker, could make such a difference in organizations, industries that are more traditional. So I'm so grateful to her for sticking with it. But doing it differently. 

Chris: One of the things I've loved is that she doesn't lock away. I think people in that profession find things that do work well. And then they keep going back to that portfolio of things that they've seen work. And Elon has such an amazing way of finding the appropriate tool for the specific challenge. The term holistic is being hijacked. So I'm not going to even use that one. But sort of all-encompassing is, as she talked about, from gut health to it could be social, it could be something totally unrelated to what you think the problem is, and just getting up the root of it. The one thing that keeps playing in my mind is this. I can't get the image out of the sort of crack dealers on every corner mindset. It's just so true, it causes a lot of problems. It's just interesting that ultimately, I think one of the takeaways for me is if you're not taking control, and sort of designing the life that you want to live, then it's all being done for you, whether you like it or not, that's what I really like about what she's saying is you're either going to do this, or you're just gonna fall by the wayside and have somebody else design it for you. Which is I don't think what anybody wants.

Tracy: You're right. It's like the food industry, we've worked in that space. It's like, they spend millions, billions of dollars to design the exact outcomes that they want. And I know a lot of times people say, oh, well, it's your fault for eating the Doritos. It's your fault for drinking that coke or, you know, engaging in the bad habits that are being designed for you to take advantage of your natural human proclivities. And it does make it difficult. So recognizing the role that big food plays in our life, I think, goes a really long way to helping people understand how to take control of their own lives.

Chris: Right, and it's even bigger than that. If you think about the way, you know, most of us have to work for a living. And those structures are designed the way that we work the way that we're marketed to, all the systems are, for the most part in place. And they are questioned often but they aren't always questioned for us as individuals. It's like what's the right thing? For me? What's the right set of condition? And I think what we've seen is that it's a harder thing to do to step back and really be thoughtful and take an approach that is the right one for you. But Wow, is it worth it, as we've heard through several of our guests, including Elon, when you start to see that there is a new and unique way through that sort of, you know, uniquely your own by your own design.

Tracy: I mean, we talked about this offline, but designing work and thinking about all of the different ways that people prefer to work. And I thought it was interesting that we just had a discussion about whether you really like to wake up early in the morning, and you go to bed at 9:30 at night, and I'm up until 1:30. And I sleep until nine in the morning. But work doesn't allow for that work if you're in a traditional workplace as you wake up and come to work by 8 am or 9 am, whatever it is. And we all habituate ourselves to do that, but what we're seeing is that so many people are fleeing the traditional model of work, and trying to create systems that work for themselves as individuals, it'll be interesting to see where that goes in the future, as more and more people recognize that they have agency in how they design their lives, and how they design their work lives.

Chris: Right? That speaks to another one of Ellen's great points, which is there were some very simple takeaways, I think the whole conversation is so in-depth and so inspiring on so many levels. And then there's just these really simple takeaways. And I think one of them for me was to always choose the social default if you can do something that involves other people taking that path do that, and the social nature of who we are as human beings. And even those of us that are more introverted or extroverted just to choose the social path can be the most rewarding path. And I think that's a nice takeaway, at least for me from the whole interview is always find yourself in doing things with other people. And ultimately, it'll be more rewarding.

Tracy: Yeah, I think throughout the time, we've been doing these interviews, the idea of community the importance of interacting with others. And you're right, even as an introvert, I mean, there are times when connecting with others can be nourishing to you. But I found that that sense of community just permeates every conversation that we've been having. I also, I mean, the work that she's doing is so important. And you know, it makes me kind of sad that we don't have better access to minds like a curse. There are so many people suffering needlessly, who don't even realize that this other way of looking at health and mental health, in particular, is available, and their drugs have been touted as great saviors. And they have been in and that's wonderful. But it's not the only solution. And I hope that as time goes on that more people like Ellen like she was saying, there are more young people getting into the profession who are looking at it from a different perspective. And she was asking us to have patience. And I mean, I wish we didn't have to have patience, I wish that we could have more people who are current practitioners, open their minds to the potential of some of the work that she's doing. 

Chris: Absolutely. And as some of our audience knows, my role in healthcare, I've seen quite a bit of this. And I find that inherently in so many other providers, this is what they want. And very few of them have had the ambition, the charge to go into this kind of unknown spaces. Not many people have heard of a psychiatrist that prefers not to prescribe drugs and second sick. That's not how it works. And so just the confidence to address the fear around a construct that doesn't naturally exist is what Ellen's gift has been. But I find that for many of the providers, that is what they want, that ultimately they know there's a deeper truth to the treatment. And it just the constructs don't exist to bring them in and to make that in a path that's more default path than a pioneering path. And so I do look forward to the day but I totally agree with your point. It seems like Ellen should be the first point of contact rather than someone that's kind of hard to access just by the fact that there aren't very many.

Tracy: Yeah, I know, I was even I mean, selfishly, I was like, can you move to San Francisco? Why are you in New York?

Chris: Exactly. We've had so many great people on our show. I do have to say this is one of the most inspiring conversations we've had. And it just made me so proud of the work of the podcast and the great work of folks like Ellen and the opportunity that we have to talk to people like Ellen.

Tracy: Well, thank you so much for bringing her to us. I know that you guys have a great friendship for the work that you'd been doing. I'm just so grateful to have her voice on the show and I hope that it helps many other people. All of our listeners who are dealing with some of the issues that she is an expert in. Alright, that's a wrap. Thanks so much for listening. Our dream is to build a community of people who can create and take advantage of any opportunity that interests them. To do this really well, your participation is key. If you want to try out and share back your own life design experiments, or if you've already got a great story of how you design your life, we'd love to hear from you on our Facebook page, Twitter, or at resultsmayvarypodcast.com. Our website is also where you'll find show notes and links to all the things we mentioned in the episode. And if you would be so kind, subscribe to the show and rate us and write a review on iTunes or Stitcher that'll let even more people start designing their lives. Special thanks to composer and filmmaker H.P. Mendoza for the Results May Vary theme music, graphic designer Annessa Braymer for logo and David Glazier for audio mixing, and of course, thank you so much for listening to Results May Vary.

RMV 7 Dr. Kyra Bobinet Transcript: You Can Create A Well Designed Life

Full transcription:

Tracy: Hi, and welcome back to the seventh episode of results may vary. In our last episode, we talked to Jessica Semaan, the founder of Passion Co about helping people turn side projects into their own passion-based businesses. Today, we're excited to introduce you to a woman who after completing med school decided to change course in order to dig deeper into the science behind behavior change. After graduation from Harvard School of Public Health, Dr. Kyra Bobinet worked in the healthcare industry, building programs and algorithms to change behaviors at the million person's scale. Today, she is the founder and CEO of EngageIn a design firm to help people and organizations change behavior for the better. like Chris and I, she believes that every individual is a designer of their own life every day. And that all we need is to recognize and expand this intuition into full-blown life design skills. In her new book, Well Designed Life, she gives you many of those skills, as well as the approachable science behind it all.

Just reading the first few pages, and then yes, you're explaining everything so clearly. And we really value your perspective. Bringing it from the point of view of science, I think is really interesting and important. So thank you so much for being on the show. We're super excited to have you. And yeah, we'd love to just hear what you're doing. What is it that you've been doing for the past few years? And how does design fit into your life?

Kyra: Yeah, so I am the CEO of EngagedIn which is a behavior design firm and the inspiration for that came from working in BJ Fogg's Lab at Stanford, as well as my history in doing health intervention work and health design work for large, at large scales, you know, 18 million person scales, as well as public health background and being a physician in the remote past. I think that the the inspiration for me came from you being a medical student at UCSF and starting a program for young people who were repeatedly incarcerated who were going in and out of the system, and who were chronic violent offenders as their label, and really seeing them as human beings and equal to everybody else. And what I found was that in trying to help them change their behavior, there was a lot of hypocrisy that we all face, but in them, it's more dramatic. So I don't want to do this anymore. I don't want to go back to jail, I don't want to be in this situation. And then of course, the flip side of that was going back in even despite their best efforts, or their best intentions, and I really thought to myself, you know, is how is that any different from what I'm experiencing, or from what anybody I know is experiencing, you know, people try to quit smoking, who are my patients, and they just couldn't, people tried to lose weight, and they just couldn't. People tried to change their lives or get out of, you know, bad patterns with relationships, and they just couldn't. And so, I've been on this quest for about two decades now of figuring out what it is that would resolve this disparity between what I know I should do and what I actually do. And in that journey, in that quest, I found two things. One was neuroscience tended to come as an obvious choice to source you know, what's going on, and then design thinking as sort of the prescription, if you will, the way in which to solve the problem. And I feel like those two confluence together really inspired me to go towards this as a vision as a full time career. 

Tracy: How did you get introduced to design thinking through your medical work? 

Kyra: You know, really, as a physician, you're not taught anything about behavior change, even though you're in the role of a behavior changer and you know, wherever that is a change maker. And the way that design thinking kind of came into my purview was actually quite recently, you know, I had heard of idea when I was a corporate executive, I had heard of design firms, I had done a design challenge, you know, one of the first ones ever, back when I was in that role, and became fascinated with design as designers, as a discipline as a way of approaching problem solving. And so I really liked the creativity, nature of it, I thought it was better than your standard business practices of brainstorming, or strategy making or those kinds of things, it really added a twist of really listening to what the problem was trying to convey, and taking it deeper than just the surface. And understanding and asking about the human patterns in the human behavior patterns that were underneath the problem itself. And that definitely resonated with me, because of my background in human service. And being a clinician I really had grappled early on with what it means to listen to human beings and try to figure them out. And I think design thinking is a perfect tool for that.

Tracy: How would you describe what design thinking is or how you understand it to be?

Kyra: My modern understanding of it is that you essentially, approach a problem with the expectations that you are going to have multiple versions of something, and you're going to repeatedly go at it, and that your failure to do so, to solve the problem the first time around or to understand it, you're not going to hold against yourself. To me, it really conveys this combination of compassion for yourself and for the problem, as well as relentlessness of pursuing and tweaking and improving. Because you're asking a different question. You're asking, how does this get solved in a beautiful way? How does this get solved in a relieving way in a soothing way? Like those kinds of questions, as opposed to just maybe approaching it differently, like a classical engineer stereotype would just say, How do I get this to do this thing? And it's almost this force of will or even as a physician or surgeon, you ask, how would I just fix this and move on? You know, it's a different immersion into the problem. It's intimacy with it, if you will,

Tracy: In your book, you mentioned an interaction that you'd had with a patient with you called it a gout-ey toe? Yes, I'd love that. Could you share a little bit of that? It seemed like it was a pivotal moment for your career.

Kyra: Absolutely. So I was doing clinical work alongside my nonprofit work with the expectation that at some point, I would want to go back to residency and practice medicine. I didn't know what I was going to do with that. But it just it's kind of one of those conveyor belt things in MD careers that you you do this, then you do that. And so it had this clinic day, and this gentleman came in late 50s. And he had a typical garden variety gout in his big toe. And I had 10 minutes with him in the typical clinic visit. And he started sharing with me, oh, yeah, you know, my toe, there's my toe that we went over the basic symptoms and signs. And I looked at his toe, and yes, he had gout. And I was writing the prescription physically in those days. And he then drops this bomb, which patients often do right at the last minute so that you don't have a chance to deal with it. It's like, Yeah, I was, I've been up, you know, since Sunday on meth. And this was Wednesday. So he'd been up for three days, gotten dehydrated, because he wasn't sleeping, he wasn't taking care of himself. And that then resulted in the gout. And here I was literally at the end of the line. And I said, you know, there's something about this, that's so symbolic to me, there's, this is not the conversation, I want to be happy with the world. I want to deal with the behaviors that cause the meth. I wasn't interested in Addiction Medicine, that's not the signal. There was something else about it that intrigued me that was drawing me to it. And that's really where I pivoted pulled out of residency, I was going to match in two weeks, lots of turmoil in my in my heart around that. But I just had to follow my heart that there was something else for me to do. And I ended up applying to and going to Harvard for graduate school in public health and that opened all these doors to go in this other direction and pursue behavior as a design substrate.

Chris: What got you into medicine in the first place?

Kyra: I was not that enlightened back then, Chris. I would say I was the typical pre surgeon. I had a very academic mindset. I had been doing six plus years of bench science. I was awarded a Dean's prize for research. I was present in my class. I had all these things going for me. 

Chris: A real slacker.

Kyra: Yeah, yeah, exactly. And I was a gunner, as they call it and I basically had kind of a an awakening experience in my first year of medical school where I realized that all these amazing talented people were going to go do that and pursue that golden ring. And that there was something else for me to do that was much more exploratory, I guess is the and much more heartfelt and much more journey like and so I just pulled off that path. And I just started asking different questions. 

Chris: What did the other physicians think about what you were doing? And how did you keep on the path? Despite what I'd imagine were a lot of headwinds saying this is the wrong thing to do?

Kyra: Well, that's just the thing. I've always had this knack of picking really good mentors, and I love to mentor people. And I love to be mentored. I think it's just a daisy chain of skill flow that we all must plug into. And if you're not plugged into that, then you're stagnating. And so I was fortunate enough when I had that experience with the patient. And I went out to lunch with my clinical mentor who had been with me for years. And she had written a recommendation letter for me for the match all those things. And I just said, I'm so sorry, Dr. Ramsey, but I think I don't want to do this. And she did not blink, she just said, You know what, Kyra, you would be an amazing clinician. She said, your, your skill, everything is right about you, she said, but I always thought that you do something bigger. Those words just gave me permission to break from tradition, and to not care what other people think because I had her blessing.

Tracy: I just got chills from that. Because I feel like in many people's minds, they would feel like what you were originally doing was the bigger her wisdom and that I just think is so profound.

Kyra: And it's right for a lot of people, I don't want to mistake the fact that it wasn't the path for me to assign generalities that it's not a wonderful path for many people, because it is all of my colleagues, all of my peers who have done clinical work, we have a shortage of physicians in this in this country. And that concerns me a lot. But, you know, we need to redesign that experience to I mean, I think one of the things that intrigues me lately is, how do we make the clinician and the patient experience equanimous in our care for them. Because right now, what we're doing is we're draining Person A, the clinician, to serve Person B. And that has been a trade off that has been paid off with ego in the past, meaning that we give person a power and ego and you know, being self righteous and being invincible and playing God, those things are breaking down now. So how can we design an experience, where it upholds the humanity, and the kindness and the compassion for both parties, That, to me, is the definition of healing. And we need to restore that in our healthcare system.

Chris: You have this experience with the patient with gout, you decide to go back and rethink what you're doing get on this journey. And you end up at Harvard in Public Health. One of the things we see here in Silicon Valley is the real lack of patience. And I'm curious how you had the patience to pursue this second degree when you knew the world sort of needed you?

Kyra: That is a really loaded question for me in particular, because in those days, I was a single mom, I had, you know, a nonprofit salary. So I was financially at the bottom of the barrel, I had a non supportive ex at that point, who was not supportive of me going back to residency or going to graduate school or anything, when we broke up originally, is our peaceful but then this was not because we disagreed, and we had to go through the court system and, and it was extremely terrifying for me to think that I would lose my kids that I would, you know, not be able to afford it financially. And all I can say is that every person I know has been at those moments. And the only way to get through it is to get comfortable with being completely in the dark, and not having any idea that what you're doing is going to work out. And I think that applies to design too. Because all of us in the design process go into this dark night of the soul, you know that? Were you just confused or you don't know the answer or, and that that's where the power of iteration as a design thinking discipline, I think, is a very important point to keep in mind. You know, I had this experience on a client project the other day, actually, and I was going through it and I just couldn't get it right. And I just said to myself, Kyra, this is just iteration. If you keep iterating if you just keep pressing on through this, you will find the right image, you will find the right look, you'll find the right words, it will happen. It's always happened. And I think that having that confidence, then lends itself to impatience because impatience is really at its base, a lack of self confidence. You feel like you have to control and over, exert and make things happen because you're not comfortable in your own skin. You're not, you're not experienced enough to know yet that repeatedly it works out if you just keep iterating.

Tracy: And I would say, as a practitioner of design, it's really hard. Even after seven years of doing it myself, it's hard to believe in this process of iteration and exploration. You do doubt yourself, even if you have the confidence in the experience to know what works. When you have gigantic challenges, insurmountable challenges, challenges that people have tried to solve in the past and can't brilliant people. It's, it's very daunting.

Kyra: Yeah, exactly. And it's humbling, because you can't come from a place of arrogance to say, I'm the one I'm the chosen one who's gonna solve this, you just have to say, I'm going to, I'm going to stay the course i'm going to continue to apply their creativity and the skills I know, and that's where I think mentors are very critical, because they can say, they can look from the outside and say, yeah, just keep doing what you're doing. Just keep pressing on, because we can always see in other people, that they're close, or that they're able or those kinds of things, but when you're in it, it's super hard to have that self awareness.

Chris: Kyra, would you mind, you have me really hanging on the crossroads that you went through? You're in Harvard, now you're in public health, will you keep going on the story and take us up to how you ended up where you are now with a new book coming out, etc?

Kyra: Yeah, this is a lot more investigative and personal than I thought this was gonna get. 

Chris: It doesn't have to be by the way, 

Kyra: Oh, it's fine. 

Chris: I read it's fascinating and then I think we can get to the book and that would be amazing.

