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  • I am a creative.

    I am a creative.

    I have a creative side. Alchemy is what I do. It is a secret. I don’t perform it as much as I let it be done by me.

    I have a creative side. Certainly all aspiring artists approve of this brand. Not everyone see themselves in this manner. Some innovative individuals incorporate technology into their work. That is the way they are, and I take that into account. Perhaps I also have a little bit of fear for them. However, my thinking and being are unique.

    Apologizing and qualifying in advance is a diversion. My mind uses that to destroy me. I’ll leave it alone for today. I may regret and be qualified at any time. after I’ve said what I should have. which is difficult enough.

    Except when it is simple and flows like a beverage valley.

    Sometimes it does go that approach. Maybe what I need to make arrives right away. I’ve learned to avoid saying it right away because they think you don’t work hard enough when you realize that sometimes the idea really comes along and it is the best plan and you know it is the best idea.

    Maybe I work and work and work until the thought strikes me. It occasionally arrives right away, but I don’t remind people for three weeks. Sometimes I get so excited about something that just happened that I blurt it out and didn’t stop myself. like a child who discovered a reward in a box of Cracker Jacks. I occasionally manage to get away with this. Yes, that is the best plan, per some observers. They don’t usually, and I regret losing my joy.

    Passion should be saved for the meeting, where it will matter. not the informal gathering that two different gatherings precede that appointment. Nobody understands why these conferences occur. We keep saying we’re going to get rid of them, but we end up really trying to. They occasionally also excel. Sometimes they detract from the real function, though. Depending on what you do and where you do it, the ratio between when conferences are valuable and when they are a sad distraction vary. And who you are and how you go about doing it. I’ll go over it once more. I have a creative side. That is the design.

    Often, a lot of diligent and individual work ends up with something that is barely useful. Maybe I have to accept that and move on to the next task.

    Don’t inquire about the procedure. I have a creative side.

    I have a creative side. My ambitions are not in my power. And I have no control over my best tips.

    I can nail ahead, fill in the blanks, or use images or information, which occasionally works. Often going for a walk is what I may do. There is no connection between sizzling fuel and bubbling pots, and I may be making dinner. I frequently have a plan for action when I wake up. The idea that may have saved me disappears almost as frequently as I become aware and a part of the world once more as a thoughtless wind of oblivion. For ingenuity, in my opinion, originates in that other world. the one that we enter in ambitions and, possibly, before and after dying. But authors should be asking this, and I am not a writer. I have a creative side. Theologians are encouraged to build massive armies in their artistic globe, which they insist is real. That is yet another tangent, though. And it’s sad. Possibly on a much bigger issue than whether or not I am creative. But this is still a departure from what I said when I came below.

    Often, the outcome is evasion. And suffering. You are familiar with the adage” the tortured designer”? Even when the artist ( this place that noun in quotes ) attempts to write a sweet drink jingle, a call in a worn-out comedy, or a budget request, it’s true.

    Some individuals who detest being called artistic perhaps been closeted artists, but that’s between them and their gods. No offence intended. Yours is also real. My needs are own, though.

    Creatives understand artists.

    Negatives are aware of cons, just like queers are aware of queers, just like real rappers are aware of true rappers. Artists are highly revered by people in the world. We respect, follow, and nearly deify the excellent ones. Of course, it is horrible to revere any person. We have been given warning. Better is what we are. We are aware of this. They argue, they are depressed, they regret their most critical decisions, they are weak and hungry, they can be violent, and they can be as ridiculous as we can if, like us, they are clay. But. But. However, they produce something incredible. They give birth to something that may never occur without them and did not exist before them. They are the inspirations ‘ mother. And I suppose I should add that they are the mother of technology because it’s just lying it. Ba ho bum! Okay, that’s all said and done. Continue.

    Creatives denigrate our personal small accomplishments because they are compared to those of the wonderful people. Wonderful video! I‘m not Miyazaki, so I‘m not. That is glory right then. That is brilliance straight out of the mouth of God. This unsatisfied small thing I created? It essentially fell off the turnip trailer. And the carrots weren’t actually new.

    Artists is aware that they are at best Salieri. Also Mozart’s original artists believe that.

    I have a creative side. I haven’t worked in advertising in 30 years, but my previous artistic managers have been the ones who make my decisions. And they are correct to do so. When it really counts, my brain goes flat because I am too lazy and simplistic. No medication is available to treat artistic difficulties.

    I have a creative side. Every project I create has a goal that makes Indiana Jones appear older and snoring in a balcony head. The more I pursue my creative endeavors, the faster I progress in my work, and the more I slog through lines and gaze blankly before beginning that task.

    I can move ten times more quickly than those who aren’t imaginative, those who have just been creative for a short while, and those who have just had a short time of creative work. Only that I spend twice as long putting the work off as they do before I work ten times as quickly as they do. When I put my mind to it, I am so confident in my ability to do a wonderful career. I am completely dependent on the excitement scramble of delay. The climb also terrifies me.

    I don’t create art.

    I have a creative side. hardly a musician. Though as a boy, I had a dream that I would one day become that. Some of us criticize our abilities and like our own accomplishments because we are not Michelangelos and Warhols. That is narcissism, but at least we don’t practice politicians.

    I have a creative side. Despite my belief in reason and science, I make decisions based on my own senses and instincts. and accept both the successes and the calamities that come with them.

    I have a creative side. Another artists, who see things differently, will find every word I’ve said irritate me. Ask two artists a topic and find three opinions. No matter how we perhaps think about it, our debate, our passion for it, and our responsibility to our own truth, at least in my opinion, are the best indications that we are artists.

    I have a creative side. I lament my lack of taste in the areas of human knowledge that I know quite little, that is to say about everything. And I put my preference before all other things in the areas that are most dear to my soul, or perhaps more precisely, to my passions. Without my passions, I’d probably have to spend the majority of our time looking ourselves in the eye, which is something that almost none of us can do for very long. No seriously. No really. Because living is so difficult to handle when you really look at it.

    I have a creative side. I think that when I’m gone, some of the good parts of me will stay in the head of at least one additional person, just like a family does.

    Working frees me from worrying about my job.

    I have a creative side. I worry that my little present will disappear unexpectedly.

    I have a creative side. I spend way too much time making the next thing, given that almost nothing I create did achieve the level of brilliance I conceive of.

    I have a creative side. I think approach is the most amazing mystery. I think I have to think it so strongly that I actually made the foolish decision to publish an essay I wrote without having to go through or edit. I swear I didn’t do this frequently. But I did it right away because I was even more scared of forgetting what I was saying because I was as scared as I might be of you seeing through my sad gestures toward the gorgeous.

    There. I believe I’ve said it.

  • Weekend Favs April 12th

    Weekend Favs April 12th

    Weekday Favs April 12th, written by John Jantsch, are available for viewing at Duct Tape Marketing.

    My trip blog post program includes posting references to a handful of equipment or great glad I ran across during the week. B2B social selling platform Teamfluence was created to enhance Linked In-based sales strategies. PhantomBuster offers technology tools to collect data and implement actions across several platforms, aiding in direct generation and mentoring. Replit is an online ]…]

    Read more about Jarret Redding‘s book Bridging the Courage Gap in your company at Duct Tape Marketing.

    The Duct Tape Marketing Podcast with Margie Warrell

    Dr. Margie Warrell, bestselling author, management coach, and international authority on confidence and risk-taking, was interviewed in this instance of the Duct Tape Marketing Podcast. We unpacked the main ideas from her latest text The Courage Gap: Five Steps to Braver Action—a must-read for everyone navigating the often uncomfortable choices that come with running a business.

    From Fortune 500 newsrooms to little consulting organizations, Margie has helped officials overcome anxiety, self-doubt, and the idiot symptoms that hold them back from realizing their full potential. Our conversation focused on the psychological factors that prevent businesspeople from raising their charges, making strong decisions, or having difficult conversations. Her tips? Firm confidence is not about being afraid; it is about being afraid. Whether you &#8217, re a single investor or leading a staff, closing the fortitude distance could be the distinction between surviving and thriving.

    Dr. Margie Warrell’s insight offer an meaningful platform for overcoming anxiety, boosting your investor thinking, and leading with dignity. Your most effective method for expanding your small business might be to bridge the confidence gap.

    Important Restaurants:

      The Courage Gap is true: Fear and reluctance fill the gap between what you should do and what you really do.

    • Bravery in Leadership Starts Small: Margie emphasizes that courage is like a body. Regular habits like journal, exercising, and intentional stops help improve it.
    • Delay or postponement? : Learn to distinguish between a proper pause and fear-based pause. Action is a result of quality.
    • Idiot Syndrome Affects People: While female entrepreneurs often face a unique set of challenges, courage spaces affect all officials —especially when it comes to pricing strategy and self-worth.
    • Boost Your Rates With Confidence: Quit questioning your price. Think about what your company will cost them as opposed to only what you’ll be willing to charge.
    • Walk Through the Unknown: Waiting for clarity leads to stagnation. Small, brave actions give you the speed to decide your next best move.

    Chapters:

    • ]00: 09 ] Introduction to Margie Warrell
    • ]01: 01] What is the Courage Gap?
    • The Difference Between Fear-Based and Strategic Pausing [02: 57]
    • ]05: 06 ] What Role Does Imposter Sydrone Play?
    • Finding the Confidence to Fee Your Worth [09: 48]
    • ]12: 15 ] Habits to Build Courage
    • ]14: 35] Dealing with Fear of Rejection
    • Being Couragous Through the Mysterious [17: 10]

    More About Margie Warrell:

      Test out Margie Warrell’s Website.

    • Connect with Margie Warrell on LinkedIn

    John Jantsch ( 00: 00.92 )

    Hello and welcome to the newest season of the Duct Tape Marketing Podcast. This is John Jantsch. My host now is Margie Warrell. Dr. Margie Warrell is a leading figure on management, fortitude, and navigating danger in organizations as diverse as Fortune 500 newsrooms and the US Congress. Bestselling artist, speaker and trainer, she empowers people to make strong choices. Additionally, she hosts The Life Brave Live, a program similar to this.

    That go. I’ll get it correctly. Podcast Life brave. We’re going to talk about her sixth guide now, the fortitude space, five steps to better activity. Thus, Margie, welcome to the program. But are you living in Australia? No, you didn’t get. It do.

    Margie Warrell ( 00: 38.333 )

    John, it’s wonderful to be with you.

    Margie Warrell ( 00: 43.038 )

    No, I am living on the same terra firma as you. I really reside in North Virginia, north of Washington, DC.

    John Jantsch ( 00: 50.711 )

    Okay, I was going to suggest that doing a podcast in Australia right now would be a terrible hours. Yes. But let’s start with the with the title of the book, The Courage Gap. What is it?

    Margie Warrell ( 00: 53.696 )

    It would be at 5 a.m.

    Margie Warrell ( 01: 04.804 )

    Yeah, also, John, have you ever had one of those days where you knew there was something you really do? Like you knew you had to have a dialogue, you knew you needed to change, and you needed to remove one from a position, or you didn’t, and you waited, you waited, you waited, you waited, you waited, and you rationalized, and I may see you nodding. Well, you know, it is not a lack of awareness that creates that space between

    John Jantsch ( 01: 24.494 )

    Yeah, of training. Who has it?

    Margie Warrell ( 01: 32.936 )

    between what we should do and what we do. Our concern is causing a distance that has grown, and it is due to a lack of courage. What will happen? What if this man gets upset? What if I make a mistake? What if I lose income? What if I make a mistake? What if it’s actually ugly and unpleasant and there’s a big consequences? What did people say? Suppose I refuse. And so our worry creates the space between the actions we’re fully capable of taking, holding somebody to consideration.

    You know, getting rid of someone out of your life because they don’t match, etc. Et alia. Having a tough talk with your co-owner and what we really do. And it takes confidence to close that gap. However, as I argue at the beginning of the text, when we don’t take those risks, make the change, take the chance, speak up, etc., we really become more prone to worse outcomes over time.

    So the distress we’re trying to protect ourselves, the issue we’re trying to avoid, we actually end up suffering means more over time and end up in a worse position. And that’s why, John, most people will declare, hey, who these can often lament taking too long to do a difficult task when I speak to them and I do a lot of speaking and running plans? And most folks go, sure, sure, yep.

    John Jantsch ( 02: 54.766 )

    Yes. You know, I’ve, I’ve really been in business 30 years. And but a couple of things I’ve learned over the years are that you occasionally like go through that fear and take action. And basically what happened was means less worse than you thought it was going to be straight. And you, began bank that, but then there are also been occasions when I’ve paused and that was the right thing to do also. So how do you sort of like to tell the difference between a geopolitical pause and fear-based procrastination?

    Margie Warrell ( 03: 24.198 )

    Yes, I do believe a wait can be very clever. That is just before plowing ahead, stepping back, really re-grounding for a minute in like, okay, what’s going on here? Where are my feelings getting away with me? And I think that acknowledging the distinction between being brave and courageous and being foolish and foolish, aggressive and responsive.

    I’m talking about considered behavior. And I believe what you’re saying is that there are times when you’re referring to boredom, but I’d say it’s not. You’re no, know, oh, it’s all too difficult. It’s basically saying, I’m just gonna simply stop for a minute and consider things carefully. I’m going to try to get the thoughts out of this. And as honestly as I is, think through the pros and cons short name and

    far-term of various actions that are in line with my principles. What feels appropriate for me? What has dignity these? What traits best describe the type of president, company owner I want to be? Okay, then I’m going to move ahead. And there is thus a different distinction. And I think practicing a wait is a lot of energy in a delay. And I really think that when we can stop the active doing, doing, doing,

    John Jantsch ( 04: 46. 296 )

    Yeah, yeah.

    Margie Warrell ( 04: 51.072 )

    and communicate to who we’re being, which let’s face it, a lot of business owners actually do. It really large marks the actions we take. It’s like, oh, this is what I need to accomplish. It really can help us be much more effective than just occasionally scurrying fiercely and going in circles.

    John Jantsch ( 05: 08.327 )

    So I’m going to probably wade into dangerous territory here. We’re going to talk about courage, you’re right. Is there a difference in this gap between men and women, whether it is real or perceived? I’m a white male born in America. I believe I have a right to everything. So why would I have imposter syndrome, right? I’m being somewhat facetious, but not.

    Margie Warrell ( 05: 11. 774 )

    Okay, let’s go. Let’s leave now. And we’re talking about courage.

    you

    Margie Warrell ( 05: 24.008 )

    Yes.

    John Jantsch ( 05: 37.038 )

    Is it much harder, say, for a woman to particularly, or somebody who doesn’t have the advantages that feels like that imposter syndrome is because they’re like, do I belong here?

    Margie Warrell ( 51.838 ) 05:

    Yes, there is absolutely a difference, gendered difference in our experience of our circumstances, of ourselves, of our ability to navigate risk, what might feel risky. And let me just start by saying that this concept of courage, one, yes, it’s a trait. Some people have a higher risk tolerance after giving birth naturally.

    John Jantsch ( 06: 09.934 )

    Mm-hmm.

    Margie Warrell ( 20.464 )

    than others. And yes, there’s even there’s a gender element to that too. I remember my sons saying to them,” Mom, look, no hands riding their bike down a hill,” but my daughter never did that. But yes, I mean, I’m generalizing, but I think there’s some truth to that. More so than women, men enjoy sticking out at high adrenaline-producing activities. So I think part of that might be nature, part of it nurture, we’re not going to debate that. But recognizing courage isn’t just choosing to take action in the presence of fear.

    It also controls our fear, according to us. And often we have more fear than we need to have. We now perceive risk more clearly. I could never do that. my God, that would be just terrifying. And you can do it in fact. And it’s as only as terrifying as you’re making it to be like to start a business, to expand into a new market, to…

    John Jantsch ( 06: 55. 926 )

    Mm-hmm.

    John Jantsch ( 07: 07.79 )

    you

    Margie Warrell ( 07: 12.34 )

    hold someone accountable, etc. And as you said before, sometimes we lay awake in bed, I’ll let this person go, I gotta hold them accountable. Then we go about doing it; I should have just done it. But for women, and speaking as a woman, and I grew up in Australia, where I think there’s also a cultural difference in Australia as well to the USA, but I think women, partially because of our social conditioning, do struggle more with self-doubt.