Kyra: Absolutely. And it does tie to the book, because the book for me is kind of baring my soul. I thought about this, when I was writing the book, I said, You know, I could go from this very authoritative. Here's how you do X, Y, and Z. And I started writing a book like that, and something in me was like, No, you have to share yourself, you have to let people in on the surface, you look so successful, or you have all these credentials, or that kind of thing. But what is it like to just be a human, and what are the pains and the processes that you went through? Because my single objective is to help people realize they are not alone. They're just like everybody else. And that hopefully, we'll reduce or remove their suffering and their barriers to their own greatness. So going back to the Harvard thing, first of all, it was a privilege to go to Harvard. And it's a short program, because I have an MD degree. So that was very beneficial. And I survived it by taking out extra loans, frankly, and flying back to my children in California every other weekend, or every weekend, and going in the hole tremendously. And then I had this focus on not just the public health curricula, but I took courses at the business school, I took courses at Graduate School of Education in Cognitive based Curriculum design and Media based design of education materials. So I really had a flexible degree, to be able to compile all the skills, I needed to come back to the Bay Area, and to be somebody different. And I just saw it as an investment period in myself, where I was going to go into the mode of just soaking up as much of the experience of the beautiful, wonderful talents that exists there. And bringing those back and making something new out of myself. So I had this vision that I had a certain salary amount in my mind while I was in graduate school. And I talked to a company and I and they asked me how much I would want and I told them, and they had to go back and figure it out. But they created a position for me. And they gave me exactly what I had imagined for the salary I needed to come back and not only financially recover, but you know, support my kids and get ready for their next phase because they were going to go to college. 

Chris: So you come back. What did you, what were you doing?

Kyra: So I was designing programs and products for a large payer, and they had about 18 million lives that we covered. And I was creating wellness interventions, disease management interventions, population health management interventions, which was my thesis at Harvard. And I was creating research studies that would test certain interventions and discover new interventions in mind, body and metabolic medicine. I was creating apps, I really just had a fun time. And at the same time, there's always a restlessness, I think whenever you're in a particular role, or you know, have a particular place in your career, there's a little restlessness of what you what you can't do or what you don't know or what you don't have. And for me that restlessness was, I'm creating all of these b2b products, but there's a little bit of a cheat factor here in that even if it's Crap, it'll sell, you know, it may not help people. And I really wanted to create things that helped people. And so for me, breaking from that role and going to Stanford and working with BJ and also just applying all this kind of closeted neuroscience studying that I always do, really combining that was my answer to how do I take my own self as a designer to another level? You know, so I've done it at scale? How do I now do it in a more effective way? I know how to do it intimately one on one from the youth work, and to change that behavior in person. Now, I know how to do it somewhat digitally? How can I combine those two and really infuse everything I do with the knowledge of how people really live? And how they what they really care about? And what is stable with them within them? And what is ephemeral within them? And what outcompetes other things in their lives, and, and all those dynamics that I've witnessed, you know, in the various roles that I've had, I'm wondering, for people who may not be as familiar with the medical system, what were some of the actual things that you developed? Or how did that look, from the patient point of view, the kinds of things that I would develop at scale would be, you know, like a metabolic syndrome program, you know, that would help people to lose weight. And to get out of the risk level of cardiac and metabolic risk, meaning pre diabetes kind of things. I also launched and developed an initiative around Mind Body stress reduction at scale, and tested that online and in person to see what the equivalencies or the differences were in the efficacy. And I also helped to design apps for senior care and for sharing of data. And I also developed an algorithm that helped to identify and match people's needs at scale, that would be the next thing for them based off of their health data.

Chris: So at this point in your journey, are you feeling like you had arrived?

Kyra: Again, you know, I would define my quest, as at least as I know it right now answering the question of I know what I should do, I don't know why I don't do it. That's what I have on my wall. And I approach that with science and design as a combined mixture. And my intent is to reduce suffering in this world at scale. So I will always probably be restless, I imagine, I will probably want to do more to like, take my last breath. Certainly, I feel very satisfied right now with the kinds of understanding that is available to us, you know, through research through this sort of tipping point in behavior, science and neuroscience that's now infusing its way into design thinking and those kinds of disciplines. I really am excited to be one of the people who's weaving that together.

Tracy: So did you leave the job that you had to start your own company? Or was there another step in between?

Kyra: Yeah, I did. I left I started my own company, I had sort of my vision for what I wanted it to be called, EngagedIn, because I felt like how to get people engaged in their health was always the problem. Now, just and it's took off immediately it when something's right, I find that the door flies open at first, it doesn't mean that you won't work eventually to make it happen. And startups have almost like a fixed amount of energy that you need to put into them no matter what their size is to get them going. Because it's almost like having a baby, you know, all babies need food. I've been through that process several times now. And it's never easy, but it's exhilarating. Because it shows that the universe is working with you to put it in a more mystical fashion. You know, you can't do anything on your own. And I don't know what the how to describe those forces. But certainly, it just was like, Yes, yep, you're supposed to do this and come this way.

Tracy: So what does EngageIn look like today? And how do you engage with people and patients?

Kyra: People approach us typically I do a speech or something and somebody comes up to me and says, Hey, I work for so and so company. And we have this broken product that's not working to engage people or we have a new product idea we want to go in or we have communications that suck or we have communications want to do. So we typically do products and communications either new or revisions using may or design and neuroscience design. We also do a form of market research that involves designing for the unconscious mind. I find that a lot of the market research out there tips its hand, you know, example was we did this study with people with diabetes. And the person we had hired as a contractor to help us with the ethnography portion of it was like okay, well then we go in and we say, hey, do this task or do that task and we said, No, no, no, you need to just give them a different task from what you're wanting to observe. And then they'll show you their habits of how they go about this thing on the way to this other objective that you've distracted. to their conscious mind with. So those are the kinds of ways that we get the deeper, more reliable truths about how people live, and what kinds of fast brain algorithms they're running off of.

Tracy: Why don't we jump into talking about your book a little bit? Because I know it's coming out. It's called Well Designed Life, what's the main message? What are you trying to accomplish with it?

Kyra: Yeah, so if I could have one wish that the book would achieve, it would be to shift the paradigm of everybody who reads it from being whatever they think they are to being a designer of their own life, I want to put people in charge of their design process and to approach their life and the problems, they're trying to solve the behavior change, they're trying to get out of themselves as a designer. And the advantage that I think that paradigm offers is to instead of go to this, you know, I want to set a goal, which is very traditional, I want to set a goal that I achieve set goal, then I relapse off of said goal, and then I hate myself, I want to break up that pattern and free people from that disaster by instead, I'm a designer, I'm going to go towards this goal, my role as a designer is to process how to get there, how to improve the way I get there, how to sustain the way I get there. And then when I see it slipping, because I set an expectation in the book that all designs fail at some point, they all have expiration dates, especially when it comes to behavior change. What used to work for you no longer works for you at a certain point, either because you get bored of it, or you move or you get injured, or whatever it is that changes, you have to then go back to the process mindset, which is that of a designer and say, Okay, next design. You know, it wasn't me that failed. It was the design that failed, or is the design that expired. And I think that frees people from over identifying with the outcomes of what happens to them. One of the more inspiring people I think, that I'm listening to these days is Carol Dweck, who did a bunch of work at Stanford about mindset of successful people, and students, college students in particular. And what she found was that people who focused on the outcome didn't do as well and weren't as happy as people who focused on the process. So I think at very base, the book sets up a process mindset, in people that I think will be very liberating for them.

Chris: You know, your book starts with saying, why can't people change what they say they want to do? Why is that?

Kyra: It's a very simple answer at this point, because the science and the fMRI data and all that stuff has really elucidated this in most head last decade. And so now what we understand and that my shorthand way of naming it is fast brain, slow brain, you know that there's a fast brain, which is your unconscious mind, which governs and runs scripts, if you will, of up to about 90 95% of your behavior, so that it can free your mind up to not have to remember to put your shoes on every time. And then there's your slow brain, which is I want to set an intention to stop doing this or to start doing this. And the asynchrony. between those two is the gap into which all this hypocrisy and you know, I intend to do a but I end up doing B. That's where that all comes from. Because frankly, the slow brain is at the very beginning of what we call neuroplasticity, which is when you grow and sprout new neural networks. And those new neural networks are too young and puny to compete with the sort of super highways of our habitual behaviors of our fast brain behaviors that are myelinated that are, you know, our go to even knee jerk responses, our assumptions, our biases, all those things. And you almost have to compete with those by building up the slow brain to either be more in control. And that includes, you know, removing things in your environment that would work for the fast brain, you could also slow down the fast brain by creating friction, you know, an example that I give in the book is putting cookies in the freezer so that you don't just scarf them down, one after the other, there's some barrier there that helps you to think about it before you do it. Everything that is behavior change related in my mind is either trying to make things slower for the slow brain to catch up to the fast brain or make the slow brain faster by slowing the fast brain and that habitual response. So I recently got married, remarried, and my mother was super excited about coming to the wedding. And since the beginning of the year, she had been trying to diet, which is usually her response for going to a special event. And so she's been yoyo dieting her whole life and she's had various successes with the cabbage soup diet or doing this instead of that and so she tried all of her normal tricks, and of course, she did not succeed because she's bored of those designs or those designs were expired for her. This is not her language but mine and she would call me and lament and complain and grieve over the fact that she wasn't getting anywhere and I didn't want it anymore. Fear at all. Because of course, when you're in your own family, it's very hard to play this brilliant designer role. It don't always accept that off of you. They'd rather listen to an infomercial on TV than you. And so finally, after months of this, I said, Mom, do you want some help with this? And she said, Yeah, I'm at the end of my rope. I said, All right. So you have shared with me that you've got this popcorn addiction. She's like, yeah, I can't not eat popcorn. You know, it taken months for her to realize that popcorn or carbs, and carbs crave belly fat. So we've gotten that far. And so now it was up to designing for popcorn reduction behaviors, you know, how do we get less popcorn into my mother, and her habit was to pop a giant bag and sit down in front of HDTV. And so I said, Okay, well, let's get some mini popcorn bags. Next time I talk to her. Mom, did you get the mini popcorn bags? She's like, no, I went to Costco and I bought the gigantic bag thinking that I would put it into smaller bags, and then I would eat them one at a time. I was like, What happened? She said, I ended up eating the whole big bag. And I was like, Alright, well, let's go back to the drawing board. iteration number two, I want you to go back and get the mini popcorn bags. She's like, okay, so she went to go purchase them instead bought something else she bought, like nuts that were coated in honey and caramel and, and she ate that whole tin. And so now she's frustrated with that. I said, Okay, well, that didn't work, you definitely want the popcorn, your behavior is to eat the entire volume of whatever you have in your hand. So we have to design for that heuristic, which is a mental shortcut that your brain is making. So let's go back and do the mini popcorn bags. And then she says well, but the mini popcorn bags have this many carbs. Now that she's aware of carbs, and it's too many carbs. And I said, well, mom is way less carbs than that giant bag of popcorn that you ate. And she started laughing. So she finally got the mini popcorn bags. And she it finally got her popcorn habit under control. And the good thing about that is that her fast brain was eat the entire volume that you have in front of you, her slow brain was I already bought the mini bags. So I'm preventing my fast brain from taking that too far. And the other thing that's magical about it is that you pop one of these mini bags, you have almost a whole minute in the microwave where your slow brain gets to have a chance to be in control. And if I need jerk and go get another bag, I have a minute to feel guilty, hopefully, to stop myself. So those kinds of things are examples of how you can speed up and slow down different parts of the brain. 

Tracy: And so what was the eventual outcome for your mom?

Kyra: She looked fabulous. She was beautiful as always. And the other thing is that now she eats healthier, I think the most amazing part is she knows that she has to make herself happy in order to stick to something. This is the thing I think people do all the time when they design something harmful to themselves or harsh. Eventually, they will rebel. And in the book, I talk about your future self and your past self and the relationship between those two, because your past self could say I have a great idea. I'm going to buy this treadmill for you and you're going to run on it every morning at five and your future self is like hell no.

Tracy: Yeah, I think it's really hard for people to imagine their future selves. I mean, with behavior change in finances where save for retirement, and you think Yeah, I totally want to do that. But it's so removed from your daily life that you never do or flossing your teeth. I think it was Elizabeth Gilbert, who was talking about for her, it was easier to imagine giving a gift to that future person. And that's helped me with flossing. I'm like this is for you 70-year-old lady who wants to eat corn on the cob?

Kyra: Yeah, exactly. It should be approached with the tenderness of a good relationship,

Chris: A lot of the context that you're designing for their substantial and significant a patient with uncontrolled diabetes. And unless this behavior change happens, the future looks extremely grim, sort of taking the stairs instead of the elevator. It's just not going to do the trick. How do you apply your thinking against substantial change?

Kyra: That is such a powerful question, Chris. The first thing that comes to mind is the chapter in my book where I talk about relapse and reboot. I was blessed enough to work with some really gnarly habits in the youth that I would serve and that I'm still on the board for an organization that serves. There is such a consequence for them and the people around them if their behavior doesn't change, and we would always lose one or two of our close friends and youth participants in our program to murder or some other disaster in a year's time. And I found that much more traumatizing than anything I experienced in patient care. Because it was so personal. It's so close. There was a lot of grief that came from that. But on the flip side, because the stakes were so high and because it was such a different problem to try to solve, I feel like I came out of it with a really good sense of what works. And in the chapter that I share kind of my equation that the youth taught me, which is, people need to know three things in order to keep going. Number one, that they're not bad, them or two, they're not alone. And number three, that there's a way out. And so in the case of these dire disease states like diabetes, if you can check off those three boxes, with the way they're communicating, and the way that your intervention is experienced by people, they will respond, because that's the unmet need is they either feel like they're bad for what they've done to themselves, especially with type two diabetes, there's a tremendous shame elephant in the room that needs to be addressed. And then, you know, they're not alone. There's other people who are going through and have experienced and have felt what you're feeling. And number three, there's a way out, yeah, maybe you can't stop your foot from being removed. But you can do these things, here are things that you can do. And that's that empowered mindset of designing.

Chris: Do the same behavior principles apply to some of this sort of opportunistically trying to change something in their life versus doing it because they have to or shirt or for their health, 

Kyra: For a lot of people taking care of their grandbaby or something like that is more dire than taking care of their diabetes and a common strategy in design is to link those two, there is a chapter in the book on motivation and emotion, which this question is kind of leaning in that direction. So I'll just go ahead and go there. Our brains, we need to have a certain emotion in order to activate around anything, a certain level of emotion. And so I talk about a two by two table where you're trying to assess what quadrant is this behavior sitting in, and the two by two is strong emotion, weak emotion down one side, and then motivation is either stable or unstable. So in the case of a peak performance question, Chris, the way I would map that to the two by two is, you might be inspired, at some point, to be motivated to go to that next level within your career or yourself. And that may be an unstable motivation. And it might be a strong emotion, meaning I really, really want this I really, really want to be that person. But because it's an unstable motivation, it's not always on. And so life takes over. And what may happen is that either the emotional crest will bump that over the edge into action, maybe your current work situation starts to heat up, you're not happy anymore, or those kinds of things to kind of poke you in the in the rump to get going. Or your motivation becomes more stable by not just a fleeting idea now, but this is my self-image of who I am, dammit. And I'm going to do this now I have to fulfill this. And this motivation stays on all the time. And therefore you get action by those two alignments between the emotion and the motivation centers.

Chris: What's more productive for people to motivate? Is it fear or inspiration?

Kyra: Motivation is highly contextual. So the way I best understand it right now is that it's a some vector of everything that's happening. So you might have a little bit of discomfort with my current job, you might have a lot of turmoil at home, or a lot of need to please other people. And somehow, the sum vector of those adding and canceling and forward and backward energies come up with some sort of direction. It could be a net-zero, or it could be pointing north, or could be pointing wonky. Who knows? But that's kind of what is happening. And it's happening on a microscopic level, you know, do I want to order this at Starbucks or that at Starbucks, and it's happening at a macro level, big shifts? Do I want to move this year? Do I want to marry this person? Those bigger meta-questions.

Chris: Is there a question that sort of, we wouldn't know to ask that you wish we would?

Kyra: I think that, you know, if I were to bet on one human practice, what would it be? And for me, it's being able to release the darkness that the shame that lives in somebodies deepest, deepest secret vault, because I find that people who take care of that are able to run much more energy in the world, that they're not as tied down, they're not as funky in their decisions, they're able to just fully be who they are. And design thinking, of course, is one tactic to manage that. But the implication there is that there's this kind of secret grief, if you will, the secret shame and exists in all of us. I mean, I I teach Stanford students and they're completely paranoid that they have imposter syndrome and people who were multiple times in jail, they have a different complex around their shame. Like they think they're going to hell. Everybody has their thing, and I think it's just about healing that thing.

Chris: Yeah, what do you suggest there for people? I think that's so interesting. And I think a lot of people would be nodding their heads right now listening to you, including us.

Kyra: Yeah, I mean there's, there's this many answers to that, as there are people, for each person there is their own remedy. I would say that again with the book I just want people to design for it. I want them to be relentlessly designing and busting for what that is for them, and it won't always be stagnant, because you might have the answer in 2015, and that may change in nature, or need in 2016. And just to have the quality of relentlessly pursuing the truth in themselves and being courageous enough to face what they find and creative enough to respond to what they find, and have that confidence in themselves. That's what I wish for people.

Chris: That was amazing, Tracy. I think the things that really stood out for me one on a personal level her process and journey, just that idea of, you can see the finish line at your residency you've got two weeks ago, you have this one patient that comes in, and ultimately tells you the truth, and that rockets you into a completely different mindset, go to Harvard public health school single mom with no money it's just mind-blowing.

Tracy: There were such high stakes.

Chris: I think what makes that even more significant is medicine at that stage is a fairly well-defined path. You check this box then you check this box and as she put it, it's pretty much mapped out for you you just start going through all the hurdles and jumping through hoops, and then you come out the other side so you're actually not in much of a position to question everything or redesign it to reimagine it and there she was wondering how she's gonna pull off what was mostly just an instinct, man. It wasn't like she said, Oh, turns out I want to be a lawyer, she said turns out I want to do something. I don't even know exists.

Tracy: At that point, she hasn’t met BJ who was really influential in her career later.

Chris: So we've got to talk about cookies. I said if I put cookies in the freezer. I would probably just eat more frozen cookies.

Tracy: That is true.

Chris: But our point was well taken which is can friction be added in your own particular personal way. Yeah, for me, for example, if the cookies just aren't there, and now I need to actually go to the store and get a cookie that might be enough though I can say I have done that before. It's not gonna happen as frequently as it would if I've got a cupboard full of cookies.

Tracy: What I thought was more the point maybe with her mom was that her mom figured out that her trigger was eating the entire volume. And so, just by reducing the volume that could work for her.

Chris: You know the fast mind slow mind thing I hadn't heard of it described in that way before but it makes a ton of sense to me. It's just a different way of describing this conscious subconscious more thoughtful and considered versus habitual parts of ourselves, I think we're constantly in this pattern of those two things tripping each other up

Tracy: Absolutely, I mean we've talked about it. Pretty briefly in one of our earlier shows, it might have been our first show, but the whole idea that you're bringing it uses so much energy, and all it wants to do is conserve its energy in case of danger. That's why you start to create these habits and she mentioned, I don't know she called it myelination or something but there is a chemical reaction sort of happening as you're doing things habitually laying down these tracks and making them thicker and thicker so that it becomes easier and easier for you to do the habits that serve you. So I just find all of that fascinating. And the fact that we're starting to understand that better I think will just go such a long way to helping us understand our habits better and then how we can change our behavior 

Chris: So the ultimate Aha that I know you and I both agree on is this pushing together design thinking and the best of science and Kyra to me embodies that in such a powerful way because she came from the most aggressive side of science, and then merge design thinking to it at a later date, which is, it's a story you rarely hear frankly and I think it's so powerful, and it blends that the humanity and the emotional factors, with the hard scientific factors that ultimately do a great job of describing how it really works. If you go too emotional, then you don't really incorporate things like natural habitual habit, if you go pure science as we've seen many many times, it's like, Wait, where did they come up with that report it doesn't sound like a human being actually works that way. 

Tracy: When I first heard of the work that she was doing. I mean, I am a science enthusiast. So, by no means an expert but my passion and interest lies in understanding people at a scientific level as well as the level of what a designer would be interested in. I couldn't believe that she existed. And then she's already doing this work, we talked on the phone before interview, and I was telling her that while I was at IDEO working on a lot of work in education. I started getting really fascinated about learning how the brain works and what we need to be able to learn best, how much sleep you need, how much rest how much play, all of those things and I started to dabble in the space that she is fully immersed in, and I was trying to think of how could we create design principles around humans like their physiology, psychology, biology, how can we create design principles around that and give that as almost a toolbox for designers to start from. And I don't think that that's something that happens very often in a project or in a company at large, we're looking at populations of people, and we're saying, Oh well, if we're talking to cookie eaters, what types of cookie eaters but we don't look at things at a physiological level.

Chris: Yeah, my more basic way of playing that back to you is that there are these universal truths that are more sort of physiological genetic human condition traits, and then we add on to that, what becomes more personalized and emotional and that's what I really loved about her work was she fully recognized that there are as many ways to go about the changes there are people, but there are still these universal human traits that sort of bind all of us, and can hold us back or advance us. So let's start with the fact that those are there and then overlay the fact that these are highly personalized and personal experiments that you run for yourself, that will work for you, that may not work for all of America or the developing world or whatever. 

Tracy: And I think that's so powerful because it gives individuals autonomy, that gives them choice and a role to play in discovering this and the iteration that she talks about being so important and just so many times I feel like when people start off to do something they feel like they need to know the answer. I need to know what my passion is I need to know what exactly is going to work for me I need to know what's going to make me happy. The reality is you don't know. And if you just start trying is hot or cold, should I move more in this direction, or less than this direction, you'll start to get there and you'll get that clarity and it's not required from the beginning. 

Chris: Exactly. 

Tracy: I also think it's important. I mean, you were talking about it before where you don't question, the path you just take the path and everybody's kind of on it together, but she has such a humility, about her, that is so refreshing and I think that's what makes her able to do the work that she does. My dream for society would be that more of us had that.

Chris: I can’t agree more

Tracy: Alright, that’s a wrap! Thanks so much for listening. Our dream is to build a community of people who can create and take advantage of any opportunity that interests them to do as well. Your participation is key. If you want to try out and share back your own life design experiments, or if you've already got a great story from how you've designed your life, we'd love to hear from you on our Facebook page or at resultsmayvarypodcast.com. Our website is also where you will find show notes and links to all the things we mentioned in the show. And if you would be so kind, subscribe to the show and read us and write a review on iTunes or Stitcher, that'll let even more people start designing their lives. A big thanks to Kyra Bobinet for sharing these results with us today. And as always, special thanks to composer and filmmaker HP Mendoza for the Results May Vary theme music and Graphic Designer Annessa Braymer for our logo and David Glazier for audio mixing. And of course, thank you so much for listening to Results May Vary.






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RMV 6 Jessica Semaan Transcript: You Can Design For Pursuing Your Passion

Full transcription:

Tracy: Thank you so much for agreeing to do this interview.

Jessica: Yeah, I'd love to support in any way I can, what you are up to.

Tracy: Thank you. Yeah, I feel the same about you. I'd love to just get an overall, how did you get here? And what are you doing? 

Jessica: So I basically moved to the US because I wanted to go to Stanford Business School, mainly because I didn't know what I wanted to do with my life. So that because I actually had a plan, secretly, I'm like, I don't know, what the hell am I doing? And so I said, Oh, people go to business school when they don't know and spend hundreds of thousands of dollars. Sounds like a great idea. 

Tracy: Right? 

Jessica: So I'm in America and interestingly enough, I went through a hard depression. Because mainly I found out while and, and by the end of it, that it was because I didn't know who I was, I didn't know what I wanted to do with my life. And I came to a breaking point where I had no relationship with self. I was just living for an external validation. And the beauty about the crisis is it got me to see a different side of my life, which was Jessica, who had dreams and had passions that needed to come alive, weren't coming alive. And on top of that passion was writing. I just love to write, but I stopped writing, I guess, when I was 14 because nobody tells you that anyways, writing is something that will make you money, that it's important. So just focus on things that make money. So during business school, I said, Why don't I start a blog on the side called Passion Stories. And it will be interviewing people who are passionate about what they do and get me to write again, obviously, I didn't start it because we all say we want to do things, and we don't. So up until graduation, I just talked about it here and there, but never did anything. So when I joined Airbnb, which was then a small startup, I was talking about it to one of my colleagues, and she's like, Oh, I love doing photography on the side. Why don't we do the blog? So then I'm like, sure. Now I can get away with purpose. Because there's something someone else knows about it and is involved. So after I would say you're in an Airbnb, we started going doing these interviews. I remember interviewing a fashion technologist watercolor is a woman with CJ.

Tracy: How did you pick the people that you were going to interview?

Jessica: At the beginning, it was word of mouth? So I would ask people like, Do you know someone who just love what they do? Like? Yes, you have to talk to Allison who left this job in finance to fashion and surprisingly enough or not, people love to share their stories. They were hungry, to be heard. And so that intersection of people wanting to share those stories and other people wanting to hear them, made the blog, actually start picking up and becoming successful. Photography, obviously, is so helpful in doing that. And the more I was working on the blog, the more I started seeing, you know, when you start seeing a trend, and you're like, hey, How come nobody noticed it, but I'm seeing it. And for me, it was how many people had started on the side. Just this simple idea of if you want to pursue your passion full time, just start something small on the side. And I realized that it wasn't very much in the narrative, the narrative career, nobody encouraged me to start on this side. So I said, Okay, that's what I'm gonna do. I'm gonna get more people to start on the side through workshops. And the workshop at the beginning was totally like hacking something, go, this was like three-hour thing in my apartment and invite friends. And then it picked up or coming hungry. But nobody was saying anything. They would be like, all right, I commit to doing this and this and this, and then not doing it.

Tracy: They would come to the workshops and participate. And then that was sort of the end of it?

Jessica: Yeah, they would be like, oh, I'm excited. I want to start this blog. I want to paint again, I want to do this homebrewing. Nothing happens. Yep. So I was like, This is not working, you know. And so this is essentially through like iteration, like borrowing a lot. Also what I learned from Airbnb, but like a startup and thinking about at that point, the workshops as a product, and how can I iterate on it, it turned into finally the product that is now their five-week program, is since then we've launched over 400 projects through it. And it's incredible what people can accomplish when you give them accountability. When you give them support when you give them structure. Magic happens. So I finally like when the company became more sustainable, I realized that I can make it to a point where I can pay myself a salary, not a great salary, but something to live with and able to be three other people. I asked Airbnb. 

Tracy: That's amazing because it isn't easy to do. How long did it take you to get to that point?

Jessica: A little over a year and a half.

Tracy: And what were some of the things that you learn during that process of iteration that really helped transform the workshops you were offering?

Jessica: I learned that people don't know what they want, which is universal with anything when you start asking people. I mean a lot of people were more ambitious about what They can do then what? Actually, they didn't. So not trusting that people are going to follow up with what they do and just being their mother, to creating a brotherhood that mothers people think people wanted you to ask them every week to show up and see what they accomplished by the beginning. They don't say they want it. And then as soon as they opt you offer, they all over it, and they are actually getting shit done. I also learned that fear is the biggest, biggest, biggest resistance like, there is no other thing like, oh, I'm not good enough. I don't have to have that. It's just fear. So giving people that awareness and tools to deal with that can take them places. And the last thing, the power of having people meet in person, nothing really can replace that personal connection that you make the power of meeting up in person. That's why when we launch an online product, next year, half of it is in person and half of it is online is going to be launched in five cities, where LA, New York, obviously San Francisco, DC, and Chicago. Wonderful. When is it going to launch we're planning on launching the first quarter of next year, you take the online classes, then there will be someone locally who is going to organize the meetups, the weekly meetups to report back on your project. And then the best projects would get to be flown to San Francisco to participate in our big event China where I was fly them and pay for their state to launch their project in San Francisco.

Tracy: I'm wondering what are your dreams for passion go? 

Jessica: My big goal is getting everyone started. Everyone, whatever city you are, whatever age you are.

Tracy: And what are some of the projects that have come out of your workshop series to date that you're incredibly proud of?

Jessica: One of them is called XO Bakes. And it's a project about designing cookies that turned into a business. It started literally with this woman began Oh, I like to design cookies. And I just left my tech job at square to her literally designing cookies, putting them out there getting picked up by the media, all of a sudden having more orders that she can handle obviously paid orders, needing to hire people to work with her and starting Seeing no four orders and then her going from being like oh, I just left a job to now I have a business. I love that because of the idea of like, Oh, I like designing cookies, who's gonna give a shit? And then being like, no this look at what could this do? Just if you start doing it, putting it out there in the world.

Tracy: When you say like designing cookies, what are the cookies look like? What's your angle?

Jessica: So it could be anything from designing your logo of your company and cookies to designing Frida Kahlo cookies, they're just so beautiful. And then that the idea behind it is people want customized gifts, right or something special to use for an event for the Oscars, there was this huge party in LA and they wanted her to design like cookies for the Oscars. And it's something that again, like she doesn't want to build the next big company, she just wants to something that she likes on the side that make rich enough money and why not?

Tracy: One of the things that we've sort of seen as we're talking to people, there's a sense that you need to work in tech, and sort of have a safety net of this tech money in order to live your dreams. Obviously, we don't believe that that's true. But have you seen that myth dispelled and the types of people who are coming through your program?

Jessica:  Yeah, I mean, I would say especially people like because we live in San Francisco, there is that other feeling of like, I'm sick of tech, and people just want to be like, yes, it's okay if you are, you know, that positive reinforcement. I think it's the narrative. I go back, I like to talk about there because it's real like the narrative is startup, an app, and it will be bought for billions or you become the next Airbnb and success is that. So it's zero or a billion, which is a very VC mentality. And instead of being like, what if you built a business that made you a million dollars a year? What are you doing, what you'd love for you don't have a lot of employees where you can travel? Thank you. You can call it lifestyle business. I call it living? 

Tracy:  Have you listened to the second season of Startup?

Jessica:  Oh, no, I only watched the first.

Tracy:  In that one, they have two women starting a dating business. And I think at the end, they decided that well, maybe we're just a lifestyle business. And there's this almost sense of defeat. But like you're saying, I mean, if you're making a business that sustains you that you're passionate about, Well, isn't that success?

Jessica:  Exactly. I think it goes back to that shitty narrative.

Tracy:  Right? And I'm sorry because I interrupted you. You're going to talk about some of the other companies that you have helped through Passion Co that were successful that you're excited about?

Jessica: Yeah, there was one guy that is passionate about cats. And he's a software engineer and he's like, I want to do something about cats. So he launched a cat scale like he both and prototype the cat scale. It's called Little Cat Labs. And it's a scale that links to your absolute because 50% of cats are overweight.

Tracy: Really?

Jessica:  Yeah, so that's another third project is a basically a brand, a beer brand. It's homebrew. So this arena is awesome. So she built a brand and everything from scratch in one month. Now she wants to, like start selling her beer in stores.

Tracy: How did you build that in just one month?

Jessica: Because she was already toying out with home brewing. And then the program gave her or I'm gonna launch the name, the brand, the website, three flavors, named them, test them. So it just gives you that like, I'm going, you know, versus I'm toying.

Tracy: Okay, so now you're doing a conference called Start? How did that come about?

Jessica: Yes. So it came about, because a lot of people were writing us from different parts in the world and being like, are in a country. I mean, I, I want to launch my passion project, but I can't come to San Francisco, or it's five weeks long, I have travel. So we said two things like one. What if we brought 500 people together, like we already are bringing 30 people together in the program and crazy stuff is happening. Imagine bringing 500 people together over three days, what can happen, we believe that crazy amazing things are gonna happen. So we took our curriculum and condensed it into the weekend, we also brought in amazing speakers that we know just to share their stories of starting. And also there's going to be over 30 workshops that you can take, they will help you get started and the last day you launch. So think about it as a hackathon for your passion. So we're really excited because this is the biggest thing we've done. And we've been really also impressed by the response and how many amazing people want to participate, speak, join large projects.

Tracy:  Do they need to come with their passion already figured out?

Jessica: So there's two tracks. So there are people who already know their passion and have started dabbling on their passion project. It's going to be a good platform for them to launch it and potentially win a parametric award. And there are people who don't know. So they're going to go on to track which is the Find your Passion track, which is we're going to give them a workshop specifically that we've been teaching for two years on how to find your passion, they're going to commit to one step towards their passion over the weekend and also launch it on Sunday. And what is the lunch look like? So for the people who are finding their passion, we're dividing people into tribes. So within their tribe, they would be able to show what they did. You know, it could be even like if they painted the mural with the muralist that we're having, or they like, took their first baking class or homebrewing class, or if they wrote the first entry of their blog, anything that was a small step, share it with their tribe on Sunday. And if it's something physical, they can exhibit it. And the people who have a more serious passion project that they came in, they going to go on stage and pitch it. So they're going to take classes on Saturday, they are more how to pitch your project. How do you do your marketing classes, business fundamentals that a lot of people need for their passion project, and they get the chance to win the passion project award. So there will be a jury that will decide six winners.

Tracy: Sounds like such a fantastic weekend. And unlike a lot of other conferences, where you're just sort of sitting back and listening to other people tell you about things, you actually get to go and do it yourself and have that accountability you were mentioning before that's so important to people.

Jessica: And we're not gonna have chairs, the conference or the bring your own chair or pillow to sit on. 

Tracy: What's the idea behind that?

Jessica: You want you to express your creativity, even from the way you want to sit? We don't want you to sit in chairs. Go crazy. How do you want to sit? Right chairs, separate people? You know, what if we brought a couch with you and shared it with other people?

Tracy: I love that idea. Back when I was looking at some of the work that you're doing on the website, you had the quote about people who are dying, that they say they wish they had the courage to live a life true to myself, not the life others expect of me. How does that help guide your mission?

Jessica: It helps us remind people of the urgency, right like because you can always put off what you want to do over there is like hundreds of thousands of excuses, right? It could even be Oh, I'm having a hard time with my partner. I'm not gonna do what I love. Even drama is a way of putting off your life. And so reminding people that as much as it's suck, you're gonna die. What are you waiting for?

Tracy: Yes, do it now.

Jessica: Now, now, doing doing doing because doing gets you out of the fear. That's the only way you can rationalize fear. The only way to like get out of it is movement.

Tracy: Is there something in your life recently that you've felt fear around and that you took steps forward to get over?

Jessica: I did have a medical issue and thankfully, I had surgery, and sometimes doing better things are fine. But that was a wake-up call. And so it was a wake-up call that despite the fact that I'm doing the passion ko and I love what I do, I realized also that I wasn't doing like so many things that I want to do like I have always wanted to go to Bali and I kept putting it outright and writing my book. And since I had this thing I booked all December, I'm going to Bali. 

Tracy: Good for you. 

Jessica: Right? It was things like that, like that changed. I also decided that I want to be in a relationship that when I go on dates, I'm telling, like guys, you know, date and we're like being like, let's play games and being afraid. And if you're not interested in a relationship, thank you. 

Tracy: That's very courageous. 

Jessica: Thank you.

Tracy: One of our first episodes was with David Kelley, who founded IDEO. And we were asking him, you know, how he applies some of the strategies that he helped create to his own life. And what was interesting, as he was talking about when he got cancer, you know, he made these deals with God about what he was going to do if his life was saved. And what was interesting was, even though he's schooled in all of these strategies, and he had this life-altering moment, he still kind of wasn't 100%, following the protocol. And we thought that was really interesting just shows how difficult it is for people to really stay on track to do the things that they want to do. There's so many roadblocks in the way.

Jessica: Absolutely. Yeah. That's such a nice story. Thank you for sharing.