    Do second guess themselves more. not frequently feel as motivated to put themselves out there and wing it. I’ve seen a lot of men going, hey, let’s just try this. I’m just going to wing it and fumble through and mess up a few times because I don’t know what I’m doing. And when I do, I’ll just go, yeah, whatever, learn something, move on. Women, we ruminate, we second guess, we beat ourselves up when we don’t do things perfectly.

    John Jantsch ( 07 :40.94 )

    Mm-hmm.

    John Jantsch ( 07: 57.846 )

    you

    John Jantsch ( 08: 06.562 )

    Well, or let’s let’s be honest, sometimes you don’t get a second chance. You know, where is just what you said, you know, so there’s this fear of like, can’t screw up.

    Margie Warrell ( 8: 11 / 49 )

    and s-

    Margie Warrell ( 8: 58 )

    Yeah, and that’s true. Women are judged more harshly when they don’t get things right. You are aware of the phenomenon known as the “glass cliff phenomenon,” etc. But I also think as women, we can sometimes unwittingly internalize misogyny. as if we are prejudiced against ourselves. We judge ourselves more harshly. We also judge other women more harshly. This is actually supported by a lot of data. Women are harder on other women.

    John Jantsch ( 08: 36. 999 )

    Interesting.

    Margie Warrell ( 08: 45.542 )

    So there was a great experiment out of Columbia, the Heidi Howard experiment, where they were looking at the CVs, they were exactly the same. And some of them had the names Heidi and Howard, which were the exact same words. And when people were looking at it, would you want to employ this one or this one? They were also described as ambitious and competitive. When it was Howard, like, yeah, he sounds like a good guy to have on the team. When it was Heidi, it’s like, I don’t want to have her, ambitious and competitive. So simply acknowledging that we can be difficult on ourselves.

    And so I think I have done a lot of work with women, business owners, women leaders, entrepreneurs over the years. And I discussed this in my previous book, You’ve Got This. I’ve had to say so many times, you’ve got this, go for it, back yourself, take the risk. Don’t wait until you know exactly what you’re doing. Don’t wait until you’re completely confident; just do it and allow yourself to figure it out as you go along.

    And I really have to, I don’t have to say that as much to men.

    John Jantsch ( 09: 46. 594 )

    Yeah, yeah. Well, I’m glad we went there. That was obviously off the mark. No, no, no, no.

    Margie Warrell ( 9: 49.376 )

    And that’s not critical, by the way, that is not critical of men. I’m often like, just do more of what he does because hey, it’s working for him.

    John Jantsch ( 09: 58.476 )

    Yes. Yes. Yes. So, so let me, let me, let me go straight to a topic I hear all the time. I mean, a very specific courage gap. I work with a lot of marketing consultants, marketing agencies. We provide training and give them permission to use our methods. And one of the things I have to work on the most right from the beginning is getting them to understand they need to raise their prices. and that’s one that a lot of businesses, you know, they sit in front of a client and they’re like, will they

    Amy, what can I say? And sometimes I just say, look, just do it. Similar to when you make a sale, it’s called double your price and you can just say it and see what happens next. Like what could happen, right? They could say no, or they, or you got a really high paying client and boy do they struggle.

    Margie Warrell ( 10: 43. 328 )

    Do you notice a gender difference?

    John Jantsch ( 10: 45. 326 )

    Not as much as you’d think, actually, in that. But again, and we do, mean, we probably, at least 50 % of the folks that join our program are women. And so I don’t notice that much, but they all undercharge. And there’s really, and I think it’s, goes to this, I, I don’t even think it’s like, will I get rejected? Is it worthwhile to me? So how do you get through that gap?

    Margie Warrell ( 10: 52.448 )

    That’s good, okay, that’s good.

    Margie Warrell ( 11: 16.8 )

    Yes. So am I worth it? think it’s such a big question to ask ourselves. And what is my worth? What is my value? And will I be asking more than the market can bear? And I’m like, well, the only way you find that out is by risking asking for more than the market can bear. And you’re like, okay, well, they didn’t, you know, they weren’t willing to pay 50K. Yes. Well, how’s 40? You are aware, but you won’t receive 30 or 40 if you ask for 20. So, but I do think being willing to ask

    John Jantsch ( 11: 23.416 )

    Yes. Yes.

    John Jantsch ( 11: 41. 134 )

    Right, right, right.

    Margie Warrell ( 11: 45.376 )

    for what you truly believe you’re worth. And being clear here too, what is this commercially worth to them? Because we frequently consider, am I worth$ 30, 000? Well, I’m like, man, if the outcomes people get, I do a lot of work with CEOs and C-suite leaders. I’m like, if working with me as a coach could increase your bottom line by half a million bucks or a million or 5 million, or avoid you making a mistake that could cost you

    John Jantsch ( 11: 52. 136. )

    Yes. Right.

    Margie Warrell ( 12: 14.97 )

    way more than that, then man, you know, yeah, that’s worth 50k. So I believe you should be making sure you’re thinking about not what you think you’re worth, but what this also means to them.

    John Jantsch ( 12: 18.412 )

    Yeah,

    John Jantsch ( 12: 24. 6 )

    Yes. Yes. Yes. Yes. And I have used that to really give people a posture too, is really if you’re going back and reviewing results and you can actually say, I doubled their business. You know, what am I only asking X for? You know, it really gets a lot easier, you know, with that data. Do you have some habits, you talk about courage muscles. Do you have some habits or daily exercises that you really seem to work to help people build that courage muscle?

    Margie Warrell ( 12: 52. 92. )

    Yeah, well, I think firstly is doing more of whatever helps you bring your best bravest self to whatever challenges and whatever, you know, goals that you’ve got. And I think that can cross over multiple realms. What is it that makes you physically have the energy to not feel exhausted, as it is difficult to climb a mountain and to be brave if you’re only mentally exhausted? I think of it in terms of physical, mental, emotional, and spiritual terms.

    Are you focused on the highest leverage things? Or are you crazily overwhelmed? You don’t even know which way to look. So that is crucial. What is it that, emotionally speaking, helps you just process through the stress you’ve got on and get past some of those emotions that actually prevent you from carrying out the things you should do? And I think self-doubt is a really big one. So, for me, I begin each day with a new day.

    John Jantsch ( 13: 43.864 )

    Mm-hmm.

    Margie Warrell ( 13: 49.042 )

    I do some exercise, I read a book, and I record who I need to be today and what are my top three to five goals for the day. And for me at a spiritual level, and I say that without being religious or anything like that, just being, what is it that I feel is going to make the biggest mark and it’s going to make the biggest impact for those I’m here to serve today?

    that corresponds to my core values and conveys a sense of meaning and purpose. And so I think all of those things when we’re of regularly doing small little things like those daily habits, whether it’s journaling and it’s exercising, connecting in with people that can hold you to account and bring out your vest, putting some guard rails around those who don’t, those small little things. But a question I often ask myself is what would I do if I was being brave today?

    And it’s like, you know what? I would reach out to John and I would say, Hey John, Hey, let’s have coffee, you know, or Hey John, you know, can I be on your podcast? Not that that’s how this idea originated, but rather, put yourself out there. Like ask yourself, what would I do to day if I was being brave? And then do that very thing that comes to mind because courage is a muscle. have to put in the reps.

    John Jantsch ( 15: 04.846 )

    All I’m going to do is put you in coaching mode. I am a salesperson and I’m going to call on what could be the biggest account, you know, of my life. And I’m really afraid of getting rejected. What kind of rehancing would you recommend?

    Margie Warrell ( 15: 19.424 )

    beautiful one. I would start with principle one in the courage gap. Focus on what you want and not on what you fear. So, my gosh, I hope I make this if you’re afraid of being rejected. what if I don’t? Oh my goodness, it’s going to be like that and I’ll feel awful. But you’re putting all your energy into the outcome you don’t want. It’s like praying for what you don’t want to happen. And the things you care about expand. So I would be like one, what does success look like? Visualize

    John Jantsch ( 15: 21.901 )

    You

    John Jantsch ( 15: 29.614 )

    Mm-hmm.

    John Jantsch ( 15: 39. 758 )

    Right, right,

    Margie Warrell ( 15: 49. 51 )

    the best possible outcome. I walk out of there, I’ve landed it. And why is that fantastic? Well, not only because it’s good for you, but how is this serve them? So make sure it’s not just about you. But how is this in service of something bigger than just you? Yeah, you’re great to get the commission, great to get the contract, great for whatever comes through it. But pay attention to why this is beneficial, not just for you, but also for them. So focus on that win-win and what is your highest intention here? Yes, you do want it, but not just for personal gain.

    John Jantsch ( 16: 00.814 )

    Alright.

    Margie Warrell ( 16: 19.614 )

    And I believe the only way to get that real clarity about your positive outcome is because if you aren’t committed and confident in what you want to achieve, fear will fill the void. And so your commitment to a positive outcome has to exceed your fear of a negative outcome. And if all you’re doing is going, I’m terrified and will be turned down. I’m like, stop. I would even have someone write it down. What would a wild success look like at this meeting, please write it down? Write down.

    Why is this good for them as well as for you, not just for you? What is the value that you want to bring? Write down, what is the mindset, the belief that I need to operate from? Why not me if I have everything, that I am entirely worthy and deserving, and that I am? Because if it’s not me, it’s going to be John. So why not, you ask? And then ground yourself in the values that define who you want to be and go into that from that place of being worthy, of having integrity.

    being brave, of being generous, of being someone that makes others ‘ lives better. And then I would finally advise you to shift your posture. Take a big deep breath, breathe in courage, breathe out fear, and stand tall, hold your shoulders back, because our physiology impacts our psychology.

    John Jantsch ( 17: 36. 686 )

    So there’s one of the things I’ve noticed this first quarter, maybe we’re turning the corner, I hope so, but there’s a lot of fear based just in unknown right now, geopolitical things, economic things, and that has a tendency to make people sort of freeze. How do get people through the unknown? You know, it’s like, well, I don’t know what will happen, so how do I bravely face this?

    Margie Warrell ( 18: 03.936 )

    Yes, and because we all value certainty, it automatically causes anxiety when there is a lot of uncertainty. Our brains are wired to make plans. Yeah, to make plans on a future that we can predict with some level of confidence. And so many people are saying,” I don’t know how confident I am in my ability to predict things,” no? The future has got a lot of unknowns. It’s very tense. It’s very unpredictable. But here’s what I say to people all the time.

    John Jantsch ( 18: 12: 46 )

    Hey change, that’s the only thing we hate.

    Margie Warrell ( 18: 33.318 )

    always been uncertainty, there will always be uncertainty. And if you are waiting for certainty before you make a move, you’re going to get left behind. And you’re going to be among the dust in the shadows of those who are taking action. But this isn’t about being reckless. What’s my best guess here, to go? How do I manage potential downsides? I’m not betting the family farm on a racehorse, but I’m going, okay, let me take a few steps forward here.

    quickly reevaluate whether this is working or not? What am I learning? and cut down on those learning cycles. Because as they say in battle, it is safer to run left or right in the fog of battle in gunfire than it is to stand still. Because when you’re standing still, you’re not getting any information. You are not receiving any feedback. But when you’re in motion, okay, you know, this is working, this isn’t working. You are receiving something that will improve your standing.

    as there is more certainty over time. So to anyone listening to this and you’re holding back, you’re like, do I, don’t I? It doesn’t need to be everything or nothing. Sometimes it can be incremental, but what’s something you can do today that’s moving you forward?

    John Jantsch ( 1945.12 )

    Awesome. Well, Margie, I appreciate you stopping by the Duck Tape Marketing Podcast. Is there a place you would invite people to connect with you and who will obviously learn more about the Courage Camp?

    Margie Warrell ( 19: 54.258 )

    Yes, John, I appreciate it. Well, you can head over to my website, margieworal.com and the courage gap. I have a whole page on there that in a video, et cetera, tells you about it, but you can also get it on Amazon and everywhere good books are sold. Additionally, I encourage people to connect with me on social media platforms like LinkedIn and Instagram. I’m everywhere under my name.

    John Jantsch ( 20: 13. 678 )

    All right, awesome. Again, appreciate you. Stop by. Hopefully we’ll run into you one of these days out there on the road.

    Margie Warrell ( 20: 14 )

    Awesome, thanks John.

    powered by
  • 13 Movie Stunts That Deserved Oscars

    13 Movie Stunts That Deserved Oscars

    Even when it arrives 97 years later, it’s always good to hear pleasant information. So it was Thursday when the Academy of Movement Picture Arts and Sciences ‘ Board of Governors announced that starting in 2027 they did every prize an Oscar for Achievement in Stunt Design. Or: there may eventually get an Best Picture award…

    The article 13 Movie Stunts That Deserved Oscars appeared second on Den of Geek.

    Even when it arrives 97 years later, it’s always good to hear pleasant information. So it was Thursday when the Academy of Movement Picture Arts and Sciences ‘ Board of Governors announced that starting in 2027 they did every prize an Oscar for Achievement in Stunt Design. Or: The 100th yearly Academy Awards does bring home an Oscar for Best Stunts.

    This is truly glad tidings considering stunts and derring-do have been the hallmarks of why folks have gone to the film since the glory days of the silent time when Harold Lloyd hung awkwardly from a clocktower in Safety Last! In Hollywood’s first Robin Hood film in circa 1922, ( 1923 ) or Douglas Fairbanks shimmied up literal draw bridge chains. However, the Academy has bizarrely ignored the bikers that make their biggest tentpoles to this day field office draws. Although it’s great to see that changing, we would like to recognize the accomplishments of a baker’s dozen or so that have stood the test of time and merit Awards.

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    Charlie Chaplin Ends Up a Cog in the Machine of Modern Times ( 1936 )

    Charlie Chaplin’s physical comedy and exquisite stunt labor were presently things of the past when he made the decision to leave his Little Tramp persona with one beautiful bird song in Modern Times. In the 1930s, sound brought films and an focus on humor of the kooky and artistic variety. Modern Times is a silent film, which is one of Chaplin’s best because it does anything he did to become famous 20 years ago, but with a clear political bent.

    Consider one of the most visually impressive puns ever conceived as a critique of capitalism and modernization. Midway through Modern Times, Chaplin’s Little Tramp is swallowed by the real equipment of a factory, where he is expected to carry out mediocre inspection. It is far from the most death-defying method on this listing, but it is an example of natural stunt work reaching a funny and creative grace that makes cinema richer. The stunt produced an unwavering image that is now nearly 100 years old.

    Yakima Canutt Jumps Between Horses in Stagecoach ( 1939 )

    The iconography of John Ford accounts for a large portion of our idealized depiction of the Old West, both as a historical setting and as a film genre. Mythic compositions of men on horses, and perhaps thornier depictions of Native Americans in pursuit, define many of Ford’s best films. And Stagecoach, from 1939, is one of them. This was the first film in which Ford worked with his onscreen muse John Wayne in Monument Valley, and it set the tropes that many Westerns still follow. If not Joss Whedon’s Stagecoach in space, what is Firefly?

    Stagecoach also has perhaps the definitive” cowboys and Indians” chase sequence where Apache raiders descend on the titular stagecoach as it makes a frantic dash across Indigenous territory. Two renowned stunts were carried out in the chase by the film’s stunt director, Yakima Canutt. The first of which sees Canutt play an Apache warrior who jumps from his horse to the stagecoach’s team of steeds—only to fall beneath the animals and the wheels of the coach. It’s such a stunning image that Steven Spielberg remade it in Raiders of the Lost Ark without the horses. Yet the even more impressive stunt is when Canutt, now made up to resemble Wayne, leaps between each pair of horses pulling the stagecoach in order to take the reins of the out-of-control leader and guide man and beast to safety. It’s still breathtaking almost a century later.

    Chariot Race in Ben-Hur ( 1959 )

    The first movie to ever win 11 Academy Awards is Ben-Hur. To this day, no film has bested that number ( though several have tied it ). If there had been an Oscar for stunt work, it would have been 12 or so. Even 65 years later, there are few sequences as astonishing as the Roman chariot race that proves to be the centerpiece of this monumental Biblical epic. The race, which lasted 11 minutes, was actually not actually directed by Ben-Hur helmer William Wyler, but rather by second unit directors Andrew Marton and Yakima Canutt (yes, him again ). Filmed with luscious 65mm cameras and 72 horses beneath a vibrant Italian sun, the sequence is gorgeous eye candy to just stare at. However, the stunt work itself is so amazing that to this day, urban legends claim that either a stuntman or horse perished while creating it.

    There is no historical evidence of either occurring, however there was a close call that you can watch in the film: the shot of Judah Ben-Hur getting flipped over his own chariot after it strikes a barrier along a wall of the arena? The stuntman who performed it almost died, Yakima’s son, Joe Canutt. That wasn’t scripted. He didn’t though, and it changed the scripting of the scene with the filmmakers adding a beat of Charlton Heston being forced to pull himself back in.

    In The Spy Who Loved Me ( 1977 ), Rick Sylvester skis off a glacier.

    Really if there had been Oscars for stunts in the last 100 years, the James Bond franchise would have probably collected close to a dozen by now. There are so many options to choose from: Sebastien Foucan’s performance in the Madagascar parkour sequence of Casino Royale ( 2006 ), Wayne Michaels ‘ highest bungee jump ever recorded on film in Goldeneye ( 1995 ), and Bill Suitor’s operation of a real-life jetpack in Thunderball ( 1965 ).

    Yet if we are only going to pick one for this list, it has to be when Rick Sylvester skied right off a glacier atop a Canadian mountain for a sum of$ 30, 000. One of the series ‘ best movies features Bond, in a ridiculous yellow “undercover” ski uniform, escaping Soviet assassins by launching himself into an abyss where he does nothing but fall for a breathless 20 seconds. This is still the defining 007 stunt. He then pulls the chord on an absurd and terrific Union Jack parachute. How to maintain a low profile, James. It’s all captured in one unbelievable long shot that cuts just before one of Sylvester’s skis nearly punctures his parachute, which would have sent him plummeting.

    In Raiders of the Lost Ark ( 1981 ), a Boulder was outrunning.

    This was one of the trickier ones to include. How do you pick just one of the many outstanding stunts in the Indiana Jones movies? For pure adrenaline spectacle, we suspect Vic Armstrong in a fedora and torn shirt dangling from a rope bridge in Temple of Doom ( 1984 ) might be the winner. And Spielberg’s homage to Stagecoach, in which Terry Leonard is once more dragged beneath and behind a jeep in Raiders, is probably the most complicated set piece ever performed in the first Indy film.

    Still, great stunts aren’t only about real-life danger. It might also be about indelible iconography, originality, and aesthetics. Hence why the first thing that pops in your mind when you read the words” Indiana Jones” is still probably the sight of the ragged archaeologist outrunning a boulder by the skin of his teeth—a trick done without a stuntman. Harrison Ford is undoubtedly outsmarting the boulder in that regard! Of course it’s not really a boulder, but a still gruesome 300-pound prop made of fiberglass. Ford was able to perform the stunt because it is also on a track. Nonetheless, it remains one of the all time great movie moments that gets the hair to stand on end as a visible movie star appears to be within inches of becoming a pancake as he stumbles his way into an enormous spider&#8217, s web. &nbsp,

    Jackie Chan’s Explosive Slide in Police Story ( 1985 )

    Jackie Chan, a performer who should have won numerous stunt Oscars, made a career out of pushing his body one insane stunt ( and many more broken bones ) at a time. We could pick a trick he did, or sequence he choreographed, in almost any of his Hong Kong films. However, his character’s odd choice in the first Police Story to chase bad guys at a mall continues to be a personal favorite.

    In the sequence, his prey is escaping down at the lower levels of massive mall, so instead of following in close pursuit down a crowded escalator, Jackie decides the most efficient way to catch them is to lunge at a not-so-near pole and slide about four stories down—for real and with no wires—while shattering every string of Christmas lights in his path before crashing through a real partition of glass and wood at the bottom. In an explosion of shattering glass and electrical sparks, Chan said,” I made my jump, grabbed the pole, and watched the twinkling lights crack and pop all the way down. Then I hit the glass. And then I hit the ground. Somehow I managed to survive with a collection of ugly bruises &#8230, and second-degree burns on the skin of my fingers and palms”.

    In Police Story 3 ( 1992 ), Michelle Yeoh Catches a Train.

    I was conflicted about including this one since we are trying to keep this list to one entry per franchise, however given that this was Michelle Yeoh‘s own jaw-dropping moment in Police Story 3, it seems safe to include the moment where she literally jumped a dirt bike onto a moving train.

    The incident occurs at the conclusion of the film when Yeoh’s young Interpol agent tries to catch up and assist Jackie in saving the day. Not only did Yeoh successfully land the bike onto the train but she rode it the near length of the train cars ‘ rooftops before jumping off after her character loses control. Even that final scene, however, is a little real because Yeoh couldn’t cleanly escape the car before making this movie, despite having never before ridden a dirt bike. So that’s really her kicking it away and off the train while its wheels are still spinning!

    Hidden Dragon, Hidden Dragon, and Tree Fight in Crouching Tiger, 2000

    Another case of the stunt work achieving a gracefulness and artistry that supersedes just pure adrenaline, this duel among the trees between Chow Yun-fat and Zhang Ziyi in Crouching Tiger, Hidden Dragon remains one of the most surreal and achingly beautiful “fight scenes” in cinema.

    It’s true, but calling it a fight scene almost sounds silly. This is really a chance for two protagonists in direct conflict to properly introduce themselves to each other. The ostensible violence between two martial arts masters gliding between treetops has a serene peacefulness to it. The sequence came to director Ang Lee in a dream and was realized by stunt choreographer Yuen Woo-ping, whose stunt team is probably best known in the West for popularizing wire-fu in movies like The Matrix. The dancing in the green in Crouching Tiger is actually Zhang and Chow dancing in the wilderness.

    Rotating Hallway Fight in Inception ( 2010 )

    In the film Royal Wedding ( 1951 ), Joseph Gordon-Levitt and several members of Tom Struthers ‘ team engaged in a fight in a rotating hotel, it can be demonstrated that Fred Astaire wowed audiences by dancing on the walls and ceilings of his own hotel room. Which is true, but it’s no less impressive given how dizzyingly complex director Christopher Nolan made his action version of the showstopper.

    This sequence, which was choreographed on a rotating set in an air hangar outside London, culminated Gordon-Levitt and Nolan’s teams ‘ months of training to give the impression that gravity was a fluid, sputtering resource in a dream world where your only limit was your knowledge of kung fu. It’s hypnotic.

    In Mission: Impossible 4, Tom Cruise scales the tallest building in the world ( 2011 ).

    Once again, we come to a stunt legend where it is difficult to choose which sequence to include. Tom Cruise has a late-life renaissance as the contemporary Douglas Fairbanks. His appearance in a movie over the last 15 or so years is a near-guarantee you’ll see some death-defying hijinks. So should it have been his time to hang from a real plane in Mission: Impossible &#8211, Rogue Nation as it took off? Or how about when he performed hundreds of HALO jumps from 25, 000 feet in 2018’s Mission: Impossible &#8211, Fallout? He attempted to outwit Rick Sylvester’s TSWLM stunt in the final movie, which was largely marketed as his only chance of survival by riding a motorcycle off a mountain using a parachute.

    We ultimately decided to go with the stunt which really signaled this transition in Cruise’s career. Cruise revived his career by playing a real-life Spider-Man along the sun-kissed glass of Dubai’s Burj Khalifa, the tallest building in the world, in Mission: Impossible &#8211, Ghost Protocol, which was released in December 2011. It’s more or less the same trick Harold Lloyd did 90 years earlier, only higher and in Cruise’s case, he has safety harnesses holding him in place. They even don’t even digitally remove that element. They astutely make it part of the story, with the idea being both the harness and his character’s glue gloves only have a fixed amount of time to keep him safe. He then makes street pizza. It’s a marriage of movie star charisma, superb visual storytelling, and old-fashioned derring-do captured in massive IMAX cinematography.

    Bane hijacks a plane in Midair in The Dark Knight Rises ( 2012 ).

    Another Christopher Nolan sequence, this one is also the favorite of the director’s stunt sequences in his Batman trilogy. A team of aerial stuntmen coordinated by Tom Struthers again literally jump from one massive plane to smaller charter flight, and commandeer it with little more than wires, explosives, and guts, in a similar scene from the James Bond film Licence to Kill. Nolan improves on his influence by recording in eye-catching IMAX photography how they filmed this and other stunts. The wings coming off is a digital effect. The rest is essentially nonexistent.

    Pole Cat Craziness in Mad Max: Fury Road ( 2015 )

    We were persuaded to include every single entry from George Miller’s Mad Max: Fury Road. This mad fantasia of gas-guzzling grandeur is one set piece marvel after another, strung together in a feature-length chase sequence that ascends to a level of cinematic Valhalla where all is shiny and chrome. However, if we must narrow it down to” Witnessed” and only one scene that the Academy can point to, what comes next? it would probably be the pole cat spectacle.

    These Australian lunatics, er, stuntmen, were Miller’s gang, who really swayed in the breeze ( presumably because it looked cooler ) on poles above cars traveling anywhere between 30 and 60 MPH in the Namibian desert. They then swung on said poles over movie stars, including Zoë Kravitz who is really whisked by a pole-catter from one speeding vehicle to another, with nothing but hard desert earth beneath their feet. God Bless George Miller. No, really, that must’ve been the case because the fact no one died makes this something of a miracle.

    The Last 40 Minutes of John Wick 4 ( 2023 ), All of It

    Much like the James Bond and Mission: Impossible franchises, the John Wick flicks are an embarrassment of riches for stunt work and spectacle. The John Wick movies are a chance for those who have the knowledge to translate that into pure cinema because they were written by former stuntmen-turned-directors Chad Staheleski and David Leitch. Each mainline movie has been directed by Staheleski, and the John Wick movies are no exception.

    Which might make it a bit of a shame the series is not ending after what was clearly intended to be the grand finale in John Wick: Chapter 4. The epic climax of stunt work featured an all-expensive view of the carnage as Keanu Reeves shoots his way through enemy territory in one of the most impressive oner action scenes ever created and culminates in an even more impressive, seeming series of oners where Reeves and Donnie Yen battle their way repeatedly up a long, outdoor Parisian staircase in Montmartre filled with assassins who want old Johnny boy dead. It’s a visual crucible of Mr. Wick’s trials and travails distilled into a masterpiece of carnage.

    The article 13 Movie Stunts That Deserved Oscars appeared second on Den of Geek.

  • Doctor Who Series 15 Episode 1 Review: The Robot Revolution

    Doctor Who Series 15 Episode 1 Review: The Robot Revolution

    Warning: contains trailers for Doctor Who: The Robot Revolution. Doctor Who is up and feeling pretty confident despite widely exaggerated accounts of its demise. The season premiere successfully establishes new companion Belinda Chandra ( the excellent Varada Sethu ) and her compellingly spiky dynamic with the Doctor, though the surrounding story – in which a seemingly ]… ]

    The initial assessment of Doctor Who Series 15 Episode 1: The Robot Revolution appeared initially on Den of Geek.

    It’s usually good to hear pleasant information, even when it arrives 97 decades later. The Board of Governors of the Academy of Motion Picture Arts and Sciences announced on Thursday that an Oscar for Achievement in Stunt Design will be given out every starting in 2027. Or: there may eventually become an Oscar for Best Feats beginning at the 100th yearly Academy Awards.

    This is truly glad tidings given that feats and derring-do have always been the norm in the history of film since Harold Lloyd hung ostensibly from a clocktower in Safety Last! ( 1923 ) or Douglas Fairbanks shimmied up literal draw bridge chains in Hollywood’s first Robin Hood movie circa 1922. The Academy has, in fact, abandoned the bikers that generate the biggest tentpoles in the box office today. It’s amazing to see that changing, but we would like to recognize a baker’s dozen or so efforts that have stood the test of time and deserved Awards in their day.

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    Charlie Chaplin ends up a cog in the modern-day machine ( 1936 ).

    When Charlie Chaplin decided to retire his Little Tramp persona with one beautiful bird melody in Modern Times, his form of physical comedy and exquisite stunt work were presently things of the past. In the 1930s, audio placed an emphasis on kooky and musical comedy and brought film. But for all intents and purposes, Modern Times is a passive movie, and one of Chaplin’s best as he got to do everything that made him a celebrity 20 years earlier —now with an explicit political bent.

    Take a look at one of the most visually stunning puns ever written to criticize capitalism and modernization. Midway through Modern Times, Chaplin’s Small Hobo ends up swallowed by the precise system of a mill that grinds him through its wheels where he is expected to perform basic maintenance. Although it is not the most lethal trick on this list, it is an example of natural stunt work that achieves a humorous and creative grace that makes movies richer. The prank created an indelible image that almost a 100 years after packs allegory punch.

    In Stagecoach ( 1939 ), Yakima Canutt jumps between horses.

    So much of our imagined picture of the Old West, both as a traditional building and as a film genre, is derived from the imagery of John Ford. Several of Ford’s best movies are defined by mythic images of men riding horses and apparently thornier depictions of Native Americans pursuing. And 1939’s Stagecoach is great among them. This was Ford’s first movie collaboration with his on-screen artist John Wayne in Monument Valley, and it exemplified the motifs that many Westerners still acquiesce to. What is Light if no Joss Whedon’s Stagecoach in place?

    The” horses and Indians” chase scene on Stagecoach features the definitive” cowboys and Indians” and features Apache raiders rushing up and down the titled carriage as it makes a frantic run across Indigenous country. The fight features two memorable feats executed by the show’s stunt coordinator Yakima Canutt. Canutt plays an Apache hero who jumps from his horse to the stagecoach’s group of steeds in the first of which, only to fall beneath the wildlife and the coach’s tires. It’s like a stunning image that Steven Spielberg remade it 40 years afterward in Raiders of the Lost Ark, minus the horses. The even more remarkable stunt occurs when Canutt, who is now made up to look like Wayne, leaps between the two horses pulling the carriage to take the reins from the controlling leader and protect both man and beast. It’s also amazing nearly a century later.

    In Ben-Hur, there is a Chariot Race ( 1959 ).

    Ben-Hur became the first video to ever get 11 Academy Awards. No movie has ever surpassed that amount ( though some have tied it ). Also, it would have been 12 if there was an Oscar for daredevil work. There are few patterns as astounding as the Roman horse race, which serves as the core of this gigantic Biblical epic, 65 years later. Running at 11 minutes in length, the race was never actually directed by Ben-Hur director William Wyler, but rather second product executives Andrew Marton and Yakima Canutt (yes, him once ). The series is stunning eye candy to merely stare at, adorned with beautiful 65mm cameras and 72 horses under a radiant Roman sun. But the daredevil function is itself so lovely that to this day industrial traditions persist that either a artist or horses died while making it.

    There is no historical evidence for either to occur, but a close contact can be seen in the movie, in which Judah Ben-Hur is flipped over his own carriage as it travels past a barrier along the arena wall. That wasn’t scripted, and the actor who performed it roughly died: Joe Canutt, Yakima’s child. However, he didn’t, and the scene’s script was altered as a result, with Charlton Heston being forced to pull himself up in.

    Rick Sylvester Skis Off a Glacier in The Spy Who Loved Me ( 1977 )

    Actually, the James Bond film series would have probably won close to a dozen Oscars by now if there had been any Oscars for feats in the last 100 years. There are so many to&nbsp, choose from: Bill Suitor operating a real-life jetpack in Thunderball ( 1965 ), Wayne Michaels performing the highest bungee jump ever captured on film in Goldeneye ( 1995 ), everything Sebastien Foucan did in the Madagascar parkour sequence of Casino Royale ( 2006 ).

    However, if there is only one item on this list, it must be Rick Sylvester’s skied off a mountain atop a French rock for$ 30,000. It’s still the determining 007 prank which opens one of the line ‘ best movies where Bond, in a ridiculous bright “undercover” snow even, escapes Russian assassins by launching himself into an abyss where he does nothing but fall for a frantic 20 seconds. Then he strikes the chord with a fantastic and absurd Union Jack parachute. Way to keep a low-profile, James. It’s all captured in one incredible long shot that cuts just before one of Sylvester’s skis nearly punctured his parachute, sending him plummeting.