Tracy Yeah. For the audience that's listening and they're thinking, yes, I want to take action, I want to do all of these things. And maybe right now, they can't participate in your workshops, because they don't live here. Or maybe they won't live in the five places where you're going to launch next year. If you could tell them three things that they could do right now that would help them have success and taking action with their passion. What would this be?

Jessica: Number one, I would say you can't do it alone, really, like find someone, it doesn't have to be a friend, right? It could be like someone that shares a similar interest in you, and be like, hey, what if we held each other accountable, or come to fashion code, workshop, or the conference, but anyways, community is important. So definitely find someone Don't think like, just trust that you're going to do it on your own. I would say the second thing is set the smallest goal possible, right? Even if it's saying by next week, I want to find a name for my blog check. By the week after I want to write a paragraph for my first blog post. Because once you start getting into action, you're switching your mindset. So you're getting into a place of possibility.

Tracy:  With the conference, are you planning to have any community-building aspects that come out of that? will people be able to stay in touch or do anything beyond the conference itself?

Jessica: Yes, so obviously, there's going to be a Facebook group for the way we're designing the tribe as you're connected with. We live in the same city, so you can then have subsequent meetups afterward.

Tracy: Well, thank you so much. This has been really insightful. I'm excited for all the great work that you're doing. And I think that the conference sounds amazing, as well as the workshops.

Jessica: Yeah. People want to come to the conference stock conference. That's cool. Let's see. Oh, go get your ticket.

RMV 5 Andy Weir Transcript: You Can Design Life For The Martian

Full transcription:

Chris:  Hey, everyone, welcome back. We're at the fifth episode of results may vary. If you haven't listened to the last episode number four, check it out. We had the privilege of talking to Data Scientist Aaron Scott about living in line with his values racing towards financial freedom by doing none other than moving into his van and calling it home. Today we're speaking to a man who turned his side project into a wildly successful career as a writer, Andy Weir. He's the number-one New York Times bestselling author of The Martian, a story about an astronaut’s attempt to survive after being left by his crew on Mars. A movie based on the book starring a few up and comers like Matt Damon Jessica Chastain, Kristen Wiig, Jeff Daniels. It hits theaters this fall, October 2. So how did this computer programmer by day, hobby writer by night, craft one of the most successful self-published novels of all time? That's what we were curious about. And Andy was kind enough to fill us in.

Tracy:  Thank you so much for agreeing to do this. I'm really honored. I'm sure you're busy with your new number one New York Times bestselling position. 

Andy:  Yeah, it's pretty cool. 

Tracy:  And your Neil deGrasse Tyson shout-out, that doesn't hurt. So I'm wondering if you could just tell people kind of who you are in general, and what is the trajectory that you got to from being a Software Programmer to now being a full-time author?

Andy: Okay, who am I? Well, I'm Andy Weir. I've been interested in writing since I was a kid. Since I grew up reading my dad's gigantic science fiction collection. He had a bookshelf with an inexhaustible number of old paperbacks from the 50s and 60s. So I pretty much grew up reading baby boomer sci-fi. So I wanted to be a writer. But I also wanted to eat regular meals, and not live under an overpass. So I wasn't willing to take the financial risks to be a writer. So when the time came for me to choose a career, you know, as I'm heading off to college, I went with computer programming, which I enjoyed, and I was a computer programmer for 25 years before I finally left to go full-time writing. Back in 1999, I got laid off from AOL with about 800 of my closest friends. And I had enough money from my severance package to last quite a while because ultimately, I was forced to sell my AOL stocks, at what turned out to be very close to AOL's peak. So I ended up with enough money to go a few years without a job. And so I said, I'm gonna take my shot, I'm going to become a writer. And so I spent three years, I wrote a book and it was the standard story. Couldn't get an agent, couldn't get any publishers interested. And the main thing was, it just wasn't that good a book. It was not the Martian. This was a different book called Theft of Pride. So then, after three years of like, not being able to break into the industry, I figured, well, I tried, you know, back to the software industry. So back I went, and this wasn't like a huge defeat. For me, I like programming computers. I like the profession I like doing. So I went back into the software industry. And then as the kind of Internet started to rise and become more and more popular, this is around 2000 now, and you know, people start having their own websites and stuff. So I made my own website, and I put creative work there. I'm like, okay, here's an avenue, by which I can write stuff and people can see it and that's kind of all I really needed. I wasn't after a profession or salary from it, I was just like, well, I want to be creative. And I want to know that people are reading it. I'm not just wasting my time. I made webcomics, I made short stories, and I made serials, you know, just posting an update every, you know, a couple of months, I had accumulated about 3000 readers, regular readers based on the size of my mailing list and that seems like an impressive number but bear in mind that took 10 years to get to that so it's not like I had some like sudden you know, massive following it was just like bit by bit slowly accumulating, you know, a reader here a reader there over 10 years.

Tracy: Were you doing anything actively to attract readers?

Andy: Word of mouth, very slowly. Around 2009, I wrote a short story called The Egg, which was very popular. And so that brought a lot of readers. And just from that, I was working on three serials at the time. One was about a mermaid, another one was The Martian and another one was Jack. Jack is like a story about aliens.

Tracy:  That's your new book coming out?

Andy: Yeah, right. Exactly. The Martian was the one that I was kind of most motivated on. So it's the one that I finished. And people would, you know, give me feedback as I posted chapter after chapter and stuff like that. And it was really cool. And then, when I was done, I figured, Okay, I'm done onto I'm gonna concentrate on Jack now or whatever.

Tracy: I'm sorry. Because just knowing how complex the Martian is, the fact that you're like, cool, okay, I'm done. I'm just gonna move on. Like, it must have taken so much work.

Andy: Oh, it took three years to write. So it's like a huge undertaking for me. But it was like my hobby. I didn't look at it as a potential career or anything. It was just like, this is something I'm doing for fun in my spare time.

Tracy: You said people were giving you feedback, were you then going back and reworking the serial? Or were you just kind of like, cool, that's great, move on?

Andy: No, no, I would definitely go back and rework it. And I told people that I said, like, Okay, this is a serial, but you shouldn't consider everything posted to be set in stone and canon, I reserve the right to go back and change things, especially if there are errors or whatever. And I did because my readers are science geeks like me. And so they would see when I made scientific errors, and they pointed out and so I'd be oops, okay, yeah, and I go fix things. And also, sometimes I'd write I'd be working on like chapter nine. And I'd realize oh, I want him to have a such and such and thing. And I go back to chapter three and make changes that he has the thing I need him to have in chapter nine. It's just I basically said like, you're not reading a cereal. You're watching me write a book. You know, that's a little proviso, none other readers minded.

Tracy: That's actually a really lovely way to think about it. The idea that you're incorporating your readers and your potential fans into the future into the writing process, I think is a lovely thing. That hasn't really happened, except in the past, maybe a decade or so.

Andy: Yeah, there was really no way to do it earlier. But and I think it worked great. I called him beta readers. But I, you know, I can't do that now. Because now I've got like for the book I'm working on now, Jack, my follow up. I'm doing I have a contract with Random House and I like a good old fashioned normal print writer. Yeah, of course, they don't want me to post it on my website for free as I'm writing it, they want to sell it. Yeah. And I like that plan, too. Because that's, that's now my sole source of income.

Tracy: Oh, it's fascinating, because you by doing the serial part, it happens organically. And I wondered if you could talk a little bit about that, like you, you put it out there, it was free. And then even though Random House would like you to have like money from the get-go. It doesn't seem to have deterred your money-making abilities to do it this way.

Andy: Oh, no, this one's been really good money. Because I mean, it's number one on the New York Times bestseller list, right? It's, fine. And I liked the beta reading process. Also, one thing that helped a lot was one of my biggest challenges. And I think a lot of writers run into this. It's just motivating yourself, right? Just Okay, yeah, I have the story in my head. Now I need to put it down on paper, and actually sitting down and doing the work, right? That was a big motivator for me to have the people like sending, you know, hey, I liked this last chapter, it was great, or Ooh, I'm really looking forward to the next chapter and stuff like that. Seeing that really helped motivate me to continue writing,

Tracy: Right. You can't let your fans down.

Andy: Right? Well, also just I mean, you know, external validation, positive feedback feels good.

Tracy: So okay, so you put it out there, and people were clamoring to have it in different mediums. And so you went from having it on your website to?

Andy: What happened was, it was a serial, and I'd finished, and people emailed and said, Oh, hey, I love the Martian, but I hate reading it in a website, can you make an E-reader version? So I figured out how to do that I made an ePub and a movie version, which are the two most popular standards, every e-reader in the world can do at least one of those. And so I posted them on my website and said, okay, you can read it for free on the site, or you can download it for free over here. And so people did that. But other people emailed and said, Hey, I love that it's available as an E-reader, but I'm not very technically savvy. And I don't know how to download a thing from the internet and put it on my Kindle. Can you just put it up in Kindle so that I can get it that way? And so I figured out how to do that. And they have like Kindle Direct Publishing. And it's a really simple system. And I recommend it to anybody who wants to, you know, take their shot at it. It doesn't cost you any initial money. You just post your book up there, and you set the price to whatever you want, and they get a percentage. You're not allowed to set the price to less than 99 cents because they're not a charity. They want to make money, right? And so I set the price of 99 cents I tried to figure out okay, how do I give this away, because that's all I want to do, right? Yeah. But I'm like, Okay, well, I have to set the price to 99 cents. So I set it to 99 cents. And I said, Alright guys, you can read it for free on my website, or you can download it for free as an E-reader, or you can pay Amazon a buck to put it on your Kindle for you. And more people bought it from Amazon than downloaded it for free for my site because it's just that's the reach that Amazon has into the readers. And also people are willing to pay a buck to avoid hassles. If you're already set up. If you've already done all your registration, everything, you just have a Kindle. And you can be like, well, I can go through a bunch of hassle to download it from his website. Or I can push this button and pay $1. Right, it'll just be on my Kindle forever. You know, people are just willing to do that. So it got really good reviews on Amazon and then got around by word of mouth. And it started selling well. And then it got into the top sellers. And that's what got the interest of Random House for a printed dish in the interest of Fox.

Tracy:  Yeah, so maybe talk a little bit about that, because we talked about the book, but now you have a movie coming out. It's with one of the best directors in the world starring Matt Damon and Jessica Chastain, folks that are kind of cool. Kristen Wiig, right? 

Andy: Yeah, a huge cast, just an amazing cast. And people were really excited about the project. I heard from the producers that a lot of these like big-name actors and actresses. I mean, they did not have the budget to afford all these people, right? So they were like, Hey, we're really happy that you're interested in doing this, but we can't afford all of you. So we're paying less than you are worth. And we understand if that means you don't want to take the gig, but most of them did. 

Tracy: That's amazing. 

Andy: Oh, they really believe in the project. I know that what people usually ask me as well, what? To what extent are you involved in filmmaking? Right? They always asked me that. I'll tell you, my main job was to cash the check.

Tracy: That's a pretty good job to have. Nice work.

Andy: They don't have to include me in anything. Like once they, once they secure the movie rights, they can go off, they can do whatever they want. But they chose to include me in a bunch of things. They keep me updated on movie production stuff. And also Drew Goddard who wrote the screenplay. He went back and forth with me a bunch on the screenplay. And he talked to me a lot. And he sent me revisions and got my feedback and stuff. And so that was, that was cool. I got to be a part of the process, even though they didn't have to include me. They just because they're cool.

Tracy: Yeah. Well, they also know I mean, because it has such a, like a grassroots following. There are all these people, and especially in sci-fi, like, in that genre, you can't really go off script too much without getting a lot of pushback. So it's in their best interest to make sure that that you're happy.

Andy: Well, they also use me, I mean, as a technical advisor, in a lot of ways, they would ask me science questions, because I'm like, Well, yeah, I'd be happy to help out any way I can.

Tracy: Yeah, you already did all the research well, so that I mean, maybe we can transition a little bit about to the, to the Mars part, to the actual content of the book, what I found so fascinating, is that you I mean, this was your hobby. You're not necessarily a scientist by trade, but when I was reading it, and then yesterday, I was actually listening to it again as an audiobook, which I thought was even better as an audiobook.

Chris: Oh, yeah. The narrator, Bob Bray. Well, R.C. Bray is like his professional name, right? He did just such a great job. I mean, he won an award for it. And he won an Audie.

Tracy: Yeah, I mean, he just handled all the different characters so well. In listening to that, I was struck by just the idea that when you're an author, you have a main character, and they have a dream. And I had a teacher told me once, like your role as the author is to put everything in their path to keep them from that dream. And think about the Martian epitomizes that, like this poor guy, Mark Watney who's, you know, an astronaut, he goes to Mars, and he gets left behind by his crew, and he has to figure out a way to survive, and then it just is unrelenting.

Andy: His dream is not to die or not to die right now.

Tracy: Right. And so when you're creating this world, I mean, everything about what he the decisions he's making, are very intentionally designed because he does not want to die. And because he only has a limited supply of things to keep him alive. And so I wondered, what was your creative process of both coming up with the problems he was going to face as well as helping him solve those problems? 

Chris: Well, those are two very different things for coming up with the problems. I would, I would say, Okay, what is the most likely problem that he would have now and because tried to make the book just one big cascade failure. Basically, there's the initial problem, and then everything stems from that, like, Okay, he's stranded on Mars. And nobody knows he's like, whatever the initial setup, and then it's like, Okay, well, problem number one is he's not gonna have enough food. So he needs to work on that. And then while he's working on that, his attempt to solve that, you know, he's like, okay, now Problem number two is I need to generate water. And he's like, okay, now, in order to make food, okay, in order to generate water, I need to do this chemical thing. And then he did it wrong. So that screws up stuff, and, and so on. And so I tried to make each problem be caused by the solution to the previous problem, right? He's just this desperate juggling act as he's just fumbling forward. So coming up with the problems was easy. In fact, oftentimes, I had to find reasons why other problems wouldn't happen, things that would absolutely kill him, right. So coming up with the problems was just kind of like, okay, what's the most likely thing and try not to have them just get unlucky over and over? I wanted each thing to stem from the previous thing.

Tracy: Yeah. And he is a really intelligent guy. So so not like, a bumbling idiot.

Andy: Doesn't, he makes mistakes. So then the next thing was the solutions. And I see I had the advantage of being able to spend as much time as I wanted thinking of solutions that mark would think up immediately, yeah, marks really smart and clever. And I'm not as smart or clever as he is. I would say, Okay, here's the problem. Now, let me see if I can come up with a solution. And I come up with a solution. And I'd have as much time to work on it as I wanted. And if it was not possible to solve, then I would add whatever he needed to be able to solve the problem, you know. So it's like, oh, if he had this little piece of tech, he could solve this problem in a weird and interesting way. And so I'm like, Okay, so I'm going to go back for chapters and give a reason why that tech is on the mission and why he has it and say that he has it. And from the reader’s point of view, it's all just nice and smooth. And oh, well, of course, he has that thing. Yeah, he had God on his side, right. I mean, the writers, the writers reading for you,

Tracy: When you were coming up with these solutions. I mean, a lot of times when people I mean, if you were actually having to solve these problems, there'd be a lot of prototyping and testing and iteration, like physical building in and what was your process and coming up with those?

Andy: Well, I would do a bunch of research. And then I'd say like, okay, here's the solution, then I do all the math. And I'd be like, okay, does that work out? And I'm like, What unexpected crap might happen. Like, I'm really paranoid. And I'm like, Okay, if my life depended on this, what would I be nervous about? All these disaster scenarios in my head? And I'm like, well, which ones of those are narratively interesting, but it's not. I didn't make any actual physical things, if that's what you're talking about, like to test? Although I did do the, I wrote software to calculate the orbital trajectories of the ship the Hermes, going from Earth to Mars and back.

Tracy: And that was just a little hobby you did on this side.

Andy: I do like orbital dynamics, like, that's one of my interests. So I'm that kind of nerd and so it was fun for me. And I'm a computer programmer, right? And I could not figure out with straight-up math how to calculate Hermes is orbital trajectories because it's a constantly accelerating craft. And I assume there's math to do that, but it's well beyond my ability. And so I mean, I tried, I sat there and go like, okay, and well, once I had like, you know, quadruple intervals. I was like, okay, no, I'm done here. We're gonna do this with simulation. Because what you know, I'm a programmer. So when the only tool you have is a hammer, every problem starts to look like a nail, right? Yeah. So I'm like, well write software to do it. So I wrote software to help me calculate it. Basically, it was like an interface for like twiddling and messing around with orbital trajectories until I found the ones that will work. And the reason I did that was just for accuracy. I wanted the transit time to be accurate. And all the orbital maneuvers and stuff I wanted, I wanted the transmission times like when they're communicating back and forth on Mars earth have the correct latency.

Tracy: Considering the depth of science that you include in the book, I'm surprised that it only took you three years. Also, considering reading that you're not an astronaut, or botanist, or any of those things, it's like, there were a lot of different avenues that you had to delve deep into.

Andy: Yep, that was fun, though. I mean, I like doing research and I like finding stuff out. So that part was was fun for me. And also, I spent a lifetime as a space dork, right? So I bet a big fan of the space program, everybody's space program, not just ours, okay, and astronauts. And so I watched documentaries and stuff all the time on this. So I started off with a more than layman's knowledge of this, but not an expert, but an enthusiast.

Tracy: That's kind of how I describe myself. I'm a science enthusiast, which gives me the ability to not know the answers to a lot of things. But be excited about them. What are some things like if you were going to give advice to folks who are thinking about starting their own careers, as an author or as, I don't know, a Mars astronauts? What are some things that you would tell them that they could do?

Andy: Astronaut, I don't know. First off, you have to Win a genetic lottery to be in like, basically peak physical condition with no vision problems, no hearing problems, no, you have to be under a certain height you have to be, etc. So first off, you have to be born with the right physical body to be an astronaut in the first place. Second off, you have to be really smart. In fact, if you want to be an astronaut, it's a good idea to get a Ph.D. in something, that's one of the things that makes you that makes them more likely to pick you because they don't just want someone who can, you know, think quickly and handled zero G and all that stuff like that. They send scientists up into space to do science experiments, they want you to be a scientist. And then from there, well, you, you better be comfortable with acceleration. As for being a writer, I have three pieces of advice that I usually give people. Number one is you have to write, in order to be a writer, you have to actually write, it's easy to sit down and Daydream all day about this awesome story you're going to write someday. But it always seems perfect in your mind, the problems only show up when you actually start writing. And until you actually write out a story. It's just a daydream. Number two is, and this is very difficult. Resist the urge to tell your family and friends your story. It's very difficult because if it's a good story, they'll be interested, they will actually probe you for information. The thing is, when you tell people your story when you just tell it to them verbally and explain the plot and run through the outline. It satisfies your need for an audience. And then it saps your will to actually write it. Because a large part of the reason you write is because you know that people are going to read it. But if you've already gotten that feedback from an audience, if people have already experienced your story because you told it to them verbally, you feel you feel satisfied on that front, and you don't end up writing it or you're not as motivated.

Tracy: That's I mean, I've never heard anybody say that before. But makes total sense. 

Andy: For me, you know, people ask me, what's my next story about? I just answer really vaguely, you know, and I try not to get too into detail. Because I'm like, you set yourself a rule that the only way anyone will ever find out about the story is by reading it. Then it makes you much more motivated to write it. And then the final bit of advice is, this is the best time in history to self publish, there has never been a better time, the publishing industry was largely unchanged from you know, the Gutenberg press intel 10 years ago. And then now, everything's different. There's no longer an old boy network between you and your readers. self-publishing is a pure meritocracy. It doesn't matter if you're like, a big name, super author, or a complete unknown if your book is good. People recommended to each other rating systems like Amazon's or Barnes and Nobles. It'll work its way up. And you can do it. And it requires no financial risk. You don't it's not like the old days, were vanity pressing, and you end up paying a bunch of money that No, it's just like, it costs you literally nothing. So the only thing you risk is the time you've spent writing the book, which presumably is what you wanted to do anyway, right? Yeah, it's hard to break into traditional print publishing, that's, that has not changed. But it's easy to self publish and use nothing. And if it does, well, traditional publishers will come to you. Because they love that idea. traditional publishers always that's one of the biggest problems is they have to find new authors, but it costs them a lot of money to make a book and they turn losses all the time, they make books that don't even sell enough to recoup their costs. But now they can just look at self-published books and say like, okay, that one there that's selling, we don't even need to speculate. So if we make a print edition, it'll probably sell well, too. 

Tracy: So now that you've kind of had all of this success, and you lived what you were just talking about going from being somebody who's a hobbyist and unknown to tell publishing, getting picked up and having all of this wild success. What are the ways that you're intentionally designing your own life?

Andy: Well, the biggest change for me was, of course, leaving my day job and like being full time in writing. And the hardest thing for me is the same thing. It's always been, it's motivating. I went from a very structured objective environment, with bosses, and like, you know, deadlines and a very, very clear objectives to make a story that doesn't suck when you have a chance. And it's like, it was a big change for me. And I'm still, honestly, I'm still like adjusting, actually sitting down and saying, like, even if I don't feel like writing, I have to write because it always used to be a hobby for me. So I was like, I don't feel like writing. I'm not gonna, you know, it's like, what took three years right? The Martian, whatever, well, I can't do that. Now. I can't, I can't just sit around for three years, right?

Tracy: There's specific rules that you put in place for yourself to make yourself be motivated.

Andy: Yeah, there's like prohibitions. There's a bunch of things left to my own devices I could screw around all day. So one of my rules is no video entertainment during work hours, basically, or until I finished my words, as I call it, I've got a target. I try to write 1000 words a day, and until I finished my words, no YouTube videos, no TV. No, no, there's a bunch of other stuff I can do. I can go Take a walk, I can go get a coffee I can. I don't have to sit there and toil and work. But if I let myself watch videos, I'll just do that all day. I'm a born couch potato. I'm the great endorsement.

Tracy: And then how do you handle because now you're obviously you have all this publicity and probably press and things that you're doing in talking to people like me. Thank you. How do you incorporate that into your work schedule?

Andy: It is taking up a lot of my time, but I consider that just part of my job, right? This is I'm talking to you right now. Well, this is my job. What I've learned is when to say no. And so I started to get better at controlling my schedule, and it makes things a lot easier.

Tracy: Well, thank you so much. This has been an absolute dream of mine. It was over New Year's this year, my friend was like, Hey, have you read this book, I was talking about the fact that I hadn't found any novels that were really grabbing my attention lately. I've been reading a lot of nonfiction. And she's like, you have to read the Martian. Yeah, this guy lands on Mars and he's trying to figure out how to stay alive. So it's a lot of like, figuring out how many potatoes you should eat. And I'm just like, that doesn't sound interesting. At all. Trust me, it is so fascinating. I've noticed too, like a lot of people comment. They read your book so fast. It's just such a gripping tale and beer, because it's so deeply embedded in science, just like have cracked some formula that's made it exciting and interesting to a wide audience.

Andy: I have no idea what I did. Right. I hope I do it again in my next book, but I don't know. Yeah, my next book doesn't have the first person smartass narrator so I'm worried, you know, a little bit, one of the things I do is, whenever I'm writing a scene, I asked myself, if I were reading this book, is this the scene where I would put it down for the night? And if that's when you would put it down? I should ask myself, do I need this scene? By the way? You mentioned just at the party, you're a nonfiction reader. Well, if you like nonfiction, and if I've caused you to Lake Mars, then you should consider Packing for Mars by Mary Roach.

Tracy: No, I haven't read that one. But I've read a bunch of her other books. And they're amazing.

Andy: Yes, she's an excellent nonfiction writer. And Packing for Mars is all about just the complexities of the nuts and bolts of how space travel works. And not the science specifically, but the kind of psychological makeup of astronauts and how the training works and should travel around it. It's really good.

Tracy: Awesome, I will definitely read that. Because now I want to go to Mars. Sounds like such a hospitable place.

Tracy: So I think that was probably the most giggly. I have been on an episode yet.

Chris: Thank God for editing Tracy. No, it was great. It was really fun to hear you interview someone that you admire so much. And I have to say I was just listening. And he really won me over and I'm in less than 40 minutes. I'm a big fan as well. And I think one of the main reasons is just how humble he is just talking to him. You'd have no idea he was in New York Times bestseller, and that there's a huge movie, right in the wings. 

Tracy: Yeah. Well, I mean, humble, even the fact that he agreed to do the show, since I didn't know him at all, and just reached out because I was a fan and he said, yes, immediately.

Chris: That doesn't surprise me at all. Because Results May Vary as a global phenomenon that's really caught on lately, probably one of the smartest things that he's done. Diving right in what were some of your reactions to his process?

Tracy: Yeah, well, I was really surprised at how he went about researching the book. I mean, just googling things and putting it out in the world, so that people could respond and then go back and change it. The fact that he was serializing it was an interesting thing I hadn't thought about in the past.

Chris: That I loved the process of publishing and putting in formats where people were basically just kind of being lazy. So he would just do it for him is yeah, here's how you get it now on your Kindle for a minimum cost being 99 cents.

Tracy: I find that fascinating. I mean, it's such, you know, he was even saying it was such a little step that he was asking people to take, that they would rather pay for something than get it for free.

Chris: One thing that I struggled to fully agree with, but I can see why it works really well for him was his advice around not letting friends and family into the concept too early. Yeah. And I can see how that worked for him. I don't know that that would work for everyone. And I think getting some feedback early on can be really reassuring that there's the, there there. You know, I'd love to hear what you thought.

Tracy: That really resonated with me because I am in that place right now where I am starting to write a book, and I'm more talking about writing a book then I am actually doing the writing, right. it resonated because I thought oh, you know, you do get pleasure out of sharing the idea with people and it does fulfill a need.

Chris: The three-year cycle? I just thought, wow, on one hand, that's so fast given what's in the book in terms of the amount of research and thought and education and just the steps that he went through is just, you would think that was a 10-year journey plus with a lot of experts involved. Yeah. On the other hand, going it kind of alone and putting yourself in a space where I'm just going to write something three years sounds really long. I just loved hearing him talk about having to set up his own rules because ultimately, he would just be watching TV and watching videos online all day. I think everyone kind of laughs and can relate to that. But it's not the first thing you think of for someone that wrote a book on the New York Times list. So in a way, it makes them so relatable, where it's like, yeah, okay, well, you procrastinate on your big ideas, too.

Tracy: Yeah. It actually be interested to hear back from some of our listeners about the things that they've put in place for themselves to kind of stay on track. 

Chris: Yeah, made me think of another thing, which is for super-achievers, people that we talk to people, people that we know, and even categories of things that I think we've done is wasn't enough just to be smart. You had to be ambitious, and create your own self guidelines to get to a success point. 

Tracy: It's interesting because he talks about what it takes to be an astronaut, right? And right, being born with good genetics in that's the first step. And I'd say Yes, that's true for being an astronaut. And there's a couple other things where you have to start off with good jeans, but the rest of it, it's not true that you're destined, it takes doing the work.

Chris: Yeah. And I could hear people clinging on to and this has been a thread across a couple of our interviews that there was some enabling moment, his enabling moment was that financial enabler was selling stock, and then that supported some time to go and do the thing. And I think we could debate this. But would it have happened had that not happened? And for someone that really found their calling the way that he did, it's hard to imagine that the book wouldn't have happened that seemed to give it a big tailwind. But I don't think the lesson for our listeners is the goal here is to start a company, get some get a bunch of equity, and then wait for it to sell. And then I'll finally do the thing that I want to do.

Tracy: Right now. He had that time he had that money. And he wrote a really crappy book. The fact that he persevered after that, and continued writing, I think is the more telling part, it wasn't the money. He used that money to do something that wasn't successful. And that could have turned half of the people away, that would have been in a similar situation. But he iterated on that, and he pushed through it. And so eventually, he got to the goal, which probably wasn't even his intention.

Chris: That's interesting point, isn't it? I certainly don't get the sense. There's any part of him that was chasing stardom or the outcome.

Tracy: He was writing it for his own enjoyment. And that comes through in the book. It's such a fun wild book to read. So I would encourage anybody out there who hasn't yet read it, and who likes to read it. And if you don't like to read, wait until October when the movie comes out. All right, that's a wrap. Thanks so much for listening. Our dream is to build a community of people who can create and take advantage of any opportunity that interests them. To do this really well, your participation is key. If you want to try out and share back to your own life design experiments for if you've already got a great story of how you've designed your life, we'd love to hear from you on our Facebook page, Twitter, or at results may vary podcast.com. Our website is also where you'll find show notes and links to all of the things we mentioned in the episode. And if you would be so kind, subscribe to the show and rate us and write a review on iTunes or Stitcher that'll let even more people start designing their lives. The Big thanks to Andy Weir sharing his results with us today. And as always Special thanks to composer and filmmaker HP Mendoza for the results may vary theme music graphic designer and Anessa Braymer for our logo. And David Glazier for audio mixing and of course, thank you so much for listening to Results May Vary.



RMV 4 Aaron Scott Transcript: You Can Design A Van Life

Full transcription:

Chris:  So, Aaron, we've been really interested in talking to you, as a lot of people know, at this stage, the podcast is about using design skills to have people hack and think about and experiment, essentially with their own lives. We're really curious to talk to people that are actually doing something versus just saying they're going to do something or dreaming they're going to do something. What are you doing that is might be perceived as a little unusual?

Aaron:  Yeah, absolutely. So what I'm doing is I moved into a van about two months ago. It seems pretty extreme, you know, I guess maybe if it's the first time you hear of somebody doing that, but there's actually a small community of people that have been doing this for a while, and I've been blogging about it. And it's and it's through choice, you know, it's through a purposeful designed choice around what's important to me what my values are, and where I want to go and be in life. 

Chris:  So you say that very kind of off the cuff nonchalantly, and I think a lot of people think what the hell? Move into a van? You've chosen to do this, you're not in a position where you're forced to do this. I'm curious, you can just share with us what prompted this and maybe the process that you went through.

Aaron:  So it's interesting, there was activation energy that prompted me to actually go through with it and do something about, you know, the living situation and moving into a van. But there were a lot of values that so it kind of built up overtime over the years that led me to thinking that this was the right choice. So the activation energy, that's maybe the simplest thing. I lived in a very beautiful apartment in San Francisco with a view of the ocean, beautiful, expansive view of the Pacific Ocean. In the evening, you know, I'd opened up my bedroom window and could just listen to the waves very calming, you know, beautiful place to live, I was there for about 10 years. And then you know, through those years, like a few roommates have come and gone and they were kind of recent set of roommates that have moved in had a very different philosophy about life, and what's important, and we didn't see eye to eye and the place became less of a home to me, after that. Became this place, I was going to just kind of sleep and I just go straight to my room and close the door. And that led to the activation or did make a change. And after having been there for so long, I was kind of ready to, you know, move out and explore. But there were a lot of values that I had that led me to choosing the direction and the direction was something where I could be independent, and could control the environment that I'm in and could design and actively, like work on that environment. I had always like building things and like, have kind of an artistic side. So I had started getting into discovering this thing about like tiny houses like it was this new idea to me and the idea that you could build something that's so small and design it how you want it. And then you know, it's pretty inexpensive to do that. And so then a few years, you could design something completely different and have a whole new living environment. So that was very attractive to me.

Tracy: So you mentioned that you had this moment with your roommates and you're considering new options. Could you talk us through a little bit of your thought process and how you got to the point where choosing to live in a van became the most vibrant option for you?

Aaron:  Oh, yeah, that's great. A few years back, I had been exposed to a colleague that had had a houseboat and I thought that was really fascinating that you could live in an environment that wasn't a house. That kind of opened up the I think realm of possibility for me that there are other living situations out there. From that I did all this research on what like living on a boat would be like.

Tracy:  What kind of research were you actually doing?

Aaron:  First of all cost, and then just what daily life would be like, I found all these blogs of people that lived on sailboats and they wrote about it. And they talked about the things that they had to deal with day to day. And that quickly made me realize it wasn't for me. And the reason for that was that I've never been comfortable over deepwater, I've tried to, you know, handle that by like taking swimming classes and things like that. But that made me realize that like living on a boat itself may not be the right environment. But that opened up the thought that like there are these other places where you can live.

Tracy:  One of the things that we talked about at the beginning of how you design your life or start designing your life is to immerse yourself in the types of things that you think you might be interested in. And it's interesting that for you, you know, you're attracted to your friend’s lifestyle, but that you were able to see pretty quickly what didn't work for you and what it did was gave you a whole new set of options to choose from that you wouldn't have had if you hadn't have had that sailboat research experience.

Aaron:  And it helped plant the seed. This was years before I was at the point where I felt like I had to make a change and I kind of eventually put it on the back burner it was it looked like it was a little too expensive to get into like buying a boat is pretty expensive. And then maintaining is very expensive. So I wanted to set that aside maybe through that path later. What ended up happening is so I've had this job at this company for several years and I had this experience where after about five years, they give you this paid leave and you can take a month off. And on that sabbatical, I sat down and started thinking about what is important to me and kind of starting to evaluate These things that I'd always wanted to do, but had always had been on the back burner for a long time. One of the things I wanted to learn about was retirement, I knew that there was 401K's and things like that out there. But I didn't know what that was all about, I didn't know how to engage with that. Another thing that I wanted to do was redo my apartment. I had been a photographer many years. But if you walked into my apartment, you wouldn't know that, like all the walls are, were bare. So during the sabbatical, I discovered that there's this whole community of people that aren't retiring when they're 65, or when they're 55, or even 45. They're retiring very early, like in their 30s. And so even in their 20s, and it was this whole thing around financial independence, and basically structuring your finances in a way that doesn't require a lot of expenditure every month, that was completely eye-opening. And mind-blowing, that was an option, the path that I thought that everybody was on was that you know, your work until you're 65 or 67, or 72. 

Tracy:  When you talk about somebody retiring when they're 20, did they win the lottery? Are they working at startups and selling off their first child? Like, how do you? How do you like that in your 20s?

Aaron:  There is very simple math behind this if you can save 75% of your income. And I know that sounds like a lot. But if you can do that, you can basically retire and be financially independent in seven years, I think it was seven, seven or 10 years, I forget which one off the top of my head. So the way that this somebody would do this in their 20s is, you know if they get married kind of early, and they have dual income, and they don't spend a lot of their finances by the kind of late 20s. If you didn't enter into your, you know, early 20s, with that being financial independence, a real possibility.

Tracy:  That's amazing.

Aaron:  Yeah, I know, right. And it was one of those things where I realized that if someone had told me about that, in my teenage years, I would have chosen a very different life path.

Chris:  Aaron, is that a big part of what prompted the van?

Aaron:  So part of that sabbatical, it was all about, you know, kind of realizing that the path that I'm on was the default path. It was the option that someone else had clicked for me. And it wasn't one that I had, like, taken time to really consider. And so there's this realization that you know, hey, I don't necessarily have to work until I'm 65. What other areas of my life or there that I might change, the living environment was one of them. And so I've started on that process of what other living environments are there out there, there's living on a boat as an option. But there are a lot of trade-offs that I wasn't sure I wanted to make. I had read a few blogs about people living in their RVs, around San Francisco, I thought that was really interesting. I discovered tiny houses and kind of did a lot of research on that and started looking into how difficult that would be to make really happen. And then eventually came down to looking at what was really important to me. And that was things like being frugal and retiring early, and kind of having control over my living environment, and maybe some freedom to travel, having possibilities, being able to completely redo the interior or that kind of thing. So when you take any of those values, like on their own, they don't really necessarily add up to anything. But once I started adding them all together, like a van or a tiny house would make a lot of sense. What led me to choose the van specifically, probably was two things: One would be this Study on Happiness. It was published a few years ago, and they found that people are happy regardless of kind of changing life circumstances like if you come into a whole bunch of wealth, your happiness level might change in the short term, but it very quickly modulates back to where it was before and same if you lose a lot of your belongings or health, even your happiness level takes a big diet. But over time, it gets back to the sort of status quo, I guess you could say. And that idea combined with this other one, which was that things don't make you happy, like buying things, owning stuff. And when I recognize those two things and realize my happiness is independent of my stuff, and probably independent of many other things. And that even though maybe moving into a van would be a big challenge at first that you know, it would probably quickly level out in terms of happiness, but that I think really led me down that path choosing a very small and concise environmental event that's inexpensive and very mobile. 