    Outrunning a Boulder in Raiders of the Lost Ark ( 1981 )

    One of the more challenging ones to include was this. There are so many great stunts in the Indiana Jones pictures, so how do you pick just one? In Temple of Doom ( 1984 ), we believe Vic Armstrong might be the best for pure adrenaline spectacle. He is wearing a fedora and torn shirt hanging from a rope bridge. And Spielberg’s homage to Stagecoach where Terry Leonard again is dragged beneath and behind the wheels of a jeep in Raiders is probably the most complex set piece performed in the first Indy flick.

    Great stunts aren’t just about real-world danger, though. It can also be about aesthetics, originality, and indelible iconography. The sight of the ragged archaeologist outrunning a boulder by the skin of his teeth, a stunt performed without a stuntman, is still the first thing that comes to mind when you read” Indiana Jones.” That is clearly Harrison Ford outrunning the boulder! It’s a still horrifying 300-pound prop made of fiberglass, of course, but it’s not really a boulder. It is also on a track, hence why Ford was able to do the stunt. One of the greatest movie moments of all time still has the audience on their end as a clearly visible movie star stumbles his way into an enormous spider’s web, making it seem like he’s within inches of becoming a pancake. &nbsp,

    Jackie Chan’s 1985 Explosive Slide in Police Story

    A performer who should have a whole collection of stunt Oscars, Jackie Chan made a career out of pushing his body to the limits one insane stunt ( and many more broken bones ) at a time. In almost all of his Hong Kong movies, we could pick a trick he performed or a choreographed sequence. But his character’s bizarre choice to chase bad guys at a shopping mall in the first Police Story remains a personal favorite.

    Instead of following in close pursuit down a crowded escalator, Jackie decides the most effective way to catch them is to lunge at a near pole and slide four stories down—for real and without wires—while smashing every string of Christmas lights in his path before crashing through a real partition of glass and wood at the bottom. Reminiscing years later about the stunt, Chan said,” I made my jump, grabbed the pole, and watched the twinkling lights crack and pop all the way down, in an explosion of shattering glass and electrical sparks. Then I hit the glass. And then I hit the floor. With a number of unpleasant bruises &#8230 and second-degree burns on the skin of my fingers and palms, somehow I managed to survive.

    Michelle Yeoh Catches a Train in Police Story 3 ( 1992 )

    Given that this was Michelle Yeoh‘s own jaw-dropping moment in Police Story 3, I was reluctant to include it because we are trying to keep this list limited to one entry per franchise. However, given that this was her own jaw-dropping moment in Police Story 3, it seems appropriate to include the moment where she literally jumped a dirt bike onto a moving train.

    The moment comes at the end of the movie when Yeoh’s young Interpol agent is attempting to catch up and help Jackie save the day. Yeoh rode the bike nearly the entire length of the train cars ‘ rooftops before crashing off after losing control of her character. However, even that last bit is somewhat for real since Yeoh, who had never before ridden a dirt bike before making this movie, was unable to cleanly escape the vehicle. So she actually kicked the train off while its wheels are still spinning, right?

    Tree Fight in Crouching Tiger, Hidden Dragon ( 2000 )

    Another instance of the stunt work achieving a gracefulness and artistry that surpasses pure adrenaline, Hidden Dragon’s fight between Chow Yun-fat and Zhang Ziyi in Crouching Tiger is still one of the most surreal and achingly beautiful “fight scenes” in film.

    Admittedly, calling it a fight scene is almost a misnomer. Really, this is a chance for two protagonists in direct conflict to properly introduce themselves to one another. As such, there is a serene peacefulness to the ostensible violence occurring between two martial arts masters gliding between treetops. The stunt choreographer Yuen Woo-ping, whose stunt team is probably best known in the West for popularizing wire-fu in movies like The Matrix, helped with the sequence after director Ang Lee had a dream. Yet the wirework in Crouching Tiger is better, and it really is Zhang and Chow up in that wilderness, dancing in the green.

    Rotating Hallway Fight inception ( 2010 )

    A case can be made that the sequence where Joseph Gordon-Levitt and several members of stunt coordinator Tom Struthers ‘ team fought in a rotating hotel was just doing a more elaborate version of that time Fred Astaire wowed’ em by dancing on the walls and ceilings of his own hotel room in Royal Wedding ( 1951 ). Which is accurate, but it’s not less impressive given how incredibly complex director Christopher Nolan created his action-based adaptation of the showstopper.

    Choreographed on a rotating set in an air hangar outside London, this sequence was the culmination of months of training by Gordon-Levitt and Nolan’s teams to create the sense that gravity was a fluid, sputtering resource in a dream world where the only limits was your knowledge of kung fu. It’s hypnotic.

    Tom Cruise Scales World’s Tallest Building in Mission: Impossible 4 ( 2011 )

    Once more, we have a stunt legend, and it’s difficult to decide which sequence to include. Tom Cruise has had a late career renaissance as a modern day Douglas Fairbanks. His most recent appearances in films over the course of 15 or so years are a near-guarantee for you to witness some death-defying hijinks. So should it be the time he hung from a real plane as it took off in Mission: Impossible &#8211, Rogue Nation? Or how about in Mission: Impossible &#8211, Fallout, where he performed hundreds of HALO jumps from 25, 000 feet? The last movie in the series was pretty much marketed around him trying to one-up Rick Sylvester’s TSWLM stunt by riding a motorcycle off a mountain with a parachute as his only salvation.

    In the end, we made the decision to pursue the stunt, which so clearly indicated this phase of Cruise’s career. It was in December 2011’s Mission: Impossible &#8211, Ghost Protocol that Cruise revitalized his career by playing a real-life Spider-Man along the sun-kissed glass of Dubai’s Burj Khalifa, the tallest building in the world. It’s essentially the same trick that Harold Lloyd performed 90 years ago, but this time it’s higher, and in Cruise’s case, he has safety harnesses in place. Yet they don’t even digitally remove that element. They skillfully incorporate it into the narrative, arguing that both the harness and his character’s glue gloves only have a set amount of time to keep him safe. Afterward he’s street pizza. It combines the charisma of movie stars with excellent visual storytelling and traditional derring-do captured in massive IMAX cinematography.

    Bane Hijacks a Plane in Midair in The Dark Knight Rises ( 2012 )

    Another Christopher Nolan stunt sequence, this one from the director’s Batman trilogy is also favorites. A bit of a riff on a similar scene in the James Bond movie Licence to Kill, Nolan improves on his influence by recording in eye-popping IMAX photography how a team of aerial stuntmen, coordinated by Tom Struthers again, literally jump from one massive plane to smaller charter flight, and commandeer it with little more than wires, explosives, and guts. The effect of the wings coming off is digital. Almost everything else is not.

    In Mad Max: Fury Road ( 2015 ), Pole Cat Craziness

    We were tempted to just include all of George Miller’s Mad Max: Fury Road as a single entry. This insane fantasy of gas-guzzling grandeur is woven together into a feature-length chase scene to reach a level of cinematic Valhalla where everything is shiny and chrome. But if we must narrow it to one scene that the Academy can point to and go,” Witnessed”! most likely the pole cat spectacle, of course.

    With Miller’s gang of Australian lunatics &#8230, er, stuntmen trained by the acrobats of Cirque du Soleil, these blokes really swayed in the breeze ( purely because it looked cooler ) on poles above cars going anywhere between 30 and 60 MPH in the Namibian desert. Then they swung on the aforementioned poles over movie stars, including Zo Kravitz, who is actually swept away by a pole-catter while driving at a speeding car and having nothing but hard desert earth beneath their feet. God Bless George Miller. Actually, that must have been the case because the fact that nobody died makes this something of a miracle.

    The Last 40 Minutes of John Wick 4 ( 2023 ), All of It

    The John Wick movies are an embarrassment of riches for stunt work and spectacle, much like the James Bond and Mission: Impossible franchises. Begun by former stuntmen-turned-directors Chad Staheleski and David Leitch, and with every film in the mainline series so far still directed by Staheleski, the John Wick movies are a chance for those who know the intricacies of stunts to translate that into pure cinema.

    Which might explain why the series isn’t ending after what was obviously intended to be John Wick: Chapter 4‘s grand finale. Everything about this entry acted like it was embracing the kitchen sink mentality, including an epic climax of stunt work that begins with one of the most impressive oner action sequences ever conceived—this one taking an overhead, godseye view to the carnage as Keanu Reeves shoots his way through enemy territory—and culminates in an even more impressive, seeming series of oners where Reeves and Donnie Yen fight their way repeatedly up a long, outdoor Parisian staircase in Montmartre filled with assassins who want old Johnny boy dead. It’s a visual crucible of Mr. Wick’s struggles distilled into a masterpiece of carnage.

    The post 13 Movie Stunts That Deserved Oscars appeared first on Den of Geek.

  • Beware the Cut ‘n’ Paste Persona

    Beware the Cut ‘n’ Paste Persona

    This Person Does Not Exist is a website that uses a machine learning algorithm to create individual faces. It takes actual photos and recombines them into false people faces. We just squinted past a LinkedIn article that claimed this site might be helpful “if you are developing a image and looking for a photo.”

    We agree: the computer-generated heads could be a great fit for personas—but not for the purpose you might think. Ironically, the website highlights the core issue of this very common design method: the person ( a ) does not exist. Personas are deliberately created, much like in the photos. Knowledge is taken out of natural environment and recombined into an isolated preview that’s detached from reality.

    However, it’s odd that manufacturers use personalities to guide their style in the real world.

    Personas: A action up

    Most manufacturers have created, used, or come across personalities at least once in their profession. The Interaction Design Foundation defines profile as “fictional characters, which you create based upon your research in order to represent the various consumer types that might use your company, product, page, or brand” in their article” Personas- A Simple Introduction.” In their most complete expression, personas typically consist of a name, profile picture, quotes, demographics, goals, needs, behavior in relation to a certain service/product, emotions, and motivations ( for example, see Creative Companion’s Persona Core Poster ). According to design firm Designit, the goal of personas is to “make the research relateable, ]and ] easy to communicate, digest, reference, and apply to product and service development.”

    The decontextualization of identities

    Personas are common because they make “dry” research information more realistic, more people. However, this approach places a cap on the study’s data analysis, making it impossible for the investigated users to be excluded from their particular contexts. As a result, personalities don’t describe important factors that make you realize their decision-making method or allow you to connect to users ‘ thoughts and behavior, they lack stories. You are aware of the persona’s actions, but you lack the history knowledge to understand why. You end up with images of people that are really less people.

    This “decontextualization” we see in identities happens in four way, which we’ll discuss below.

    People are assumed to be stable, according to people.

    Although many companies still try to box in their employees and customers with outdated personality tests ( referring to you, Myers-Briggs ), here’s a painfully obvious truth: people are not a fixed set of features. Depending on how you feel, how you act, think, and think, what you do and do. You appear distinct to different people, you may act helpful to some, tough to others. And you change your mind all the time about judgments you’ve taken.

    Current psychologists concur that while individuals typically act in accordance with specific patterns, how people act and make decisions is ultimately influenced by a combination of history and culture. The context—the atmosphere, the effect of other people, your feelings, the whole story that led up to a situation—determines the kind of person you are in each particular time.

    Personas do not account for this variation in their attempt to reduce reality; instead, they present a consumer as a set of features. Like character tests, personas seize people away from real life. Even worse, individuals are reduced to a brand and categorized as” that kind of guy” with no means to practice their inherent flexibility. This behavior discredits variety, perpetuates stereotypes, and doesn’t reveal reality.

    Personas rely on people, not the environment

    You’re designing for a environment, not an individual, in the real world. Each individual lives in a community, a group, an habitat, where there are environmental, social, and cultural factors you need to consider. A pattern is not meant for a single customer. Instead, you create a product that is intended to be used by a certain number of people. Personas, yet, show the customer alone rather than explain how the consumer relates to the environment.

    Do you make the same choice over and over again? Maybe you’re a dedicated vegan but also decide to buy some meats when your family are coming across. As they depend on various situations and characteristics, your decisions—and behavior, thoughts, and comments —are no absolute but extremely contextual. Because it doesn’t explain the grounds for your decisions, the persona that “represents” you doesn’t take into account this interdependence. It doesn’t provide a explanation of why you act the way you do. People practice the well-known attribution error, which states that they too often attribute others ‘ behavior to their personalities and not to the circumstances.

    As mentioned by the Interaction Design Foundation, identities are often placed in a situation that’s a” specific environment with a problem they want to or have to solve “—does that mean environment actually is considered? However, what frequently happens is that you take a hypothetical figure and based on that literature decide how this character may deal with a particular situation. How could you possibly comprehend how someone you want to represent behave in new circumstances given that you haven’t even fully investigated and understood the current context of the people you want to represent?

    Personas are meaningless averages

    A persona is depicted as a specific person but is not a real person, as stated in Shlomo Goltz’s introduction article on Smashing Magazine; rather, it is made up of observations from numerous people. A well-known critique to this aspect of personas is that the average person does not exist, as per the famous example of the USA Air Force designing planes based on the average of 140 of their pilots ‘ physical dimensions and not a single pilot actually fitting within that average seat.

    The same limitation applies to mental aspects of people. Have you ever heard a famous person say something like,” They took what I said out of context!” They used my words, but I didn’t mean it like that”. The reporter didn’t explain the context of the celebrity’s statement or explain the non-verbal expressions, but the celebrity’s statement was literally reported. As a result, the intended meaning was lost. You do the same when you create personas: you collect somebody’s statement ( or goal, or need, or emotion ), of which the meaning can only be understood if you provide its own specific context, yet report it as an isolated finding.

    However, personas go one step further, combining a decontextualized finding with another decontextualized finding from another. The resulting set of findings often does not make sense: it’s unclear, or even contrasting, because it lacks the underlying reasons on why and how that finding has arisen. It lacks any significance. And the persona doesn’t give you the full background of the person ( s ) to uncover this meaning: you would need to dive into the raw data for each single persona item to find it. What, then, is the usefulness of the persona?

    The validity of personas can be deceiving.

    To a certain extent, designers realize that a persona is a lifeless average. To combat this, designers create and add “relatable” details to personas to make them appear to be real people. Nothing captures the absurdity of this better than a sentence by the Interaction Design Foundation:” Add a few fictional personal details to make the persona a realistic character”. In other words, you add non-realism in an attempt to create more realism. Wouldn’t it be much more responsible to emphasize that John is only an abstraction if you purposefully conceal the fact that” John Doe” is an abstract representation of research findings? If something is artificial, let’s present it as such.

    After accepting that people’s personalities are fixed, ignored the importance of their environment, and hidden meaning by joining isolated, non-generalizable findings, designers create new context to create ( their own ) meaning. In doing so, as with everything they create, they introduce a host of biases. As phrased by Designit, as designers we can” contextualize]the persona ] based on our reality and experience. We make connections that are well-known to us. This practice reinforces stereotypes, doesn’t reflect real-world diversity, and gets further away from people’s actual reality with every detail added.

    To conduct effective design research, we must report the “as-is” reality and make it relatable for our audience so that everyone can use their own empathy and formula for their own interpretation and emotional response.

    Dynamic Selves: The alternative to personas

    If we shouldn’t use personas, what should we do instead?

    Designit suggests using mindsets rather than personas. Each Mindset is a” spectrum of attitudes and emotional responses that different people have within the same context or life experience”. It challenges designers to avoid becoming fixated on just one person’s way of being. Unfortunately, while being a step in the right direction, this proposal doesn’t take into account that people are part of an environment that determines their personality, their behavior, and, yes, their mindset. Therefore, Mindsets are also not absolute but change in regard to the situation. What determines a certain Mindset, remains to be seen.

    Another alternative comes from Margaret P., author of the article” Kill Your Personas“, who has argued for replacing personas with persona spectrums that consist of a range of user abilities. A visual impairment may be temporary ( recovery from eye surgery ), permanent ( blindness ), or situational (screen glare ). Persona spectrums are highly useful for more inclusive and context-based design, as they’re based on the understanding that the context is the pattern, not the personality. Their limitation, however, is that they have a very functional take on users that misses the relatability of a real person taken from within a spectrum.