Chris:  Now you get into I'm doing it mode. So I'm curious as you started to tell people in your life that you're going to live in a van in San Francisco what were the reactions from your friends and family? 

Aaron:  A lot of head nodding and then one or two like, hey then, okay cool. It comes out in funny ways how you know if it makes somebody uncomfortable, who's hanging out with a friend one evening and was about to leave and you know, before I could leave their home they ran over to the refrigerator and started pulling out stuff and saying like, hey, do you want to bottle water? You want to take something with you? And for 10 years you've never done this like what 

Tracy: Is it kind of equated with being homeless or what do you think that was about?

Aaron:  It is equated with homelessness and all the connotations that come with it, which was surprising because since I had done all this thinking about it, you know, I wasn't equating it with homelessness at all, but I guess that's just the society's kind of default view of it. 

Chris:  What fears did you have early on everything that you're describing the theory and why you would do it makes a ton of sense. 

Aaron:  One was belonging. So what am I going to do with all my stuff? I went through this thing called the Kon Mari method where you pick up each thing that you own, you ask yourself, does this bring me joy and if it doesn't, you discard it that helped me break my relationship with my stuff and realize that like I could own very few belongings and still be happy. The other kind of fears that I had, I think at first were around privacy and around bodily function, managing those things. So those were kind of the first two things that I took care of with the van was I purchased one without windows so that I wouldn't have neighbors looking in and so that it wherever I parked, you know, I could kind of be there without bothering anybody else either. You know, I wanted to be very stealthy, so that it just wasn't an issue. I also hung up a very thick like blackout curtain in between the cabin of the van and the in the back and in the bathroom thing did a lot of research on that and found that there's portable toilets, that you can use.

Tracy:  Does that take a ton of space?

Aaron:  So I purchased a larger van, so I actually have room to stand and stretch.

Chris: He did not just purchase any van, he purchased what might be considered the ultimate van experience because of quite a movement and a cult around the particular van that you chose. 

Aaron:  I chose, it's called a Sprinter van. It's made by there's a couple of companies that you know, it's branded under but made by Mercedes Freightliner for a while, Dodge also, what that looks like, if you're not aware of that is it's like sometimes ambulances are made based on the sprinter platform. So it has a high roof, it's pretty long, even the shorter version that you can get is pretty long. It's the total van is about 20 feet from end to end, the interior space is about 10 feet as far as the living space goes from the front to the back. And then almost it's like five and a half feet side design. The wide is sort of the luxury van and the movement. Having all that spaces is pretty nice. And a lot of people will purchase these and an outfit and create kind of beautiful RVs that are pretty economical and space

Tracy:  How do you find parking for it in San Francisco though?

Aaron:  That was a big one. At first, I still was on the lease from my old apartment and we had a parking permit for our neighborhood. The neighborhood is far enough to the west of San Francisco that you can typically find parking Okay, so I did that for a while. And then once I discovered that I really am location independent, I started finding other neighborhoods and places explored living in all kinds of places like in the North Bay by the Ferry Building and Larkspur. Currently, I'm out in Berkeley. It's a little warmer out there a little more accepted to so I'm not really worried about the neighbors.

Tracy:  Yeah. Have you ever had any interactions with somebody? They were like, Hey, get your van house out of my neighborhood.

Aaron:  No, only No, not in person did have one reaction virtually. I really enjoyed Larkspur and I was looking for a place where I could park the van and leave it throughout the week because it was getting every day I was trying to move it so it didn't look like someone was living in the van. So I found posting on Craigslist and I called this fellow and asked if I could park my van and he was posting a parking space that he had available. And so I was asking him, I've got a bigger vehicle. It's a Sprinter van and I'll be coming and going throughout the week and he's totally on board with it. I thought well maybe he's not getting the message that I'm living in it. So I'm going to be really specific and I told him, Okay, so I'm living in the van. Is that okay? And then No, it wasn't okay. Give me a very detailed explanation of why that wasn't okay in this neighborhood.

Chris:  I'm curious to go back to your first night in the van. So there you are, committed, you're in the van talk us through what was the first night like.

Aaron:  I did all this research to find a pretty good deal and I purchased the van out of state in Texas. I thought that would also be kind of a fun road trip coming back across the US. You know I get to drive through some pretty areas and it's typically warmer over there at this time of year and so I bought the van and I went straight over to REI and bought like a cot some real basic camping equipment and then went over to Walmart and bought some blankets and you know basic bedding. And then the next day I hit the road. And so the first night was in a little town in New Mexico is at a truck stop was a little bit of a surprise to me. But the weather said is going to get down to about 40 degrees that night. And I wasn't quite prepared for 40 degrees. I but I have you know camped out and weather that cold. I thought it would be okay. It was so cold. It was so miserable. I was absolutely freezing all night. I had a camping experience once where I was I was out motorcycle camping. And we were in weather that was about 20 degrees and I had a sleeping bag that was not rated for that low and it was a very miserable night. This even though it wasn't that cold. This felt just the same. And I'm not sure what it is about the interior of the van but it feels like it amplifies the cold a little bit.

Chris:  The nice feature.

Tracy:  The luxury experience.

Chris:  That's the Mercedes part.

Aaron:  You know what was interesting is I woke up I think it was maybe 3:30 in the morning and I just decided I gotta go crawl back up. I sit down in the driver's seat, and I look to the left and there's a Sprinter van parked right beside me. And then I looked over to the right and there is another one

Tracy:  That's a total community.

Aaron:  It is. Yeah, there's a lot of people. 

Chris:  So what's going through your head that night you're sitting you're lying there and in a truck stop in New Mexico in a van you just purchased to live in and you're freezing. 

Aaron:  You know the main thing was, I had to get across the country to make it for my brother's baby shower. And I'm just thinking, I've got to be able to sleep and you know, stay awake for this trip. Not I wasn't too worried about the future of the living environment, because I know that people have, it's a solved problem, a little insulation, a little extra blankets like it'll work out. Yeah, that said, the cold has been something that I needed to climatized to. And that was probably the biggest challenge and biggest surprise of moving into the van.

Chris:  That was one of the questions I was going to ask you and Tracy and I talk about this a lot with our guests is often we have a vision for something. So we want to change something and we can imagine how our world would be if we made that change. If you act on that change, often, it's very different than what that original vision was. So I'm curious about your experience, you know, you had this vision of 75% savings, and I'm going to live in the van and this is gonna be my new world, what's been different. And the same about what you envisioned, it would be

Aaron:  The things that were different were the cold, for sure, I wasn't expecting the cold at all. Thankfully, that was pretty easy to deal with, I basically loaded myself up with some really, really heavy-duty sleeping bag. Other things that were different that was unexpected was the food bill, you know, living in the van, I didn't have refrigeration or cooking facilities.

Tracy:  Freezing in the van.

Aaron:  Yeah, that's true, actually. And I have truly used that to keep food cold overnight. In general, you know, going from, you know, a refrigerator at the apartment to not having anything, the food bill shot right up. And so I wasn't saving money, even though I had kind of planned to be, and that took some iterations to kind of figure out how I would manage food. So those were kind of the two big surprises. And then I think the third surprise, for me, was the moment that the van felt like home, for the first two months, it was just a place I was going to sleep at night. So I would go to work. And then after work, I would go to the library or go to the cafe and I would structure my day so that I was kind of out and about all day long. And then would go back to the van and then sleep and then head back to work the next day to kind of minimize the amount of time that I spent there. Over time, I've slowly iterated on the interior, you know, just find something that was important to fix, like the cold, insulate things, and then improve the lighting and kind of made all these small improvements. And then once all of the basic needs were met, it changed. There was just a moment where I just realized, Oh, this feels like home. Now I can come back and just relax here after a long day. And that was a big surprise. I wasn't expecting that to happen.

Tracy:  That's really nice. I mean, because when you're talking about like after work, you would go to the library or cafe, I was just thinking that that seems like it would be really taxing because you're not in a space that feels like home. And how do you unwind or let yourself just be? 

Aaron:  Absolutely, it is a little bit taxing. And I wouldn't want to have started this experiment without a support network. Throughout this, I've been able to drive out on the weekends and spend the weekend at my mom's place or spend it with friends. And that's been a huge part of just a climatized into the environment and staying kind of sane throughout the experiment. It would be a lot tougher if that support network wasn't there?

Tracy:  Do you have any interaction with the community of other people who are also living in their vans?

Aaron: Yes, I started a blog and started writing about the experience, partly from Chris's influence of just it would be good to document this and look back on it later. And there's also an online community on Reddit of Van Dwellers. So I made some, you know, kind of posted a bit there and have kind of responded to other people's questions about logistics and things and what's been working well for me. And through that several people have reached out and wanted to meet up, I've met at least one person from the community on and just kind of, you know, showed them the van and answered questions because they were I guess they were van curious, you know, they were thinking about it. Interestingly enough, you know, we earlier in the show, we were talking about people's reactions, and I never know what someone's reaction is when I'm going to say, you know, oh, yeah, I live in a van. I've experienced probably the more positive side of the gamut, including mentioning this to a co-worker a few weeks ago. And their eyes lit up. And they just said I've always wanted to do that. And they started asking me questions, and now they're planning to do the same and the, you know, the summers.

Tracy: So what about the types of people that you have come across that seems like a good lifestyle?

Aaron:  I think anybody that has a bit of wanderlust that looks at the nomadic lifestyle and says, oh, also anybody that has a little bit of an introspective nature or introverted nature where the idea of going out and into nature, you know, camping in the desert, or in the forest or kind of getting away from the noisiness of life and just having a place to be calm and pursue their own interests, like art and writing. And I also think that artists and entrepreneurs, anybody that has this sort of their that they're open to challenging and living a different way when you started my sense was you wanted to keep it really private. You didn't Want coworkers to know, what shifted for you? In the beginning, I had a little bit of fear of what other people would think, or a lot of fear about what other people would think early on acceptance, you know, kind of just reaching out to my family and close friends and mentioning it to them and then being okay with it, that went a really long way to just being okay with it internally. And at first at work, though, I had this desire to keep it separate from my workplace, because I didn't want the living in a van to become, I guess, part of my identity. I didn't want that to affect, you know, my career or anything like that. And I had read of a few people that had mentioned that they live in a van at their workplaces, and it hadn't gone so well. But, but that said, like they I think they did work in areas that maybe weren't quite as accepting of differences being right in the middle of San Francisco that helps. Can you picture it long term? Yes, I can. Although I picture eventually being in a tiny house, I see it as a five to seven-year adventure and then moving on to something else.

Tracy:  Wow, that's a pretty long adventure.

Aaron:  Yeah, my initial goal on this was to live in it for at least 10 months. And that was kind of my point at which I'm pulling ahead in terms of finances. Being a few months into it, I can easily see that that could extend as long as I feel like it should, like living in the van isn't affecting my happiness in a poor way.

Chris:  Have you had any visitors to the van?

Tracy:  I don't know. I've just like my big question is how do you date when you live in a van?

Aaron:  When does it come up? When do you drop the van card? All dating as long-distance? Honestly, I haven't crossed that bridge, yet. It's a pretty new experiment, I can say that people have sometimes a kind of a visceral reaction of either being totally okay with it, or being very against it, or somewhere in the middle of just like, I'm gonna have to process that for a while and then get back to you. It's helpful because the next time I'm dating somebody, like the more accepting they are of others is kind of a plus. And in my book, I'm okay with having a feather in my cap that looks a little different.

Chris:  You heard Aaron, Tracy, would you try living in a van?

Tracy:  Absolutely not, I think. I think when he talked about living on a sailboat and feeling as though he just doesn't like to be above deep water. Like recognizing that in himself, I think I can recognize in myself that I would be really unhappy living in a van. And I know, you probably would have no trouble living in a van or even like a tent.

Chris:  I don't know, I think I'd have to set it up where it's like, every fifth or seventh day, you get a nice hotel, or you know, where you oscillate from the rugged to the all the comforts come back, then you go back out again.

Tracy:  You know, that's actually how I like to travel, I'm willing, yeah, I'm willing to stay in like a pretty crappy place for a couple of nights to save some money, and then just splurge on, you know, a nice place for a night or two.

Chris: It certainly makes you appreciate those things. And I'm sure Aaron, who will now occasionally stay at a friend's house or go on vacation or whatever, we'll definitely appreciate that concrete base foundation and shelter and a nice shower.

Tracy:  I also liked it when he was talking about the Kon Mari method for getting rid of and stuff. He was saying you pick up an item that belongs to you, and you ask yourself, does this make me happy? Or does it you know, enhance my life in some way? And it's just such a simple question, I started to mentally think about things in my own home, there's probably about a quarter of the things that I could very easily get rid of. And not saying I'm going to do it. But there's so much research, I feel like lately that just talks about how experiences bring you so much more happiness, then things do.

Chris:  There's a pattern emerging here between those that we've interviewed, you know, we've talked a lot with Elle about should and must and should just being the default, David Kelley was telling us he was playfully saying, it's really hard for an old man to break habits. And I think he's referring to the same thing, which is the idea of sort of questioning and challenging and experimenting, as you have played the same record quite a few times over the years.

Tracy:  I also think I mean, that goes back to brain science. You make those habits so that your brain doesn't have to work that hard on things that you do you often that's already decided, oh, that's not a threat to me. And you can go on and be more vigilant about the rest of the world. And as you get older, certainly those paths have entrenched themselves in your mind. I think that's one of the ways at least scientifically why it's so hard to break patterns.

Chris:  Yeah, and I think Aaron does a fair amount of experimenting. I think meeting people like Aaron inspires us that results may vary because he's perfectly fine not falling into the normal stream of things and willing to hack at things that might to the Normal societal, I look pretty unusual. And Aaron doesn't care. I've always liked that about him. And the van is just another example of it. He's done that in some other parts of his life and nutrition and other things. But the van that by far is the boldest step he's taken in terms of just doing what he thought was right for himself.

Tracy:  I love the line that he said about I'm okay with having a feather in my cap that looks a little different. And thinking, you know, asking him about dating, which was on my mind the entire time, it was like, how do you invite the lady back to the van. But I felt like the whole time, it's like he would attract somebody that would be on board with that and have a similar sensibility. And so it's not a compromise. It's just finding the person or people that are more aligned with your values. The defaults in society sort of come from that have the, I want to feel connected to other people. So I'm willing to go along with things that they all agree upon, even if they're not the things that I would most be drawn to. But just because I want acceptance.

Chris:  I guess we could call Aaron's interview something like it's not about the van. Exactly. In that, the van is just a proxy for all of us to think about. It's kind of like what's your van and my van? Like you were saying I wouldn't do it. And I'm just playfully saying that would be interesting on the weekends. But yeah, ultimately, we have our own inner vans that need to be unpacked. This has been really fun. I think it's been a lot of fun to do with you, Tracy. And it's just getting more and more interesting as we go. So looking forward to the next episodes.

Tracy:  Yeah, me too. I just love seeing the patterns across all the different people that we've talked about and how you were saying they're doing so many different things, but there are so many underlying principles that are common to everybody. And we'll continue to explore that as we move along.

RMV 3 Elle Luna Transcript: You Can Design For Choosing Must

Full transcription:

Tracy:  Well, thank you so much for joining us today, Elle. It's so amazing to have you. And if you wouldn't mind starting off by giving people a little bit of a sense of who you are and what you've been up to the past couple of years.

Elle:  Yes, of course. Hi. It's awesome to be here and it's awesome to be talking with you and Chris. Thank you so much for having me.

Tracy:  Yeah. We're especially excited to have you as one of our first interviews because we both feel like you epitomize what it means to live a well-designed life. It seems like you've designed the exact life that you want to have for yourself. And we wanted our audience to hear that experience firsthand from you,

Elle:  Yes, let's, let's definitely talk about that today.

Tracy:  Cool. Okay, well, why don't we just start. Would you mind giving us a general overview of yourself and what you've been up to the past couple of years?

Elle:  Sure. Well, I originally met Tracy and Chris, at IDEO and I guess that was a number of years ago. And I really, really got off on a great, I guess, an early crossroads in my life, although I didn't see it at such time when I made the decision to go into art school and to go into a creative practice at IDEO as a designer. And then after IDEO, to jump into startups, I worked with kind of building apps and websites. Some of them you might use on your phone like mailbox, we wanted to revolutionize the way that people experienced email on their mobile phone and the original Uber app that was a small team of us in San Francisco, for the iPhone. Of course, now it's across all kinds of platforms and Medium, I think it's the most gorgeous place to write on the web. And it's where I eventually when I decided to step away from technology, to tackle my next I guess, chapter of what was next in my journey, decided to write a post on Medium, which has gotten me into the journey that I'm in now, which maybe we'll talk in more detail about a little later. But at a high level, all of that happened because of a crossroads very early in my life, which was when I, unfortunately, tried to apply to nine law schools. This was like at the end of college, and I come from a long line of lawyers and so the decision to apply to law school just sort of felt obvious like I should totally go to law school, particularly because I was around people who are really good at it. And they were really, really passionate about law. And so I figured that I should do that too. And as the universe would have it, I got rejected from every single school I applied to maybe that's why I don't think of it as a crossroads because it wasn't really a choice. But the universe just said, like, No, we just aren't going to do that.