    We want to change the traditional design process to be context-based by creating an alternative to personas. Contexts are generalizable and have patterns that we can identify, just like we tried to do previously with people. So how do we learn these patterns? How do we ensure truly context-based design?

    Understand real individuals in multiple contexts

    Nothing about reality can be more relatable and inspiring. Therefore, we have to understand real individuals in their multi-faceted contexts, and use this understanding to fuel our design. Dynamic Selves is how we define it.

    Let’s take a look at what the approach looks like, based on an example of how one of us applied it in a recent project that researched habits of Italians around energy consumption. We drafted a design research plan aimed at investigating people’s attitudes toward energy consumption and sustainable behavior, with a focus on smart thermostats.

    1. Choose the right sample

    When we contest personas, we are frequently met with the words” Where are you going to find a single person that encapsulates all the information from one of these advanced personas ]””? The answer is simple: you don’t have to. You don’t need to have information about many people for your insights to be deep and meaningful.

    Quantity is key to qualitative research, but sampling accuracy is key to its validity. You select the people that best represent the “population” you’re designing for. You can infer how the rest of the population thinks and acts if this sample is chosen wisely and you have a deep understanding of the sampled people. There’s no need to study seven Susans and five Yuriys, one of each will do.

    Similarly, you don’t need to understand Susan in fifteen different contexts. Once you’ve seen her in a few different settings, you’ve grasped Susan’s general scheme of action. Not Susan as an atomic being but Susan in relation to the surrounding environment: how she might act, feel, and think in different situations.

    It becomes clear why each should be represented as an individual because each is already an abstraction of a larger group of individuals in similar circumstances because each person is representative of a portion of the total population you’re researching. You don’t want abstractions of abstractions! These selected people need to be understood and shown in their full expression, remaining in their microcosmos—and if you want to identify patterns you can focus on identifying patterns in contexts.

    However, the question persists: how do you choose a representative sample? First of all, you have to consider what’s the target audience of the product or service you are designing: it might be useful to look at the company’s goals and strategy, the current customer base, and/or a possible future target audience.

    We were creating an application for those who already have smart thermostats in our example project. In the future, everyone could have a smart thermostat in their house. Right now, though, only early adopters own one. We had to understand the causes behind these early adopters in order to build a significant sample. We therefore recruited by asking people why they had a smart thermostat and how they got it. There were those who had made the decision to purchase it, those who had been influenced by other people’s decisions, and those who had discovered it in their homes. So we selected representatives of these three situations, from different age groups and geographical locations, with an equal balance of tech savvy and non-tech savvy participants.

    2. Conduct your research

    After having chosen and recruited your sample, conduct your research using ethnographic methodologies. This will give you more examples and anecdotes to enrich your qualitative data. In our example project, given COVID-19 restrictions, we converted an in-house ethnographic research effort into remote family interviews, conducted from home and accompanied by diary studies.

    To gain an in-depth understanding of attitudes and decision-making trade-offs, the research focus was not limited to the interviewee alone but deliberately included the whole family. Each interviewee would provide a story that would later become much more interesting and precise with the additions made by their spouses, partners, kids, or occasionally even pets. We also focused on the relationships with other meaningful people ( such as colleagues or distant family ) and all the behaviors that resulted from those relationships. This extensive field of study gave us the ability to create a vivid mental image of dynamic situations involving multiple actors.

    It’s essential that the scope of the research remains broad enough to be able to include all possible actors. Therefore, it normally works best to define broad research areas with macro questions. Follow-up questions will be written down in a way that is best suited for an interview, and they should be conducted in a semi-structured manner. This open-minded “plan to be surprised” will yield the most insightful findings. One of our participants responded to our question about how his family controlled the house temperature by saying,” My wife has not installed the thermostat’s app; she uses WhatsApp instead. If she wants to turn on the heater and she is not home, she will text me. I am her thermostat”.

    3. Analysis: Create the Dynamic Selves

    You begin to represent each individual with several Dynamic Selves, each” Self” representing one of the circumstances you have examined throughout the research analysis. The core of each Dynamic Self is a quote, which comes supported by a photo and a few relevant demographics that illustrate the wider context. The research findings themselves will show which demographics are relevant to show. In our case, the important demographics were family type, number and type of houses owned, economic status, and technological maturity because our research focused on families and their way of life to understand their needs for thermal regulation. ( We also included the individual’s name and age, but they’re optional—we included them to ease the stakeholders ‘ transition from personas and be able to connect multiple actions and contexts to the same person ).

    Interviews must be video-recorded in order to capture precise quotes, and notes must be as much as possible taken verbatim. This is essential to the truthfulness of the several Selves of each participant. In the case of real-life ethnographic research, photos of the context and anonymized actors are essential to build realistic Selves. These photos should be taken directly from field research, but an evocative and representative image will do as well as that, as long as it’s accurate and depicts meaningful actions that you associate with your participants. For example, one of our interviewees told us about his mountain home where he used to spend every weekend with his family. We depicted him hiking with his young daughter as a result.

    At the end of the research analysis, we displayed all of the Selves ‘” cards” on a single canvas, categorized by activities. Each card displayed a situation, represented by a quote and a unique photo. All participants had several cards about themselves.

    4. Identify potential designs

    Once you have collected all main quotes from the interview transcripts and diaries, and laid them all down as Self cards, you will see patterns emerge. These patterns will highlight the opportunity areas for new product creation, new functionalities, and new services—for new design.

    There was a particularly intriguing insight around the concept of humidity in our example project. We realized that people don’t know what humidity is and why it is important to monitor it for health: an environment that’s too dry or too wet can cause respiratory problems or worsen existing ones. This made clear that our client had a significant opportunity to train users about the concept and work as a health advisor.

    Benefits of Dynamic Selves

    When you use the Dynamic Selves approach in your research, you start to notice unique social relations, peculiar situations real people face and the actions that follow, and that people are surrounded by changing environments. One of the participants in our thermostat project, Davide, is described as a boyfriend, dog lover, and tech nut.

    Davide is an individual we might have once reduced to a persona called “tech enthusiast”. However, there are also those who are wealthy or poor, who are tech enthusiasts and have families or are single. Their motivations and priorities when deciding to purchase a new thermostat can be opposite according to these different frames.

    Once you have understood Davide in multiple situations, and for each situation have understood in sufficient depth the underlying reasons for his behavior, you’re able to generalize how he would act in another situation. You can infer what he would think and do in the circumstances ( or scenarios ) you design for using your understanding of him.

    The Dynamic Selves approach aims to dismiss the conflicted dual purpose of personas—to summarize and empathize at the same time—by separating your research summary from the people you’re seeking to empathize with. This is crucial because scale affects how we feel about people and how difficult it is to feel empathy for others. We feel the strongest empathy for individuals we can personally relate to.

    If you take a real person as inspiration for your design, you no longer need to create an artificial character. No more developing plot devices to “realize” the character, and no more need for additional bias. It’s simply how this person is in real life. In fact, as we all know, personas quickly turn into nothing more than a name in our priority guides and prototype screens because these characters don’t really exist.

    Another powerful benefit of the Dynamic Selves approach is that it raises the stakes of your work: if you mess up your design, someone real, a person you and the team know and have met, is going to feel the consequences. It might stop you from taking shortcuts and will remind you to conduct daily checks on your designs.

    Finally, real people in their specific contexts provide a better foundation for anecdotal storytelling and are thus more persuasive. Documentation of real research is essential in achieving this result. The circumstances of your design proposals resound in your mind when you encounter Alessandra. Noise, bad ergonomics, lack of light, you name it. If we go for this functionality, I’m afraid we’re going to add complexity to her life”.

    Conclusion

    In their article on Mindsets, Designit mentioned that “design thinking tools offer a shortcut to deal with reality’s complexities, but this process of simplification can occasionally flatten out people’s lives into a few general characteristics.” Unfortunately, personas have been culprits in a crime of oversimplification. They fail to account for the complex nature of our users ‘ decision-making processes and don’t take into account the fact that people are immersed in environments.

    Design needs simplification but not generalization. You have to look at the research elements that stand out: the sentences that captured your attention, the images that struck you, the sounds that linger. Use those as metaphors for the person in all of their contexts. Both insights and people come with a context, they cannot be cut from that context because it would remove meaning.

    It’s high time for design to break away from fiction and use reality as our guide and inspiration, in all of its messy, surprising, and unquantifiable beauty.

  • Asynchronous Design Critique: Getting Feedback

    Asynchronous Design Critique: Getting Feedback

    ” Any feedback?” is perhaps one of the worst ways to ask for suggestions. It’s obscure and unfocused, and it doesn’t give us a sense of what we’re looking for. Getting good opinions starts sooner than we might hope: it starts with the demand.

    Starting the process of receiving feedback with a question may seem counterintuitive, but it makes sense if we consider that receiving feedback can be seen as a form of pattern research. In the same way that we wouldn’t perform any studies without the correct questions to get the insight that we need, the best way to ask for feedback is also to build strong issues.

    Design criticism is never a one-time procedure. Sure, any great comments process continues until the project is finished, but this is especially true for layout because architecture work continues iteration after iteration, from a high level to the finest details. Each stage requires its unique set of questions.

    And suddenly, as with any great research, we need to examine what we got up, get to the base of its perspectives, and take action. Iteration, evaluation, and problem. This look at each of those.

    The query

    Being available to input is important, but we need to be specific about what we’re looking for. Any comments,” What do you think,” or” I’d love to hear your mind” at the conclusion of a presentation are likely to garner a lot of different ideas, or worse, to make everyone follow the lead of the first speaker. And next… we get frustrated because vague issues like those can change a high-level moves review into folks rather commenting on the borders of buttons. Which theme may be significant, so it might be difficult to get the team to choose the one you wanted to concentrate on.

    But how do we get into this scenario? A number of elements are involved. One is that we don’t often consider asking as a part of the input method. Another is how healthy it is to keep the issue open and assume that everyone else will agree. Another is that in nonprofessional conversations, there’s usually no need to be that exact. In summary, we tend to undervalue the value of the issues, so we don’t work to make them better.

    The work of asking good questions guidelines and focuses the criticism. It’s even a form of acceptance because it specifies what kind of comments you’d like to receive and how you’re open to them. It puts people in the right emotional position, especially in situations when they weren’t expecting to give opinions.

    There isn’t a second best method to request feedback. It simply needs to be certain, and sensitivity can take several shapes. The concept of stage than level is a design for design criticism that I’ve found to be particularly helpful in my coaching.

    Stage” refers to each of the steps of the process—in our event, the design process. The type of input changes as the customer research moves on to the final design. But within a single stage, one might also examine whether some assumptions are correct and whether there’s been a suitable language of the amassed opinions into updated designs as the job has evolved. The layers of user experience could serve as a starting point for future inquiries. What do you want to know: Project objectives? user requirements? Functionality? Content? Interaction design? Information architecture UI design? design of navigation Visual design? branding?

    Here’re a few example questions that are precise and to the point that refer to different layers:

    • Functionality: Is it desirable to automate account creation?
    • Interaction design: Take a look through the updated flow and let me know whether you see any steps or error states that I might’ve missed.
    • Information architecture: This page contains two competing pieces of information. Is the structure effective in communicating them both?
    • User interface design: What do you think about the top-of-the-page error counter, which makes sure you can see the next error even when the error is outside the viewport?
    • Navigation design: From research, we identified these second-level navigation items, but once you’re on the page, the list feels too long and hard to navigate. Do you have any suggestions for how to handle this?
    • Visual design: Are the sticky notifications in the bottom-right corner visible enough?

    The other axis of specificity is determined by how far you would like to go with the presentation. For example, we might have introduced a new end-to-end flow, but there was a specific view that you found particularly challenging and you’d like a detailed review of that. This can be especially helpful from one iteration to the next when it’s crucial to highlight the areas that have changed.

    There are other things that we can consider when we want to achieve more specific—and more effective—questions.

    Eliminating generic qualifiers from your questions like “good,” “well,” “nice,” “bad,” “okay,” and” cool” is a simple trick. For example, asking,” When the block opens and the buttons appear, is this interaction good”? is it possible to look specific, but you can spot the “good” qualifier and make the question” When the block opens and the buttons appear, is it clear what the next action is” look like?

    Sometimes we actually do want broad feedback. Although that is uncommon, it is possible. In that sense, you might still make it explicit that you’re looking for a wide range of opinions, whether at a high level or with details. Or perhaps just say,” At first glance, what do you think”? so that it’s clear that what you’re asking is open ended but focused on someone’s impression after their first five seconds of looking at it.

    Sometimes the project is particularly broad, and some areas may have already been thoroughly explored. In these situations, it might be useful to explicitly say that some parts are already locked in and aren’t open to feedback. Although it’s not something I’d recommend in general, I’ve found it helpful in avoiding getting back into rabbit holes like those that could lead to even more refinement if what’s important right now isn’t.

    Asking specific questions can completely change the quality of the feedback that you receive. Even experienced designers will appreciate the clarity and efficiency gained from concentrating solely on what is required, and those with less refined critique skills will now be able to offer more actionable feedback. It can save a lot of time and frustration.

    The iteration

    Design iterations are probably the most visible part of the design work, and they provide a natural checkpoint for feedback. Many design tools have inline commenting, but many of them only display changes as a single fluid stream in the same file. These types of design tools cause conversations to end after they are resolved, update shared UI components automatically, and require designers to always display the most recent version unless these would-be useful features were manually disabled. The implied goal that these design tools seem to have is to arrive at just one final copy with all discussions closed, probably because they inherited patterns from how written documents are collaboratively edited. That’s probably not the most effective way to go about designing critiques, but even if I don’t want to be too prescriptive, it might work for some teams.

    The asynchronous design-critique approach that I find most effective is to create explicit checkpoints for discussion. I’m going to use the term iteration post for this. It refers to a write-up or presentation of the design iteration followed by a discussion thread of some kind. This can be used on any platform that can accommodate this structure. By the way, when I refer to a “write-up or presentation“, I’m including video recordings or other media too: as long as it’s asynchronous, it works.

    There are many benefits to using iteration posts:

    • It creates a rhythm in the design work so that the designer can review feedback from each iteration and prepare for the next.
    • Decisions are always available, and conversations are also made accessible for future review.
    • It creates a record of how the design changed over time.
    • It might also make it simpler to collect and act on feedback depending on the tool.

    These posts of course don’t mean that no other feedback approach should be used, just that iteration posts could be the primary rhythm for a remote design team to use. And from there, other feedback techniques ( such as live critique, pair designing, or inline comments ) can emerge.

    I don’t think there’s a standard format for iteration posts. However, there are a few high-level components that make sense to include as a baseline:

    1. The goal
    2. The layout
    3. The list of changes
    4. The querys

    Each project is likely to have a goal, and hopefully it’s something that’s already been summarized in a single sentence somewhere else, such as the client brief, the product manager’s outline, or the project owner’s request. In other words, I would copy and paste this into every iteration post to make it work. The idea is to provide context and to repeat what’s essential to make each iteration post complete so that there’s no need to find information spread across multiple posts. The most recent iteration post will provide all I need to know about the most recent design.

    This copy-and-paste part introduces another relevant concept: alignment comes from repetition. Therefore, repeating information in posts helps to ensure that everyone is on the same page.

    The design is then the actual series of information-architecture outlines, diagrams, flows, maps, wireframes, screens, visuals, and any other kind of design work that’s been done. In essence, it’s any design work. For the final stages of work, I prefer the term blueprint to emphasize that I’ll be showing full flows instead of individual screens to make it easier to understand the bigger picture.

    Because it makes it easier to refer to the objects, it might also be helpful to have clear names on them. Write the post in a way that helps people understand the work. It’s not very different from creating a strong live presentation.

    For an efficient discussion, you should also include a bullet list of the changes from the previous iteration to let people focus on what’s new, which can be especially useful for larger pieces of work where keeping track, iteration after iteration, could become a challenge.

    Finally, as mentioned earlier, a list of the questions must be included in order to help you guide the design critique. Doing this as a numbered list can also help make it easier to refer to each question by its number.

    Not every iteration is the same. Earlier iterations don’t need to be as tightly focused—they can be more exploratory and experimental, maybe even breaking some of the design-language guidelines to see what’s possible. Then, later, the iterations begin coming to a decision and improving it until the design process is complete and the feature is ready.

    I want to highlight that even if these iteration posts are written and conceived as checkpoints, by no means do they need to be exhaustive. A post might be a draft, just a concept to start a discussion, or it might be a cumulative list of every feature that was added over the course of each iteration until the full picture is achieved.

    Over time, I also started using specific labels for incremental iterations: i1, i2, i3, and so on. Although this may seem like a minor labeling tip, it can be useful in many ways:

    • Unique—It’s a clear unique marker. Everyone knows where to go to review things, and it’s simple to say” This was discussed in i4″ with each project.
    • Unassuming—It works like versions ( such as v1, v2, and v3 ) but in contrast, versions create the impression of something that’s big, exhaustive, and complete. Attempts must be exploratory, incomplete, or partial.
    • Future proof—It resolves the “final” naming problem that you can run into with versions. No more files with the title “final final complete no-really-its-done” Within each project, the largest number always represents the latest iteration.

    The wording release candidate (RC ) could be used to indicate when a design is finished enough to be worked on, even if there are some bits that still need work and, in turn, need more iterations:” with i8 we reached RC” or “i12 is an RC” to illustrate this.

    The review

    A back-and-forth between two people that can be very productive typically occurs during a design critique. This approach is particularly effective during live, synchronous feedback. However, when we work asynchronously, it is more effective to adopt a different strategy: we can adopt a user-research mindset. Written feedback from teammates, stakeholders, or others can be treated as if it were the result of user interviews and surveys, and we can analyze it accordingly.

    This shift has some significant advantages, making asynchronous feedback particularly effective, especially around these friction points:

    1. It removes the pressure to reply to everyone.
    2. It lessens the annoyance of snoop-by comments.
    3. It lessens our personal stake.

    The first friction point is having to press yourself to respond to each and every comment. Sometimes we write the iteration post, and we get replies from our team. It’s just a few of them, it’s simple, and there isn’t much to worry about. But other times, some solutions might require more in-depth discussions, and the amount of replies can quickly increase, which can create a tension between trying to be a good team player by replying to everyone and doing the next design iteration. This might be especially true if the respondent is a stakeholder or someone directly involved in the project who we feel we need to speak with. We need to accept that this pressure is absolutely normal, and it’s human nature to try to accommodate people who we care about. When we treat a design critique more like user research, we realize that we don’t need to respond to every comment, and there are alternatives: In asynchronous spaces, responding to all comments can be effective.

      One is to let the next iteration speak for itself. That is the response when the design changes and we publish a follow-up iteration. You might tag all the people who were involved in the previous discussion, but even that’s a choice, not a requirement.
    • Another tactic is to formally acknowledge each comment in a brief response, such as” Understood. Thank you”,” Good points— I’ll review”, or” Thanks. These will be included in the upcoming iteration. In some cases, this could also be just a single top-level comment along the lines of” Thanks for all the feedback everyone—the next iteration is coming soon”!
    • Another option is to provide a quick summary of the comments before moving on. Depending on your workflow, this can be particularly useful as it can provide a simplified checklist that you can then use for the next iteration.

    The swoop-by comment, which is the kind of feedback that comes from a member of a team or non-project who might not be aware of the context, restrictions, decisions, or requirements, or of the discussions from earlier iterations, is the second friction point. On their side, there’s something that one can hope that they might learn: they could start to acknowledge that they’re doing this and they could be more conscious in outlining where they’re coming from. It can be annoying to have to repeat the same response repeatedly in swoop-by comments.

    Let’s begin by acknowledging again that there’s no need to reply to every comment. However, if responding to a previously litigated point might be helpful, a brief response with a link to the previous discussion for additional information is typically sufficient. Remember, alignment comes from repetition, so it’s okay to repeat things sometimes!

    Swoop-by commenting can still be useful for two reasons: first, they might point out something that isn’t clear, and second, they might have the power to fit in with a user’s perspective when they are seeing the design for the first time. Sure, you’ll still be frustrated, but that might at least help in dealing with it.

    The personal stake we might have in relation to the design could be the third friction point, which might cause us to feel defensive if the review turned out to be more of a discussion. Treating feedback as user research helps us create a healthy distance between the people giving us feedback and our ego ( because yes, even if we don’t want to admit it, it’s there ). And in the end, presenting everything in aggregated form helps us to prioritize our work more.

    Always remember that while you need to listen to stakeholders, project owners, and specific advice, you don’t have to accept every piece of feedback. You must examine it and come to a decision that can be justified, but sometimes “no” is the best choice.

    As the designer leading the project, you’re in charge of that decision. In the end, everyone has their area of expertise, and as a designer, you are the one with the most background and knowledge to make the right choice. And by listening to the feedback that you’ve received, you’re making sure that it’s also the best and most balanced decision.

    Thanks to Mike Shelton and Brie Anne Demkiw for their contributions to the initial draft of this article.

  • Asynchronous Design Critique: Giving Feedback

    Asynchronous Design Critique: Giving Feedback

    One of the most powerful sweet skills we have at our disposal is the ability to work together to improve our designs while developing our own abilities and perspectives, regardless of how it is used or what it might be called.

    Feedback is also one of the most underestimated equipment, and generally by assuming that we’re now great at it, we settle, forgetting that it’s a skill that can be trained, grown, and improved. Bad feedback can cause conflict in jobs, lower motivation, and negatively impact faith and teamwork over the long term. Quality opinions can be a revolutionary force.

    Practicing our knowledge is absolutely a good way to enhance, but the learning gets yet faster when it’s paired with a good base that programs and focuses the exercise. What are some fundamental components of providing effective opinions? And how can input be adjusted for isolated and distributed function settings?

    On the web, we may find a long history of sequential comments: code was written and discussed on mailing lists since the beginning of open source. Currently, engineers engage on pull calls, developers post in their favourite design tools, project managers and sprint masters exchange ideas on tickets, and so on.

    Design analysis is often the label used for a type of input that’s provided to make our job better, jointly. It generally shares many of the concepts with comments, but it also has some differences.

    The information

    The content of the feedback serves as the foundation for every effective criticism, so we need to start there. There are many versions that you can use to design your information. The one that I personally like best—because it’s obvious and actionable—is this one from Lara Hogan.

    This formula is typically used to provide feedback to people, but it also fits really well in a pattern criticism because it finally addresses one of the main inquiries that we work on: What? Where? Why? How? Imagine that you’re giving some comments about some pattern function that spans several screens, like an onboard movement: there are some pages shown, a stream blueprint, and an outline of the decisions made. You notice things that needs to be improved. If you keep the three components of the equation in mind, you’ll have a mental unit that can help you become more precise and effective.

    Here is a reply that could be included in some feedback, and it might appear fair at first glance because it appears to partially fulfill the requirements. But does it?

    Not confident about the keys ‘ patterns and hierarchy—it feels off. Can they be altered?

    Observation for style feedback doesn’t really mean pointing out which part of the software your input refers to, but it also refers to offering a viewpoint that’s as specific as possible. Do you offer the user’s viewpoint? Your expert perspective? A business perspective? From the perspective of the project manager? A first-time user’s perspective?

    When I see these two buttons, I anticipate one to go forward and the other to go back.

    Impact is about the why. Just pointing out a UI element might sometimes be enough if the issue may be obvious, but more often than not, you should add an explanation of what you’re pointing out.

    When I see these two buttons, I anticipate one to go forward and the other to go back. But this is the only screen where this happens, as before we just used a single button and an “×” to close. This seems to be breaking the consistency in the flow.

    The question approach is meant to provide open guidance by eliciting the critical thinking in the designer receiving the feedback. Notably, in Lara’s equation she provides a second approach: request, which instead provides guidance toward a specific solution. While that’s a viable option for general feedback, in my experience, going back to the question approach typically leads to the best solutions because designers are generally more at ease with having an open space to experiment with.

    The difference between the two can be exemplified with, for the question approach:

    When I see these two buttons, I anticipate one to go forward and the other to go back. But this is the only screen where this happens, as before we just used a single button and an “×” to close. This seems to be breaking the consistency in the flow. Would it make sense to unify them?

    Or, for the request approach:

    When I see these two buttons, I anticipate one to go forward and the other to go back. But this is the only screen where this happens, as before we just used a single button and an “×” to close. This seems to be breaking the consistency in the flow. Let’s make sure that all screens have the same pair of forward and back buttons.

    At this point in some situations, it might be useful to integrate with an extra why: why you consider the given suggestion to be better.

    When I see these two buttons, I anticipate one to go forward and the other to go back. But this is the only screen where this happens, as before we just used a single button and an “×” to close. This seems to be breaking the consistency in the flow. Let’s make sure that all screens have the same two forward and back buttons so that users don’t get confused.

    Choosing the question approach or the request approach can also at times be a matter of personal preference. I did rounds of anonymous feedback and I reviewed feedback with other people a while back when I was putting a lot of effort into improving my feedback. After a few rounds of this work and a year later, I got a positive response: my feedback came across as effective and grounded. Until I changed teams. Surprise surprise, one particular person gave me a lot of negative feedback. The reason is that I had previously tried not to be prescriptive in my advice—because the people who I was previously working with preferred the open-ended question format over the request style of suggestions. However, there was one person in this other team who now preferred specific guidance. So I adapted my feedback for them to include requests.

    One comment that I heard come up a few times is that this kind of feedback is quite long, and it doesn’t seem very efficient. Yes, but no. Let’s explore both sides.

    No, this kind of feedback is actually effective because the length is a byproduct of clarity, and giving this kind of feedback can provide precisely enough information for a sound fix. Also if we zoom out, it can reduce future back-and-forth conversations and misunderstandings, improving the overall efficiency and effectiveness of collaboration beyond the single comment. Imagine that in the example above the feedback were instead just,” Let’s make sure that all screens have the same two forward and back buttons”. The designer receiving this feedback wouldn’t have much to go by, so they might just implement the change. In later iterations, the interface might change or they might introduce new features—and maybe that change might not make sense anymore. The designer might assume that the change is about consistency without the explanation, but what if it wasn’t? So there could now be an underlying concern that changing the buttons would be perceived as a regression.

    Yes, this style of feedback is not always efficient because the points in some comments don’t always need to be exhaustive, sometimes because certain changes may be obvious (” The font used doesn’t follow our guidelines” ) and sometimes because the team may have a lot of internal knowledge such that some of the whys may be implied.

    The equation above is not intended to provide a predetermined template for feedback, but rather a mnemonic to reflect and enhance the practice. Even after years of active work on my critiques, I still from time to time go back to this formula and reflect on whether what I just wrote is effective.

    The tone

    Well-grounded content is the foundation of feedback, but that’s not really enough. The soft skills of the person who’s providing the critique can multiply the likelihood that the feedback will be well received and understood. It has been demonstrated that only positive feedback can lead to lasting change in people, and tone alone can determine whether content is rejected or welcomed.

    Since our goal is to be understood and to have a positive working environment, tone is essential to work on. I’ve tried to summarize the necessary soft skills over the years using a formula that resembles the one for content: the receptivity equation.

    Respectful feedback comes across as grounded, solid, and constructive. It’s the kind of feedback that, whether it’s positive or negative, is perceived as useful and fair.

    The time when feedback occurs is known as timing. To-the-point feedback doesn’t have much hope of being well received if it’s given at the wrong time. When a new feature’s entire high-level information architecture is about to go on sale, it might still be relevant if the questioning raises a significant blocker that no one saw, but those concerns are much more likely to have to wait for a later revision. So in general, attune your feedback to the stage of the project. Early iteration? Iteration that was later? Polishing work in progress? Each of these needs varies. The right timing will make it more likely that your feedback will be well received.

    Attitude is the equivalent of intent, and in the context of person-to-person feedback, it can be referred to as radical candor. That entails checking before writing to see if what we have in mind will actually help the person and improve the project overall. This might be a hard reflection at times because maybe we don’t want to admit that we don’t really appreciate that person. Although it’s possible, and that’s okay, it’s hoped not to be the case. Acknowledging and owning that can help you make up for that: how would I write if I really cared about them? How can I avoid being passive aggressive? What can I do to encourage constructive behavior?

    Form is relevant especially in a diverse and cross-cultural work environments because having great content, perfect timing, and the right attitude might not come across if the way that we write creates misunderstandings. There could be many reasons for this, including the fact that occasionally certain words may cause specific reactions, that nonnative speakers may not be able to comprehend all thenuances of some sentences, that our brains may be different and that our world may be perceived differently; hence, neurodiversity must be taken into account. Whatever the reason, it’s important to review not just what we write but how.

    A few years back, I was asking for some feedback on how I give feedback. I was given some sound advice, but I also got a surprise comment. They pointed out that when I wrote” Oh, ]… ]”, I made them feel stupid. That wasn’t my intention at all! I felt really bad, and I just realized that I provided feedback to them for months, and every time I might have made them feel stupid. I was horrified … but also thankful. I quickly changed the way I typed “oh” into my list of replaced words (your choice between aText, TextExpander, or others ), so that it was instantly deleted when I typed “oh.”

    Something to highlight because it’s quite frequent—especially in teams that have a strong group spirit—is that people tend to beat around the bush. It’s important to keep in mind that having a positive attitude doesn’t necessarily mean passing judgment on the feedback; rather, it simply means that even when you give difficult, or difficult feedback, you do so in a way that’s respectful and constructive. The nicest thing that you can do for someone is to help them grow.

    We have a great advantage in giving feedback in written form: it can be reviewed by another person who isn’t directly involved, which can help to reduce or remove any bias that might be there. When I shared a comment with someone I knew,” How does this sound,”” How can I do it better,” or even” How would you have written it,” I discovered that the two versions had different meanings.

    The format

    Asynchronous feedback also has a significant inherent benefit: it allows us to spend more time making sure that the suggestions ‘ clarity and actionability meet two main objectives.

    Let’s imagine that someone shared a design iteration for a project. You are reviewing it and leaving a comment. There are many ways to accomplish this, and context is of course important, but let’s try to think about some things that might be worthwhile to take into account.

    In terms of clarity, start by grounding the critique that you’re about to give by providing context. This includes specifically describing where you’re coming from: do you have a thorough understanding of the project, or is this your first time seeing it? Are you coming from a high-level perspective, or are you figuring out the details? Are there regressions? Which user’s point of view do you consider when providing feedback? Is the design iteration at a point where it would be okay to ship this, or are there major things that need to be addressed first?

    Even if you’re giving feedback to a team that already has some background information on the project, providing context is helpful. And context is absolutely essential when giving cross-team feedback. If I were to review a design that might be indirectly related to my work, and if I had no knowledge about how the project arrived at that point, I would say so, highlighting my take as external.

    We frequently concentrate on the negatives and attempt to list every improvement that could be made. That’s of course important, but it’s just as important—if not more—to focus on the positives, especially if you saw progress from the previous iteration. Although this may seem superfluous, it’s important to keep in mind that design is a field with hundreds of possible solutions for each problem. So pointing out that the design solution that was chosen is good and explaining why it’s good has two major benefits: it confirms that the approach taken was solid, and it helps to ground your negative feedback. In the longer term, sharing positive feedback can help prevent regressions on things that are going well because those things will have been highlighted as important. Positive feedback can also help, as an added bonus, prevent impostor syndrome.

    There’s one powerful approach that combines both context and a focus on the positives: frame how the design is better than the status quo ( compared to a previous iteration, competitors, or benchmarks ) and why, and then on that foundation, you can add what could be improved. There is a significant difference between a critique of a design that is already in good shape and one that isn’t quite there yet.

    Another way that you can improve your feedback is to depersonalize the feedback: the comments should always be about the work, never about the person who made it. It’s” This button isn’t well aligned” versus” You haven’t aligned this button well”. Just before sending, review your writing to make changes to this.

    In terms of actionability, one of the best approaches to help the designer who’s reading through your feedback is to split it into bullet points or paragraphs, which are easier to review and analyze one by one. You might also think about breaking up the feedback into sections or even across multiple comments if it is longer. Of course, adding screenshots or signifying markers of the specific part of the interface you’re referring to can also be especially useful.