Tracy:  I know. But I find it hard to believe that knowing you like that you wouldn't get into law school.

Elle:  Oh, no, not one. Every single letter open with the four words is the same. We regret to inform like, the fifth word doesn't even matter. Like if you get we regret to inform just set that set the envelope down and step away.

Tracy: Yeah, you can assume that the next word is you.

Elle: Yes, yeah, exactly. So after, after not going to law school. It's just sort of been a creative journey since then.

Tracy:  Yeah. And then an amazing one, actually, and I've had the pleasure of knowing you. Yeah, since you were working at IDEO and now you've gone on to this completely new and more expansive, creative path, which I've just found so inspiring. And yeah, why don't we talk a little bit about what you're doing now, because I know that you have a book coming out soon and I'm so excited, I can't wait to read it.

Elle:  I do have a book coming out and I'm just thrilled. I feel like people have so many different experiences around getting their work out there and I've never written a book before. It's my first book and the the the journey to this point has been tremendous. I just, I have loved the people that I have been working alongside the team just continues to get more and more amazing. It's been it's just been so exciting. So the book comes out April 8, so we're like, right on the cusp of the book coming out. It's called The Crossroads of Should and Must. And the best way I can describe it is it's like a book that is half words and half art. I literally painted most of the pages actually, almost every page that has art on it. It's full color, it's hardcover, it's like a total dream come true to hold an object that feels so, so integrated with like my painting practice and art practice, it just feels like an extension of my studio. And so now we're just gearing up for it for all things book.

Tracy:  That's amazing. And it is, it's like a true reflection of who you are. If you like, you know, it's great that you mentioned you have a team sort of helping you and has helped you along the way. But I do feel like, it must be so incredibly valuable to have something that is an expression of your voice, and your vision and your artistry.

Elle:  Absolutely, and I think I received a lot of great advice from other folks who have been on this road before. And the advice that I would share for anybody who has an idea that they want to put out in the world is noodle on the idea for as long as you can on your own. Maybe at first, it's just with yourself that you're like sitting with this like early nascent idea. And obviously, Tracy, this is so much like design thinking at IDEO, right? Like, we have these ideas that come up over and over and over again, and they quickly get jotted down on post-it notes. In one post-it note might continue to linger a little bit longer, while the other ones start to fall away. And as you kind of look at that one idea, you kind of begin turning it around in your head. The next step in that process is in sharing it with someone who you really trust. This is someone who understands your creative process. This is somebody who understands your worldview, the type of things that you want to put out into the world. And it doesn't have to be about design, it can be about life, right? And you over a coffee or over a pizza, you can share this idea with this person and say like, I would love some help, I would love some feedback. And at that moment, it's like your dear friend has ultimate veto power, they can just say, really, really don't waste your time. Like, let's stay focused on the course. Or they can say actually, I think there's something here, what have you thought about this? Have you thought about that, and those partnerships are, wow, they are so so important to process because after that, you create a model or you create something a framework for me, it was a medium post, where I kind of started working out my ideas, and then you share it with people and you get it out there? And then people begin kind of navigating around this model or this framework, you begin showing other people your point of view. And then finally, when you want to share it with even more people, you can say, this is actually really what I think it needs to be, I think it needs to be a book that feels like an art object, I think it needs to be full color. And I think it needs to be really painted. And I think it needs to be really fast. Somebody needs to be able to read it in an hour. And it needs to be for like younger people, older people, men, women. And then when you have that, and you have the model to show it, people can say, Ah, I see where that could go, let's join forces and all bring this thing to life. And that's when the magic happens.

Tracy:  Yeah, that's amazing. I wonder, could you sort of tell people about how you made those decisions? What was the process to decide like, it should be painted? It should be a fast read, it should be for young and old?

Elle: That's a great question. I mean, the first thing I think of is just that's how I saw it. Um, I think one of the things that I knew really early on is that information has to be digestible. And unfortunately, our culture is such a culture of busy-ness. We are addicted to being busy and the reason that we don't make time for so many of the things that feel really important in our life is because we're too busy. And so I knew that this book, if it was dense, little tiny type that ran on for thousands of pages, would just not resonate with where people are in their lives. Information is being consumed, you know, more and more quickly, that the medium posts that I put up was a 20-minute read. And I remember thinking nobody's going to read it. It's 20 minutes long. You know, yes, that's a wild thought. But I wanted somebody to be able to sit down with the book and on one plane flight, or on one lunch break, I wanted them to be able to go from cover to cover and I knew that was just how it had to be in order to be digested.

Tracy: I love it. But even though your Medium post was 20 minutes, and I would assume that yeah, that's probably on the longer side. It did really well. It did incredibly well.

Elle: Yes, the medium post I published it on April 8 of 2014. And within a couple of weeks, like maybe two or three it was tweeted to over 5 million people and read by over a quarter-million readers.

Tracy:  That is absolutely stunning.

Elle: It was. But my phone just like melted on the spot it was I've never seen anything like it. And Tracy, I mean, you guys, you guys share things online all the time. And I share things online all the time every day, you know, Instagram and Twitter. And I think it's important that we all just keep sharing this stuff because you never know when something is really, really gonna resonate with folks.

Tracy:  Yeah, you absolutely struck a nerve and I don't know, I mean, would you be okay if I told the story about how I was looking through my own Facebook feed and I subscribed to Elizabeth Gilbert's feed who wrote Eat, Pray Love. And she all of a sudden I recognized your logo of the sign that says, should and must. And she was sharing it with her readership about how wonderful she thought the article was. I'm like, I know that person. Oh, my God, that's our that's my friend.

Elle:  I think it was like Christmas Eve, or maybe right before Christmas Eve, and this notification popped up on my phone from you that said, Hey, Elle, did you see that Elizabeth Gilbert just shared your post, and I think what's so fascinating to me, and it all fits together, now that I see it, you know, kind of looking backwards. The book is about well, it's called The Crossroads Of Should And Must. And it's essentially about how we make decisions in our life should being how other people want us to show up in the world. It's all of the expectations that other people layer upon us. And when we live our lives in should, it can be really comfortable. And it can be easy. And there are a lot of rewards. Yeah. And sometimes shut is very pleasant. But when we choose, should we live our life for someone or something other than really who we are? And must? Is this something else must is, who we are and what we believe, and what we know to be true in our gut? It is this. You know, I recently heard somebody say that, like, you know, when you're in love, you know, when you're in love, you know, when you're when you know, you know, that's what they said. And that's what musk says when you know, you know, it's this sort of it like right in your belly. It's like this inexplicable, undeniable feeling that you have to do something. Yeah. And the reason it made so much sense that she shared it on her feed is that so much about her work is about self-awareness and how we think about our lives and our choices. And she's just doing such a phenomenal job sharing that self-awareness with such a large group that she was the perfect person to share it. And it was just it was such a special moment for me because I've learned so much from her writing, it really brought it full circle.

Tracy:  Yeah, I don't know if you've seen her TED talk on creativity and sort of having to write that book right after he prayed love and knowing that there was probably no way she was going to be able to live up to her success and that people were expecting her to fail. And what that felt like just having the vulnerability to share that with so many people is really important. As a creative person. It's so important to hear someone else share that with you.

Elle:  She really, really gets it. She really gets it.

Tracy:  Yeah. Well, when you're talking about this shouldn't mess, I was like, yeah, so you applying to nine law schools. That's the Should. And then could you share I love the story about how you found your way to your art studio?

Elle:  Yes, yes. So that's actually the way that I opened the book. The story that you're referring to is, for a long, while, a long stretch of time, a couple of months, I began to have a recurring dream. And in this dream, I would walk into a room that had concrete floors, glowing white walls that were so tall warehouse windows that ran the length of the space, and a mattress on the floor. And in my dream, I would walk into this space, and it just was so warm and so comforting. And it just filled me with a deep, deep innermost peace. And that was that. And I had this dream over and over again. And one day my friend Susie said to me, hey, out. Have you ever thought about looking for your dream in real life? And I don't even know what to do with a question like that. Like, take a dream and I didn't even know but I thought okay, well when you decide to look for your dreams in real life, where do you go? Craigslist. Craigslist is where I went and I just started looking for the room day after day. I didn't really tell anybody about it because it felt ridiculous. It felt totally ridiculous. And eventually one day this tiny little thumbnail came up on the screen and Tracy like I almost expected for it to be there. I mean, I guess that's why I continued to serve. Yeah, I just, I felt like just as I was looking for it, it was looking for me. And we were reunited. And that day, there was an open house, the next afternoon, I went, I got the apartment, and I moved in two days later. And really the most powerful moment was that I still just didn't understand why I was having this dream, or what it was all about. And my very first night there, as I walked in, literally, what an out of body experience, right? Like I'm standing in a room that I have been dreaming about. And now it's in real life is very weird, right? And, and I, I began to panic. I didn't I did not see that one coming. And as I started to panic, I just began asking these questions that were racing through my head, like, what is this all about? What am I what why am I What am I doing here? And I just stood up, and I just asked the room. And I said, Why am I here. And as clear as day, the room said back to me, it's time to paint. And I hadn't painted for a very long time. The next day, I went and got all the paints. And I came back, and I just started painting with an energy that I had never felt before in my life. Now went on for months.

Tracy: Yeah. I mean, you're now the white room is sort of splattered in all these gorgeous colors, reflective of your, your process.

Elle:  The White Room is now very much less white.

Tracy:  Well, what I'm hearing from you is that you really work off of intuition. I mean, how do you? How do you get to the place where you can trust or that where you feel confident listening to that? Because I feel like that's really difficult for people to overcome.

Elle  Oh, that is such a great question. And, you know, this is, this is the part that really stumps people. And the reason that Crossroads has should and must, is because when I first thought about must, it seems really fun and very romantic, and like something that I would very much like to do, and I'd like to do it immediately. But the question is if the must is so great, why don't we all choose it every day all the time? Well, the reason that we can't get our energy going towards must is because should is this energy that takes us in the opposite direction. It's almost like you're being pulled in two opposite ways. And while you can explore should and must, somewhat concurrently, the most successful people who I've seen be able to make the shift from should to must spend time getting to know their shoulds, they spent time actually digging into the thoughts or belief systems or ideas that maybe they inherited as early as childhood, and continue to live with day in and day out in terms of relationships, job choices, friendships, everything, they carry these belief systems around with them. And they might find themselves in their 50s in their 20s in their 80s still holding on to belief systems that they've never consciously examined. That is so, so true.

Tracy:  I did that I just had a similar experience recently, and, I can't believe how much we do carry with us from the past, unexamined.

Elle:  And it just, it's, it's a slippery thing because it almost slides into our life like camouflage. It's like a blinder. It limits our vision. But we don't actually see the blinds, we just see the limited vision somebody said to me the other day, it's like, it's like living in a basement and keeping ourselves trapped in a basement when actually we're living inside of an enormous, epic, beautiful castle. And the more we can get to know should, it's like, we open the door to that basement, and then we step out and we realized that actually, the whole downstairs is kind of dark, maybe let's find a stairwell up. And then we go up the stairs. And then Wow, I never knew that there was this thing called light. I never knew that there was this thing called color I never knew, right? It just continues to expand. But we can sit in the basement all day long and dream about color and dream about these other things. But until we really go there and realize that we are in the basement, we are in the situation. It will be difficult for us to ever work our way out of it. Totally.

Tracy: Totally. I love that. I love the idea that I'm in this beautiful castle and is waiting to explore.

Elle: Yes, and I mean, somebody said asked a question the other day that was so great. He said, he said, Do we ever, like does must kind of come and go throughout our lives? And you know is are we closer to must and then it's further away? And the question was so great because must is like this thing that never leaves us, it's with us always, I believe that must is the life force that brought us here, it's with us until our last breath, and it continues long after we go. And should is really the thing that gets in the way should is the thing that disrupts the grand plan. And should is the thing that we want to, it's almost like keep our alarms and our alerts up. And we want to say, oh, wow, look, I'm falling into this pattern, again, that I've had for a long time, I'm going to actually choose to start being self-aware about this. And all we have to do is be self-aware, and then it begins to release its grip on our life.

Tracy:  What, when was the last time I mean, you've had so much success sort of going from, you know, design work, to working with startups to being an artist and having this book launch. And I know that it's not that easy. You know, it sounds really glamorous. But I know that you're working really hard to make each of these things happen. And so I'm just conscious of the fact that some people will be listening to this and feel like it's not as approachable for them. So what would you say would be a good first or second step for somebody who wants to start living more in the must category?

Elle: That's a great question. Three thoughts immediately come to mind. One, find a very dear, close, confident that you can begin talking about these things with somebody who is like that partner that I was talking about earlier, who you can begin just exploring these topics. It's really, really good to have a mirror and relationships provide that mirror for us. To begin, there's this activity in the book that I call, getting to know what you want. I have note cards that I keep around like three by five note cards, begin capturing the little things that pop up throughout your day that catch you. For example, yesterday, I was in an uber in New York going to the airport, and the driver began to sing the most beautiful operas, just sing. And it was like in that moment, my hand just fell to the cushion, and the phone went off. And I just went into another world listening to this man sing Opera. It was so beautiful. And so I grabbed my notecard and I wrote the opera question mark. I don't know if it was that man, and just the beauty of him freely expressing himself. Or if it was something about opera or something about singing or voice, I don't know. But it's a clue. As you go throughout your day, look for clues. It's like a little treasure hunt. Maybe it's that you want to drive a fast car. Or maybe it's that you just want to go and blow up balloons. Or maybe you just want to play maybe things are just too serious. Maybe you need some solitude, beginning begin listening to your intuition that voice inside of your head that wants things and the more you listen to it, the louder it will start to speak. And that's a muscle that you can begin to listen to. And that's the muscle of must. That's the voice that's going to point you in the direction towards more of your passion, and less of the shoulds. And the third thing that I would say is play. And we talk about this all the time when it comes to innovation when it comes to design. And I think that entrepreneurs and creatives people who are constantly told break all the rules in terms of business or creative practice. The play comes maybe is a bit more integrated into the everyday routine. If there's not a lot of play in your life, grab a box and start filling it with playful things. Maybe it's costumes or hats. Maybe it's silly straws or crazy lights or tutus that blink. Maybe it's paint, I don't know, anything that kind of just seems silly and fun. And when you get to a spot where you just feel stuck in the mud, grab that box and play because that's when creativity begins to unlock and new ideas begin to come forward. It's the same thing with creativity. It has to have a place that it can find new combinations and new forms.

Tracy:  Those are completely practical. And I love that. Like, have things around you that inspire you. Have things around you that give you the permission that maybe you're not giving yourself. And one of the things that Chris and I talked about in our first podcast was this idea of creativity and sort of how people feel as though you are creative, or you aren't creative. And our point of view, and I'm sure you're similar is that everybody has the opportunity to be creative because all creativity means is to create something. And you can approach it from a logical OR analytical point of view. Or you can approach it from, you know, the more traditional model, what do you say to people who think, well, I'm just not, I'm not creative? That's great for you. You're an artist, you're a designer. But I'm a banker, or I'm a chef or something? What do you say to them?

Elle:  Wow, well, I think this is where the trusted confidant comes in that friend. For example, just three days ago, my trusted confidant, wrote me an email, and it said the following. Dear Elle, I would love to know, if you would like to express what your vision for the world is. Love, me.

Tracy:  That was it? Did you have an answer? 

Elle:  If an email like that doesn't get you creatively thinking, I don't know, what else will it. It really daunted me at first, and it took me a couple of days. But when you have a trusted friend who you can play and have permission to, you know, sometimes we like to say, like, Can I have a do-over on that email. And it's sort of like, you know, in our kids, and you know, you, you get to like, do it again, yeah, um, I'm sure I'll be right that email multiple times throughout my life. And with her, I always have permission to have a redo. So I felt very comfortable writing it, and I wrote some really big, crazy, scary things in that email. And the amazing thing about that is just going through the exercise of thinking about what the big goal is. But the one word I would like to highlight is the word dream. What is your you know, dream, or your vision of the world? And to dream is a wonderful thing to do when you're in a visioning phase of your work. But a very different word is needed to actually create it, which is to work, to sit down every day and put in the work. And the one thing I tell people, is, if they have an idea of their must, maybe it's to build colonies. On Mars, maybe it's to be a world-class accountant. Maybe it's to teach meditation to young kids volunteer, write a book, anything, whatever that vision is, if you want to pursue your must find 10 minutes. And you know how we were talking about this culture of busy-ness. The reason we don't make time for a must in our life is because we're too busy. And if you want to find must find 10 minutes a day, block it off in your calendar, and hold yourself accountable for showing up and sitting down and actually doing the work. And maybe the work just means breathing. Maybe the work just means listening to whatever songs come to mind. The one piece of advice I would have about that 10 minutes is don't plan it until the 10 minutes begins. Yeah, sit down on that park bench or at that library desk and say, okay, must What do you want today? And do whatever it asks for 10 minutes.

Tracy: I love that. I love that. And that's what you did with your workroom in the white room. And you showed up and you asked yourself, what the hell am I doing here? Yes. Cool. Well, thank you so much, Elle. This has been brilliant talking to you. And I'm so excited for your book to come out and all the success that I know it'll bring you.

Elle: Thank you, Tracy. This has been a pleasure.

RMV 22 Introducing Our New Co-Host Katia Verresen Transcript: You Can Design For An Abundance Advantage

Full Transcript

Tracy: We're back. Yay. Let's see, Chris, how long has it been since we last podcasted?

Chris: It's been a long time but we have a lot of material. We're releasing a lot of back up recordings and we're really excited to get started here and feels like the world's ready. Results May Vary. Again, we've taken a little bit of a break since Tracy and I were both very busy but we are back and we have a big announcement today that we're really excited about.

Tracy: Yes, we are excited to announce that we have a new co-host, Katia Verresen.