    One approach that I’ve personally used effectively in some contexts is to enhance the bullet points with four markers using emojis. A red square indicates that it is something I consider blocking, a yellow diamond indicates that it needs to be changed, and a green circle provides a thorough, positive confirmation. I also use a blue spiral � � for either something that I’m not sure about, an exploration, an open alternative, or just a note. However, I’d only use this strategy on teams where I’ve already established a high level of trust because it might turn out to be quite demoralizing if I deliver a lot of red squares, and I’d have to reframe how I’d communicate that.

    Let’s see how this would work by reusing the example that we used earlier as the first bullet point in this list:

    • 🔶 Navigation—When I see these two buttons, I anticipate one to go forward and the other to go back. But this is the only screen where this happens, as before we just used a single button and an “×” to close. This seems to be breaking the consistency in the flow. Let’s make sure that all screens have the same two forward and back buttons so that users don’t get confused.
    • � � Overall— I think the page is solid, and this is good enough to be our release candidate for a version 1.0.
    • � � Metrics—Good improvement in the buttons on the metrics area, the improved contrast and new focus style make them more accessible.
    • Button Style: Using the green accent in this context, which conveys that it is a positive action because green is typically seen as a confirmation color. Do we need to explore a different color?
    • Given the number of items on the page and the overall page hierarchy, it seems to me that the tiles should use Subtitle 2 instead of Subtitle 1. This will keep the visual hierarchy more consistent.
    • � � Background—Using a light texture works well, but I wonder whether it adds too much noise in this kind of page. What is the purpose behind using that?

    What about giving feedback directly in Figma or another design tool that allows in-place feedback? These are generally difficult to use because they conceal discussions and are harder to follow, but in the right setting, they can be very effective. Just make sure that each of the comments is separate so that it’s easier to match each discussion to a single task, similar to the idea of splitting mentioned above.

    One final note: say the obvious. Sometimes we might feel that something is clearly right or wrong, and we don’t say it. Or sometimes we might have a doubt that we don’t express because the question might sound stupid. Say it, that’s fine. You might have to reword it a little bit to make the reader feel more comfortable, but don’t hold it back. Good feedback is transparent, even when it may be obvious.

    Another benefit of asynchronous feedback is that written feedback automatically monitors decisions. Especially in large projects,” Why did we do this”? There’s nothing better than open, transparent discussions that can be reviewed at any time, which could be a question that arises from time to time. For this reason, I recommend using software that saves these discussions, without hiding them once they are resolved.

    Content, tone, and format. Although each of these subjects offers a useful model, focusing on eight areas, including observation, impact, question, timing, attitude, form, clarity, and actionability, is a lot of work at once. One effective approach is to take them one by one: first identify the area that you lack the most (either from your perspective or from feedback from others ) and start there. Then the second, followed by the third, and so on. At first you’ll have to put in extra time for every piece of feedback that you give, but after a while, it’ll become second nature, and your impact on the work will multiply.

    Thanks to Brie Anne Demkiw and Mike Shelton for reviewing the first draft of this article.

  • That’s Not My Burnout

    That’s Not My Burnout

    Do you like to read about people who are dying as they experience exhaustion and are unable to connect to me? Do you feel like your feelings are invisible to the earth because you’re experiencing burnout different? Our main comes through more when stress starts to press down on us. Beautiful, quiet souls get softer and dissipate into that remote and distracted fatigue we’ve all read about. But some of us, those with fires constantly burning on the sides of our key, getting hotter. I am a fire in my brain. When I face fatigue I twice over, triple down, burning hotter and hotter to try to best the issue. I don’t fade; I’m suffocated by a passionate stress.

    But what on earth is a zealous stress?

    Envision a person determined to do it all. She is homeschooling two wonderful children while her father, who works remotely, is furthermore working remotely. She has a demanding customer weight at work—all of whom she loves. She wakes up early to get some movement in ( or frequently catch up on work ), prepares dinner as the kids are having breakfast, and works while positioning herself near “fourth grade” to listen in as she balances clients, tasks, and budgets. Sound like a bit? Yet with a supportive group both at home and at work, it is.

    Sounds like this person needs self-care because she has too much on her disk. But no, she doesn’t have occasion for that. She begins to feel as though she’s dropping balloons. No accomplishing enough. There’s not enough of her to be here and that, she is trying to divide her head in two all the time, all day, every day. She begins to question herself. And as those thoughts creep in more and more, her domestic tale becomes more and more important.

    She instantly KNOWS what she must do! She really DO MORE.

    This is a difficult and dangerous period. Know the reasons? Because when she doesn’t end that new purpose, that storyline will get worse. She immediately starts failing. She isn’t doing much. SHE is not enough. She’ll discover more she may do because she might neglect, or perhaps her home. She doesn’t nap as much, proceed because much, all in the attempts to do more. caught in this pattern of attempting to prove herself to herself without ever succeeding. Always feeling “enough”.

    But, yeah, that’s what zealous burnout looks like for me. It develops gradually over the course of several weeks and months rather than immediately as a big movement. My burning out process looks like speeding up, hardly a man losing focus. I move quickly and steadily, but I really quit.

    I am the one who had

    It’s interesting the things that shape us. Through the camera of my youth, I witnessed the battles, sacrifices, and fears of a person who had to make it all work without having much. I was happy that my mom was so competent and my dad sympathetic, I never went without and also got an extra here or there.

    Growing up, I didn’t feel shame when my mom gave me food passports; in fact, I would have likely sparked debates about the subject, orally eviscerating anyone who dared to criticize the disabled person who was attempting to ensure all of our needs were met with so little. As a child, I watched the way the worry of not making those ends meet impacted persons I love. As the non-disabled people in my home, I did take on many of the real things because I was” the one who was” make our lives a little easier. I soon realized that I had to put more of myself into it because I am the one who is. I learned first that when something frightens me, I may double down and work harder to make it better. I am in charge of the problem. When individuals have seen this in me as an adult, I’ve been told I seem brave, but make no mistake, I’m not. If I seem courageous, it’s because this behavior was forged from another person’s fears.

    And here I am, more than 30 years later, also feeling the urge to aimlessly force myself forward when faced with daunting tasks in front of me, assuming that I am the one who is and consequently does. I find myself driven to prove that I can make things happen if I work longer hours, take on more responsibility, and do more.

    Because I have seen how strong a financially challenged person can be, I don’t think they are failures because they are pulled along by that tide. I truly get that I have been privileged to be able to avoid many of the challenges that were present in my youth. That said, I am still” the one who can” who feels she should, so if I were faced with not having enough to make ends meet for my own family, I would see myself as having failed. Despite my best efforts and education, the majority of this is due to good fortune. I will, however, allow myself the arrogance of saying I have been careful with my choices to have encouraged that luck. My sense of identity comes from the notion that I am” the one who can” and feel compelled to accomplish the most. I can choose to stop, and with some quite literal cold water splashed in my face, I’ve made the choice to before. But that choosing to stop is not my go-to, I move forward, driven by a fear that is so a part of me that I barely notice it’s there until I’m feeling utterly worn away.

    So why all the history? You see, burnout is a fickle thing. Over the years, I’ve read and heard a lot about burnout. Burnout is real. Especially now, with COVID, many of us are balancing more than we ever have before—all at once! It’s difficult, and the avoidance, shutting down, and procrastination have an impact on so many amazing professionals. There are important articles that relate to what I imagine must be the majority of people out there, but not me. That’s not how I look at burnout.

    The dangerous invisibility of zealous burnout

    A lot of work environments see the extra hours, extra effort, and overall focused commitment as an asset ( and sometimes that’s all it is ). They see a person attempting to overcome obstacles, not a person trapped in fear. Many well-meaning organizations have safeguards in place to protect their teams from burnout. However, in situations like this, those alarms don’t always go off, and some organization members are surprised and depressed when the inevitable stop occurs. And sometimes maybe even betrayed.

    Parents—more so mothers, statistically speaking—are praised as being so on top of it all when they can work, be involved in the after-school activities, practice self-care in the form of diet and exercise, and still meet friends for coffee or wine. Many of us have watched endless streaming episodes of COVID to see how challenging the female protagonist is, but she is strong and funny, and can do it. It’s a “very special episode” when she breaks down, cries in the bathroom, woefully admits she needs help, and just stops for a bit. Truth be told, countless people are hidden in tears or doom-scrolling to escape. We know that the media is a lie to amuse us, but often the perception that it’s what we should strive for has penetrated much of society.

    Women and burnout

    I cherish men. And though I don’t love every man ( heads up, I don’t love every woman or nonbinary person either ), I think there is a beautiful spectrum of individuals who represent that particular binary gender.

    Despite this, especially in these COVID stressed out times, women are still more likely than their male counterparts to be burnout vulnerable. Mothers in the workplace feel the pressure to do all the “mom” things while giving 110 %. Mothers not in the workplace feel they need to do more to” justify” their lack of traditional employment. Women who are not mothers frequently feel the need to work even more at home because of the pressure. It’s vicious and systemic and so a part of our culture that we’re often not even aware of the enormity of the pressures we put on ourselves and each other.

    And there are costs that go beyond happiness. Harvard Health Publishing released a study a decade ago that “uncovered strong links between women’s job stress and cardiovascular disease”. The CDC noted,” Heart disease is the leading cause of death for women in the United States, killing 299, 578 women in 2017—or about 1 in every 5 female deaths”.

    According to what I’ve read, this connection between work stress and health is more dangerous for women than it is for their non-female counterparts.

    But what if your burnout isn’t like that either?

    That might not be you either. After all, each of us is so different and how we respond to stressors is too. It’s part of what makes us human. Don’t put too much emphasis on how burnout manifests; rather, learn to recognize it in yourself. Here are a few questions I sometimes ask friends if I am concerned about them.

    How are you feeling? This simple question should be the first thing you ask yourself. Chances are, even if you’re burning out doing all the things you love, as you approach burnout you’ll just stop taking as much joy from it all.

    Do you feel like you have the authority to refuse? I have observed in myself and others that when someone is burning out, they no longer feel they can say no to things. Even those who don’t” speed up” feel pressured to say “yes” to avoid apprehension.

    What are three things you’ve done for yourself? Another observance is that we all tend to stop doing things for ourselves. anything from avoiding conversations with friends to skipping showers and eating poorly. These can be red flags.

    Are you using justifications? Many of us try to disregard feelings of burnout. Over and over I have heard,” It’s just crunch time”,” As soon as I do this one thing, it will all be better”, and” Well I should be able to handle this, so I’ll figure it out”. And it might actually be crunch time, a single objective, or a set of skills you need to master. That happens—life happens. BE CRUD if this doesn’t stop. If you’ve worked more 50-hour weeks since January than not, maybe it’s not crunch time—maybe it’s a bad situation that you’re burning out from.

    Do you have a plan to stop feeling this way? If something has an exit route with a pause button if it is only temporary and you have to push through it.
    defined end.

    Take the time to listen to yourself as you would a friend. Be honest, allow yourself to be uncomfortable, and break the thought cycles that prevent you from healing.

    So now what?

    What I just described has a different path to burnout, but it’s still burnout. There are well-established approaches to working through burnout:

    • Get enough sleep.
    • Eat healthy.
    • Work out.
    • Leave the house.
    • Take a break.
    • Practice self-care in general.

    Those are hard for me because they feel like more tasks. If I’m in the burnout cycle, doing any of the above for me feels like a waste. Why would I take care of myself when I’m dropping all those other balls, according to the narrative? People need me, right?

    Your inner voice might already be pretty bad if you’re deeply in the cycle. If you need to, tell yourself you need to take care of the person your people depend on. If your roles are pushing you toward burnout, use them to help make healing easier by justifying the time spent working on you.

    I have come up with a few suggestions for me to help me remember the airline attendant’s advice to put on your face first when I feel burned out.

    Cook an elaborate meal for someone!

    Okay, since I’m a “food-focused” person, I’ve always been a fan. There are countless tales in my home of someone walking into the kitchen and turning right around and walking out when they noticed I was” chopping angrily”. But it’s more than that, and you should give it a try. Seriously. It’s the perfect go-to if you don’t feel worthy of taking time for yourself—do it for someone else. Because the majority of us work in a digital world, cooking can pique all of your senses and make you feel present in the moment in all your ways of seeing the world. It can break you out of your head and help you gain a better perspective. In my house, I’ve been known to pick a place on the map and cook food that comes from wherever that is ( thank you, Pinterest ). I enjoy making Indian food because it’s warm and the bread needs just enough kneading to keep my hands busy, and the process requires real attention because it’s not what I was raised to do. And in the end, we all win!

    Vent like a sniveling jerk.

    Be careful with this one!

    I have been making an effort to practice more gratitude over the past few years, and I recognize the true benefits of that. Having said that, sometimes you just need to let it all out, even the ugly ones. Hell, I’m a big fan of not sugarcoating our lives, and that sometimes means that to get past the big pile of poop, you’re gonna wanna complain about it a bit.

    When that is required, approach a trusted friend and express your concerns verbally. You need to trust this friend not to judge, to see your pain, and, most importantly, to tell you to remove your cranium from your own rectal cavity. Seriously, it’s about getting a reality check here! One of the things that I admire most about my husband is how he can simplify things down to the simplest of terms, even though sometimes after the fact. ” We’re spending our lives together, of course you’re going to disappoint me from time to time, so get over it” has been his way of speaking his dedication, love, and acceptance of me—and I could not be more grateful. Of course, it also required that I take my head out of that rectal cavity. So, again, usually those moments are appreciated in hindsight.

    Pick up a book!

    There are many books out there that are more like people sharing their stories and how they’ve come to find greater balance than they are self-help. Maybe you’ll find something that speaks to you. Among the titles that have stood out to me are:

    • Thrive by Arianna Huffington
    • Tools of Titans by Tim Ferriss
    • Girl, Stop Apologizing by Rachel Hollis
    • Dare to Lead by Brené Brown

    Or, another method I enjoy using is to read or listen to a book that is NOTHING to do with my work-life balance. I’ve read the following books and found they helped balance me out because my mind was pondering their interesting topics instead of running in circles:

    • The Drunken Botanist by Amy Stewart
    • Darin Olien’s Superlife
    • A Brief History of Everyone Who Ever Lived by Adam Rutherford
    • Toby Hemenway’s Gaia’s Garden is available.

    If you’re not into reading, pick up a topic on YouTube or choose a podcast to subscribe to. I’ve watched countless permaculture and gardening topics in addition to how to raise chickens and ducks. For the record, I don’t currently have a particularly large food garden or raise any kind of livestock. I just find the topic interesting, and it has nothing to do with any aspect of my life that needs anything from me.

    Give yourself a break.

    You are never going to be perfect—hell, it would be boring if you were. It’s OK to be broken and flawed. It’s human nature to be depressed, anxious, and tired. It’s OK to not do it all. You can’t be brave without being imperfect, which is terrifying.

    This last one is the most important: allow yourself permission to NOT do it all. You never promised to be everything to everyone at all times. Our fears determine our strength, not ours.

    This is hard. It’s challenging for me. It’s what’s driven me to write this—that it’s OK to stop. It’s OK that your unhealthy habit that might even benefit those around you needs to end. You can still succeed in life.

    I recently read that we are all writing our eulogy in how we live. What will your professional accomplishments say, knowing that yours won’t be mentioned in that speech? What do you want it to say?

    Look, I get that none of these ideas will “fix it”, and that’s not their purpose. Only how we react to the things around us is what we control. These suggestions are to help stop the spiral effect so that you are empowered to address the underlying issues and choose your response. They are the things that largely work for me. Maybe they’ll work for you.

    Does this sound familiar?

    If something resounds familiar to you, it’s not just you. Don’t let your negative self-talk tell you that you “even burn out wrong”. It is not improper. Even if rooted in fear like my own drivers, I believe that this need to do more comes from a place of love, determination, motivation, and other wonderful attributes that make you the amazing person you are. We’re going to be OK, ya know. The lives that come before us might never appear to be the same as the one we’re picturing, or that we’re looking for, but that’s okay because the only way to judge us is in the mirror when we stop and look around.

    Do you remember that Winnie the Pooh sketch that had Pooh eat so much at Rabbit’s house that his buttocks couldn’t fit through the door? It came as no surprise when he abruptly declared that this was unacceptable because I already associate a lot with Rabbit. But do you recall what happened next? He put a shelf across poor Pooh’s ankles and decorations on his back, and made the best of the big butt in his kitchen.