Katia:  Well, I'm excited to be here.

Tracy: We're so excited to have you. This is just great, I feel like the three of us coming together, it just adds another layer to what was already a really fun and exciting show for Chris and I to do. And then to introduce Katia, and to have you really talk about the work that you do out in the world. I was gonna say when we're allowed to be out in the world. Um, yeah, so why don't you introduce yourself and tell our listeners a little bit about what you do.

Katia: So I'm Katia Verresen. And I'm an Executive Coach, both in Silicon Valley and in New York City. And I work mostly with startup co-founders, senior executives, and investors. Tracy and I met several years ago and instantly became friends. And one of the things that we had in common was this passion for design and, and designing and life design and realizing that anything can be created, anything can be designed for. And that's a big part of what I do in my work. And so that's why I was excited to join the podcast with the two of you.

Tracy: Thank you so much for agreeing. Why don't you catch us up on your life, Chris?

Chris: Yeah, so I've been doing a lot in healthcare thinking a lot about whole-person care, and won't surprise this audience or the two of you that are looking at how beyond just the human body just beyond the parts and into the full emotional variables and scientific variables and practical factors that all need to converge to create successful health outcomes. And the way that the healthcare world's working now and thinking far more broadly is really holistically. So really looking at what are the ways that we can start from a place of health and make it even better, versus disease and progression of disease? So we're really excited.

Tracy: Awesome. Love it.

Katia: Yeah, um, one of the things that I love about life design and some of the ways we think together is reminding people that they always have a choice. And that's really the first step in designing anything in your life is whether someone so often, when I start working with clients, I'll do something called an energy audit. So I'll have them literally track from the moment they open their eyes. So the moment they close their eyes, literally everything that they're doing, and you know, getting ready breakfast with the kids commuting, going to work, I mean, just literally segment by segment, and then we start looking at what how much energy do they have? Is it low? Is it medium? Is it high? And the response I always get is you may have a choice. You mean it can be different than this? And so to me, the first step around designing is this idea of being very deliberate and understanding that you have a choice. It absolutely can be more the way you would like it to be. And you're just running experiments. And that's a very powerful tool in terms of each person, reconnecting to their sense of agency and a sense of sovereignty, how much vitality Do you feel that you have so you know, in terms of your body, a lifetime vitality, that some people got enjoyment buzz like they're feeling, you know, like an electrical current Yeah. Then there's emotional energy, which is are you feeling inspired? Or are you feeling drained? And then there's mental energy, which is, are you experiencing clarity and focus or confusion and this feeling of fog. And so they're about these three very simple buckets, and you can see where you're on each, and then start playing with lovers. So for mental energy and clarity, a lot of research shows that if we move, right, if we're working out or moving, we have more clarity and focus for up to two hours afterward. So if I have a client about to make a big decision, I am making sure that they've got some movement before that they've got that level of clarity they're looking for, there's a lot of research around self-compassion, being kind to yourself as a way to generate more emotional energy. Gratitude is another way to generate emotional energy. So there are very simple, very practical tools that don't take a whole lot of time that actually move those levers. And that's really love design.

Tracy: I love it. And I'm just thinking, Chris, you probably have experienced that as an as an active person.

Chris: Yeah, well, I also think it'll be really fun to unpack as we release new episodes is there is an organizational structure in a way to that so so when I think something as overarching as sleep, for example, is, we could deprive people of a ton of sleep, and they're going to feel the fog that Katia just described, they're going to feel a lack of energy that they just described, in fact, may most likely have a significant effect on their mental states, they're not gonna have the energy to move, the way that we know will create a positive response. And so, so having, helping our audience to understand if there was a step by step or some basics to cover before you get to different parts, that may be handy. And you might come at that in different ways, depending on who you are, and what your personalities like, I've not worked with culture as a client, but I know for certain that with one experiment, I'm the person that will go out and try to run like 50, concurrently, and then get totally overwhelmed that there are 50 experiments going on to do three, you know, and then I'm like, it doesn't work. And she's like, Well, I know, it's not working to do 50 experiments at the same time. So, so just kind of simplifying that I can relate to getting overwhelmed with that. And I see a lot of people get overwhelmed with that. So helping people it's like, Okay, are you doing basic, a and basic B and basic C. And then now let's run one experiment in the Z category,

Katia: You know, yeah, one small step at a time is really, a lot of people wanted and there are different temperaments. There are some people who are incremental, one small step at a time, and then there are some people who want to do all the changes. Now, there are different personality types that way. And, and knowing which one you are, is very helpful. But typically, it might be the French in me, I was actually born and raised in France. And, and there, there's a very cultural sense around things being one step at a time and being paced and giving time to time. And I find that that creates permanent change.

Tracy: So we should all become more French.

Katia: So something very practical from a life design perspective is, is, you know, throughout the day, having little breaks, little things that add enjoyment, that's a very French thing. There's an expression called “petits plaisirs quotidiens” which is like little pleasures that are daily.

Chris: We think life design is truly for everyone. We think this is not an act for a special group of people who are very privileged. What we want to do is unpack that again, with everyone. And again, not claim to be experts in all categories, but yet use this as a forum to learn together and to experiment together and cross-fertilize that learnings as a group.

Tracy: Design is democratic. And not only that, but humans are physiologically made to be creative. So you literally every one of us has that potential because we exist, it's universal. So can you could you tell us a little bit about how you design your own life? So what is your approach?

 Katia: Yeah, I mean, I definitely do it. It's that's why when we met I was like, oh, there's a word for what I do. I'm definitely very deliberate. Um, so when I wake up, I mean,, I happen to be a morning person, so I do tend to wake up in a good mood. So whether I'm in a good mood when I went back or not, the first thing that I do is, is I do move first thing in the morning and so whether it's riding a bike or just putting on music and dancing, it's the first few moments of the morning, that's what I'm doing, I'm moving first. And then, I have designed my life in such a way that I get to walk to the ferry and take a boat to work every day. So I'm very intentional. And I also make sure to have breaks during the day, they don't have to be long. But what I do between clients, as a coach, it's all one on one, it's either over video or it's in person. But between the meetings, I will put on a song and dance or go around the block listening to music, music is fabulous because it will create dopamine as we in our brain as we look forward to our favorite moments in the song. And during the favorite moments of the song. So it's very generative for us emotionally. Now some of the life designs I have been doing since we are in a more constructive situation with working from home as an extrovert, and I get energy by being with people. The minute I realized we were working from home, I started having dinners at night over video with different friends. And so there's that connection, there's that intimacy. And from a life design perspective, I realized, wow, it's really easy to do that. Because no one has to drive and find parking, and no one has to cook for like 20 people, you're just Oh, just press join, and you're connected. And so it's playing. And that's something you've taught me, Tracy and Chris, you and I've spoken of this is just running different possibilities and different experiments to see what works. And I also do that with my clients. As they tell me during their day, oh, breakfast with the kids gives me energy. Well, we make sure that that is a special moment in their day. And they're going to focus on that no matter what other things are draining, and we'll start eliminating them. And, and that's also what I've done in my day, but part of the life design is playing around, noticing how you feel getting the feedback as the both of you say, and then trying something new or sticking to what's working Just like hot and cold. Like when we’re kids, it's like, if something is you know, you're playing the game, and people say it's cold, you move away from that spot, and you go towards the thing that is hot. And just thinking like, is this thing working for me? Is it hot or cold? How is it making me feel? Do I want to do more of it? Or do I want to move away from it? Absolutely. And the key is actually about noticing. And then there's another principle I pay a lot of attention to which is called momentum. So things go from either bad to worse, or you know, good to great. And it's pretty neutral. It's like a domino effect. And so that's why first thing in the morning when I get up, I will move. So I'm increasing the joy very, very deliberately, in order to get the momentum going in a certain direction. If I noticed that during the day, there's a little bit of a slump, I'll notice it and then make a different choice what's needed at this time. But the key in the design is really noticing, where am I at in this moment. Because if you don't, then the slump turns into sort of the boulder rolls down the hill. And at that point, it's much, much harder to get back up.

Tracy: Absolutely.

Katia: So that's one of the tools.

Chris: Yeah, I can definitely relate to that. And just having that sort of the scene set. If, for me, it's actually as extreme as like, if I don't kind of get the if I don't sort of win the morning, it's really hard to recover. And so I've recognized that momentum, that sort of momentum cycle that you've described. And then I've also noticed that the experiments, they tend to be better. If they're about chasing something positive and new versus trying to restrict, we like comfort, we're all pretty lazy at the end of the day, and that's perfectly okay. And that, but you get energy when you find energy. And so if you're trying to restrict things like don't do this, don't eat that don't say this, it can be really hard to focus your attention on the stopping versus adding new and then ultimately, some of the additives can crowd out the negatives. So yeah, and those experiments can be really small, you know, just like taking a stroll after dinner or during our restricted time here, we've been painting with my three-year-old daughter, and then you realize that you can send a postcard out of just about anything, as long as it's four and a half by six inches. More than a quarter four and a quarter sorry, post office. So if it's that size, you can just paint it, you know, write something on it and it feels productive. It feels like we're both doing something joyous as a three-year-old and dad and mom. But then it has this other purpose which is to connect with friends through the mail. So it says little things that like you said, I like that. It's more technical speak but sort of the combination of marginal gains.

Tracy: One of the things that I had noticed is when I called my aunt who's 90 and she lives in an assisted living center. It's a nice place, and she's independent enough and everything. And when we were talking, she said that, that they weren't allowed to leave their rooms anymore. And, and I really struck me just how many people probably are sitting at home or in, you know, places like this, where they don't have access, they're, they're not allowed to go outside unless it's an emergency. And so me and a couple of friends started a Facebook group, we just called it 8AM Call Your Elders Party thinking about all these people have moved online now doing dance parties and things with their friends. And that for older adults, they might not be, as you know, familiar with the technology, or have as easy of access to even do a zoom call or something. And so, you know, what is something that we can do for them and keep them connected. And then having this Facebook page is really for the people who are doing the calling, so that they can share their stories, and talk about, you know, what they learned, or their experiences are just the loved ones in their lives so that you have a reinforcement to keep doing this? And just to remind people, and think about who in your life could you reach out to right now, who could want to hear your voice and actually, you know, make that a priority before you start your day.

 Katia: One of the things that both Tracy and Chris, you've taught me through all of your expertise on design thinking is looking at things differently and prototyping very easily. And that generates a feeling of power in the world. And that's truly a gift.

Tracy DeLuca: Yeah, prototype is one of my favorite words, because when you do get something, quote, unquote, wrong, like what, it was just a prototype, man, just trying it out no matter what it is big or small.

Chris: And the point is that it's either gonna work or it's not gonna work. But you want to keep pursuing it because creativity itself is what's giving you energy. So yeah, you keep in that loop. And then ultimately, I've kind of come to the conclusion that that's a perpetual life fuel source, that creativity is just, it doesn't matter if that's work, relationship, parenting, business creation. Travel, like how whatever you want to manifest it in. That is, to me what the key pillar of results may vary is this creativity as a fuel source, trying it out, not overthinking it, not under thinking, it's like just put it out there and give it a go. And then reserving the judgment against it. And I think this is where it gets really hard is to be that beginner just feels like as adults just feel so inappropriate for people to try something new in a category, they've never done anything in, or tried to do a career pivot in something that they feel like they weren't cut out to, or they didn't do 10 years of training for that, and therefore they could never do it. You notice people that are just really creative but don't they don't accompany that creativity with a ton of self-judgment, then you're a rocket and that momentum loop that you just described, it's almost unstoppable.

Katia: And that's a form of alignment from a coaching perspective, some of the things that you've said, are just gold, you know, the question of, you know, the coach, and he's like, yes, when you continue, and you keep moving, what that actually does is it gets you out of the fight-flight-freeze response. And I think as a society, we as people “get older”, whatever that means for people. And there's a psychological way of freezing, nature does not intend to that it's just societal programming. And so the ability of thinking of life as creative creativity, expressing asking these wonderful questions of, you know, there's got to be an easier way or sooner or later, I'll figure it out and keep moving forward, does put you in that place of alignment, and sooner or later you get there, or you get to something even better, right? Because when you're exploring that tends to be what happens. Yeah. As a coach, I'm always looking at mindsets, because they're literally everything. As designers, you're about action. I'm like mind and, and make it easy. Mindset is like glasses is the lens through which you see the world. And everything he talked about. Chris is just an optimum mindset for alignment, you know, for being in that flow state.

Chris: Yeah, taking us back one step. We talked, we're talking a lot about creativity. And I think one thing through prior episodes Tracy and I were unpacking is there's a big difference between the sort of creative thoughts and then creative actions but I think this move from creative thoughts to creative acts is a big part of Results May Vary, like helping people move to that next level, I'm sure a lot of people are gonna hear creative things on this show. And we'd love somehow to capture in our community that they're moving from thoughts to x, and then x going to the momentum builds that that catcher was describing earlier.

Tracy: Yeah. I'm always trying to work on how to better communicate the work that we do. And what is design? What do we mean by that? And I think right now, what I've been working with is just crystallizing it down to two things. It's empathy and its action. And you need both of those things in order to be doing design.

Katia: I also think that there's a superpower you both hold, or people who have your background holds that because you're swimming in the water, you might underestimate, but it's like a magical superpower, as far as I'm concerned, is or maybe you're putting it in the bucket of empathy, but this ability to have no judgment, which is often lacking in other disciplines. And so I think that's where the magic comes in, what you're doing is that it's 100% permission to try. I mean, what freezes a lot of people's fear of getting it wrong. Yeah, fear of being judged, the fear of being shunned, and none of that exist. And this design thinking work and philosophy that you described. And to me, that's phenomenal.

Tracy: Yeah, I was gonna say, when I was in college, I remember they were starting this whole initiative around critical thinking, right. And I think that we've been taught how to think critically about things, analyzing it, seeing if it's right or wrong. But critical thinking is powerful, but so is creative thinking. And you need both. And we also try to do both at the same time, which leads to the inability for the creative mind to think as generatively because we're trying to analyze it at the same time, we're trying to create it, but the new ideas need time and space in order to develop and to be explored. And then you put your critical lens on well, is this right for my life, Is this right? For my business, the work, whatever it is I'm trying to do, but giving each of them intentional, time in place to to be used?

Chris: Oh, I remember to an old project that Tracy is aware of and played some role in at IDEO was helping teach a bunch of people how to cook with a famous chef named Jamie Oliver. And in the beginning, we were just going out, we were just teaching people who had never cooked to make fifth chicken fajitas. And I too was not a cook. And so when we made chicken fajitas is like, well, that's not cooking. Really. I mean, that's, that's just like assembling some food together. And when you get over, you're like, yeah, okay, that's a meal. And I've made that meal, now I can make another meal, another meal. So you can see the trajectory between a very accomplished chef, and the very first chicken fajita they made. 

 Katia: But what you're illustrating, and you'd asked me a little bit earlier, Chris, in terms of, you know, defining creativity or explaining that one of them, again, because of when I do, what I often will tell people because we forget is, at this moment you're creating, and at this moment you're creating. And so when I think about coaching and life design, it's we are creating every single moment, and most people forget. So I really define it in a very general way. And it could be as what's the next pot you're choosing? What's the next breath you're taking? What are you going to choose to do in this next moment, and having the full agency of in each of these moments, you fundamentally are creating your ticket it really at that general level, but that level of agency for people?

Chris: Yeah, and knowing, you know, to watch extremes of this is to watch people that are so good at something. And they're rewarded for that, whether that's you're a singer or athlete or an entrepreneur, and then those folks who when that part of their life is over for whatever reason, really, really struggle. And just watching right now we've all lived through this global pandemic, or we're in the middle of it as we're recording this show, but we didn't want to make the show too much about that knowing that the environments changing really quickly. But you do see people coming out of this and those that appear to be coming out sort of advances are the ones that are up for learning. You know, trying this is a moment to try something else out. That's new, it's there. I don't I'm not making light of any hardships. I think people are going through a tremendous amount of pressure and stress and in some cases, death. Those that are looking at this as this is a learning opportunity. Because the world is going to be different. So let's learn what that new world will be and what things will come out. If you don't keep learning like it's game over. That's it. That's it. So I really like this philosophy in terms of the lifelong learning aspect. And it's actually a great time to be a generalist. And partly, it's a mindset shift. Certainly, networks and things of that nature are very helpful. But the mindset is imperative.

 Katia: Well, you're really talking about Chris's, is the growth mindset, which is absolutely that. And something I often say and remind people is the most flexible element in a system has the most power. It's a really important principle to recall. And so it's number one, their constraints. And when we're being forced in a situation that we have that first freeze, But once we start to get used to the new setup, and start to breathe, and get back to normal and go, Okay, so what can I learn? What might be my favorite this moment? What's one small thing I can do? In my willingness to let go, who I thought I was, and start to explore. I mean, at this time, I have so many people saying, ha, this work from home thing that's really working out for me, I never thought it wouldn't have I might be able to live anywhere and still do work. And, and so, or Hi, I've always wanted to write this book I've always wanted to so I'm getting a lot of like I've always wanted, and people thinking less linearly as they can only do one thing, but more of a mosaic. I think as humans we are most we are more than one thing. And so it's fascinating to me at this time to notice that as we're being sort of stripped away from our unconscious habits, that these other little dreams are bubbling up like I've never seen before. 

Tracy: Yeah, it's interesting to me, because I feel like you know, change happens so slowly. And then it doesn't. Right. I feel like we'll have taken a 10-year leap forward. Where that few months ago, yeah, we would, we would be nowhere near these mentality organizations deciding that it's okay for their employees, those who can to be able to work from home, or just to do things differently. So it's exciting, Chris, you're saying, you know, learning, always learning and thinking about, you know, what is this new world going to be? And realizing that we have an active role in creating this new world is going absolutely,

Chris: Guys, thanks.

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