    We are resourceful and aware that we can push ourselves when we are needed, even when we are exhausted to the core or have a ton of clutter in our room. None of us has to be afraid, as we can manage any obstacle put in front of us. And maybe that means we will need to redefine success to make room for comfortable human space, but that doesn’t really sound that bad either.

    So, wherever you are right now, please breathe. Do what you need to do to get out of your head. Give thanks and be considerate.

  • Voice Content and Usability

    Voice Content and Usability

    We’ve been conversing for a long time. Whether to present information, perform transactions, or just to check in on one another, people have yammered aside, chattering and gesticulating, through spoken discussion for many generations. Only recently have we begun to write our discussions, and only recently have we outsourced them to the system, a system that exhibits a significantly higher affection for written letter than for the vernacular rigors of spoken language.

    Laptops have trouble because between spoken and written speech, talk is more primitive. Machines must wrestle with the chaos of human statement, including the squabbling and pauses, the gestures and body vocabulary, and the dialect variations that can impede even the most skillfully created human-computer conversation. In the human-to-human situation, spoken language also has the opportunity of face-to-face call, where we can easily interpret verbal interpersonal cues.

    In contrast, written language develops its own fossil record of dated terms and phrases as we commit to recording and keeping usages long after they are no longer relevant in spoken communication ( for example, the salutation” To whom it may concern” ). Because it tends to be more consistent, smooth, and proper, written word is necessarily far easier for devices to interpret and know.

    This pleasure is not available in spoken speech. Besides the visual cues that mark conversations with emphasis and personal context, there are also linguistic cues and outspoken behaviors that mimic conversation in complex ways: how something is said, never what. Our spoken speech conveys much more than the written word may actually contain, whether it be rapid-fire, low-pitched, or high-decibel, sarcastic, awkward, or moaning. But when it comes to words interfaces—the devices we conduct spoken discussions with—we experience exciting difficulties as designers and content strategists.

    Voice Compositions

    We interact with voice interfaces for a variety of reasons, but according to Michael McTear, Zoraida Callejas, and David Griol in The Conversational Interface, those motivations by and large mirror the reasons we initiate conversations with other people, too ( ). We typically strike up a dialogue as a result:

    • we need something done ( such as a transaction ),
    • we want to know everything, some kind of knowledge, or
    • we are social people and want someone to talk to ( conversation for conversation’s purpose ).

    A second talk from beginning to end that achieves some goal for the consumer, starting with the voice interface’s initial greeting and ending with the user exiting the interface, also fits into these three categories, which I refer to as interpersonal, technical, and prosocial. Note here that a conversation in our human sense—a chat between people that leads to some result and lasts an arbitrary length of time—could encompass multiple transactional, informational, and prosocial voice interactions in succession. In other words, a voice interaction is a conversation, but it must not be one particular voice interaction.

    Purely prosocial conversations are more gimmicky than captivating in most voice interfaces, because machines don’t yet have the capacity to really want to know how we’re doing and to do the sort of glad-handing humans crave. Additionally, there is a debate about whether users actually prefer organic human conversations that start with prosocial voiceovers and then seamlessly transition to other types. In fact, in Voice User Interface Design, Michael Cohen, James Giangola, and Jennifer Balogh recommend sticking to users ‘ expectations by mimicking how they interact with other voice interfaces rather than trying too hard to be human—potentially alienating them in the process ( ).

    A voice interface can also have two types of conversations we can have with one another that are both transactional and informational, each learning something new ( “discuss a musical” ).

    Transactional voice interactions

    When you order a Hawaiian pizza with extra pineapple, you’re typically having a conversation and a voice interaction when you’re tapping buttons on a food delivery app. Even when we walk up to the counter and place an order, the conversation quickly pivots from an initial smattering of neighborly small talk to the real mission at hand: ordering a pizza ( generously topped with pineapple, as it should be ).

    How are things going, Alison?

    Burhan: Hi, welcome to Crust Deluxe! It’s chilly outside. How can I help you?

    Alison: Can I get a pizza from Hawaii with extra pineapple.

    Burhan: Sure, what size?

    Large, Alison.

    Burhan: Anything else?

    Alison: No thanks, that’s it.

    Burhan: Something to drink?

    Alison: I’ll have a bottle of Coke.

    Burhan: You got it. That will cost$ 13.55 and take about fifteen minutes.

    Each progressive disclosure in this transactional conversation reveals more and more of the desired outcome of the transaction: a service rendered or a product delivered. Transactional conversations exhibit a few key characteristics: they’re direct, to the point, and economical. They quickly dispense with pleasantries.

    Informational voice interactions

    Meanwhile, some conversations are primarily about obtaining information. Alison might visit Crust Deluxe with the sole intention of placing an order, but she might not want to leave with a pizza at all. She might be just as interested in whether they serve halal or kosher dishes, gluten-free options, or something else. Even though we have a prosocial mini-conversation once more at the beginning to establish politeness, we’re after much more.

    How are things going, Alison?

    Burhan: Hi, welcome to Crust Deluxe! It’s chilly outside. How can I help you?

    Alison: Can I ask a few questions?

    Burhan: Of course! Go right ahead.

    Do you have any halal options on the menu, Alison?

    Burhan: Absolutely! On request, we can make any pie halal. We also have lots of vegetarian, ovo-lacto, and vegan options. Are you considering any additional dietary restrictions?

    Alison: What about gluten-free pizzas?

    Burhan: For both our deep-dish and thin-crust pizzas, we can definitely make a gluten-free crust for you, without a problem. Anything else I can answer for you?

    Alison: That’s it for now. Good to know. Thank you.

    Burhan: Anytime, come back soon!

    This dialogue is radically different. Here, the goal is to get a certain set of facts. Informational conversations are research expeditions that seek the truth through information gathering. Voice interactions that are informational might be more long-winded than transactional conversations by necessity. Responses are typically longer, more in-depth, and carefully communicated to ensure that the customer understands the main ideas.

    Voice Interfaces

    Voice interfaces essentially use speech to assist users in accomplishing their objectives. But simply because an interface has a voice component doesn’t mean that every user interaction with it is mediated through voice. We’re most concerned in this book with pure voice interfaces because multimodal voice interfaces can lean on visual components like screens as crutches, which are completely dependent on spoken conversation and lack any visual component, making them much more nuanced and challenging to deal with.

    Though voice interfaces have long been integral to the imagined future of humanity in science fiction, only recently have those lofty visions become fully realized in genuine voice interfaces.

    IVR ( interactive voice response ) systems

    Though written conversational interfaces have been fixtures of computing for many decades, voice interfaces first emerged in the early 1990s with text-to-speech ( TTS ) dictation programs that recited written text aloud, as well as speech-enabled in-car systems that gave directions to a user-provided address. We became familiar with the first real voice interfaces that engaged in authentic conversation with the advent of interactive voice response ( IVR ) systems, which were created as an alternative to overburdened customer service representatives.

    IVR systems allowed organizations to reduce their reliance on call centers but soon became notorious for their clunkiness. When you call an airline or hotel company, which is a common practice in the corporate world, these systems were primarily intended as metaphorical switchboards to direct customers to a real phone agent (” Say Reservations to book a flight or check an itinerary” ), which are more likely to happen when you call one. Despite their functional issues and users ‘ frustration with their inability to speak to an actual human right away, IVR systems proliferated in the early 1990s across a variety of industries (, PDF).

    IVR systems have a reputation for having less scintillating conversation than we’re used to in real life ( or even in science fiction ), but they are great for highly repetitive, monotonous conversations that typically don’t veer from a single format.

    Screen readers

    The invention of the screen reader, a tool that converts visual content into synthesized speech, was a development of IVR systems in parallel. For Blind or visually impaired website users, it’s the predominant method of interacting with text, multimedia, or form elements. Perhaps the closest thing we have today to an out-of-the-box delivery of content via voice is represented by screen readers.

    Among the first screen readers known by that moniker was the Screen Reader for the BBC Micro and NEEC Portable developed by the Research Centre for the Education of the Visually Handicapped (RCEVH) at the University of Birmingham in 1986 ( ). In the same year, Jim Thatcher created the first IBM Screen Reader for text-based computers, which was later reworked for computers with graphical user interfaces ( GUIs ) ( ).

    With the rapid growth of the web in the 1990s, the demand for accessible tools for websites exploded. Screen readers started facilitating quick interactions with web pages that ostensibly allow disabled users to traverse the page as an aural and temporal space rather than a visual and physical one with the introduction of semantic HTML and especially ARIA roles in 2008, enabling speedy interactions with the pages. In other words, screen readers for the web “provide mechanisms that translate visual design constructs—proximity, proportion, etc. in A List Apart, writes Aaron Gustafson, “into useful information.” ” At least they do when documents are authored thoughtfully” ( ).

    There is a big draw for screen readers: they’re challenging to use and relentlessly verbose, despite being incredibly instructive for voice interface designers. The visual structures of websites and web navigation don’t translate well to screen readers, sometimes resulting in unwieldy pronouncements that name every manipulable HTML element and announce every formatting change. Working with web-based interfaces takes a cognitive toll for many screen reader users.

    In Wired, accessibility advocate and voice engineer Chris Maury considers why the screen reader experience is ill-suited to users relying on voice:

    I hated the way Screen Readers operated from the beginning. Why are they designed the way they are? It makes no sense to present information visually before converting it to audio only after that. All of the time and energy that goes into creating the perfect user experience for an app is wasted, or even worse, adversely impacting the experience for blind users. ( )

    In many cases, well-designed voice interfaces can speed users to their destination better than long-winded screen reader monologues. After all, users of the visual interface have the advantage of freely scurrying around the viewport to find information without worrying about it. Blind users, meanwhile, are obligated to listen to every utterance synthesized into speech and therefore prize brevity and efficiency. Users with disabilities who have long had no choice but to use clumsy screen readers might benefit from more streamlined user interfaces, especially more advanced voice assistants.

    Voice assistants

    Many of us immediately associate voice assistants with the popular subset of voice interfaces found in living rooms, smart homes, and offices with the film Star Trek or with Majel Barrett’s voice as the omniscient computer. Voice assistants are akin to personal concierges that can answer questions, schedule appointments, conduct searches, and perform other common day-to-day tasks. And because of their assistive potential, they are quickly receiving more attention from accessibility advocates.

    Before the earliest IVR systems found success in the enterprise, Apple published a demonstration video in 1987 depicting the Knowledge Navigator, a voice assistant that could transcribe spoken words and recognize human speech to a great degree of accuracy. Then, in 2001, Tim Berners-Lee and others created their vision for a” semantic web agent” that would carry out routine tasks like” checking calendars, making appointments, and finding locations” ( hinter paywall ). It wasn’t until 2011 that Apple’s Siri finally entered the picture, making voice assistants a tangible reality for consumers.

    There is a significant variation in how programmable and customizable some voice assistants are compared to others due to the sheer number of voice assistants available today ( Fig 1 ). At one extreme, everything except vendor-provided features is locked down, for example, at the time of their release, the core functionality of Apple’s Siri and Microsoft’s Cortana couldn’t be extended beyond their existing capabilities. There are no other means by which developers can interact with Siri at a low level, aside from predefined categories of tasks like sending messages, hailing rideshares, making restaurant reservations, and other things, which are still unavoidable today.

    At the opposite end of the spectrum, voice assistants like Amazon Alexa and Google Home offer a core foundation on which developers can build custom voice interfaces. For this reason, developers who feel constrained by the limitations of Siri and Cortana are increasingly using programmable voice assistants that are extensibable and customizable. Amazon offers the Alexa Skills Kit, a developer framework for building custom voice interfaces for Amazon Alexa, while Google Home offers the ability to program arbitrary Google Assistant skills. Users can choose from among the thousands of custom-built skills available today in the Google Assistant and Amazon Alexa ecosystems.

    As businesses like Amazon, Apple, Microsoft, and Google continue to occupy their positions, they’re also selling and open-sourcing an unheard array of tools and frameworks for designers and developers that aim to make creating voice interfaces as simple as possible, even without code.

    Often by necessity, voice assistants like Amazon Alexa tend to be monochannel—they’re tightly coupled to a device and can’t be accessed on a computer or smartphone instead. In contrast, many development platforms, such as Google’s Dialogflow, have omnichannel capabilities that allow users to create a single conversational interface that then becomes a voice interface, textual chatbot, and IVR system upon deployment. I don’t prescribe any specific implementation approaches in this design-focused book, but in Chapter 4 we’ll get into some of the implications these variables might have on the way you build out your design artifacts.

    Voice content

    Simply put, voice content is content delivered through voice. Voice content must be free-flowing and organic, contextless and concise in order to preserve what makes human conversation so compelling in the first place. Everything written content is not.

    Our world is replete with voice content in various forms: screen readers reciting website content, voice assistants rattling off a weather forecast, and automated phone hotline responses governed by IVR systems. We’re most concerned with the content in this book being delivered auditorically, not as an option but as a necessity.

    For many of us, our first foray into informational voice interfaces will be to deliver content to users. One issue is that any content we already have isn’t in any way suitable for this new environment. So how do we make the content trapped on our websites more conversational? And how do we create fresh copy that works with voice movements?

    Lately, we’ve begun slicing and dicing our content in unprecedented ways. Websites are, in many ways, colossal vaults of what I call macrocontent: lengthy prose that can last for miles in a browser window, like microfilm viewers of newspaper archives. Back in 2002, well before the present-day ubiquity of voice assistants, technologist Anil Dash defined microcontent as permalinked pieces of content that stay legible regardless of environment, such as email or text messages:

    An example of microcontent can be a day’s weather forecast [sic], an airplane flight’s arrival and departure times, an abstract from a lengthy publication, or a single instant message. ( )

    I would update Dash’s definition of microcontent to include all instances of bite-sized content that transcends written communiqués. After all, today we encounter microcontent in interfaces where a small snippet of copy is displayed alone, unmoored from the browser, like a textbot confirmation of a restaurant reservation. The best way to learn how your content can be stretched to the limits of its potential is through microcontent, which will inform both established and new delivery channels.

    As microcontent, voice content is unique because it’s an example of how content is experienced in time rather than in space. We can instantly see when the next train is coming from a digital sign underground, but voice interfaces keep our attention captive for so long that we can’t quickly evade or skip, a feature that screen reader users are all too familiar with.

    Because microcontent is fundamentally made up of isolated blobs with no relation to the channels where they’ll eventually end up, we need to ensure that our microcontent truly performs well as voice content—and that means focusing on the two most important traits of robust voice content: voice content legibility and voice content discoverability.

    Our voice content’s legibility and discoverability in general both depend on how it manifests in terms of perceived space and time.

  • Designing for the Unexpected

    Designing for the Unexpected

    Although I’m not certain when I first heard this statement, it has stuck with me over the centuries. How do you generate solutions for scenarios you can’t think? Or create materials that are functional on products that have not yet been created?

    Flash, Photoshop, and flexible pattern

    When I first started designing sites, my go-to technology was Photoshop. I created a design for a 960px paint that I would eventually add willing to. The growth phase was about attaining pixel-perfect reliability using set widths, fixed levels, and absolute placement.

    All of this was altered by Ethan Marcotte’s 2010 post in A List Off entitled” Responsive Web Design.” I was sold on responsive pattern as soon as I heard about it, but I was even terrified. The pixel-perfect models full of special figures that I had formerly prided myself on producing were no longer good enough.

    My first encounter with flexible design didn’t help my fear. My second project was to get an active fixed-width website and make it reactive. You can’t really put responsiveness at the end of a job, which I learned the hard way. To make smooth design, you need to prepare throughout the style stage.

    A new way to style

    Making information accessible to all devices a priority when designing responsive or smooth websites has always been the goal. It relies on the use of percentage-based design, which I immediately achieved with local CSS and power groups:

    .column-span-6 { width: 49%; float: left; margin-right: 0.5%; margin-left: 0.5%;}.column-span-4 { width: 32%; float: left; margin-right: 0.5%; margin-left: 0.5%;}.column-span-3 { width: 24%; float: left; margin-right: 0.5%; margin-left: 0.5%;}

    Therefore with Sass but that I could use @includes to re-use repeated blocks of code and transition to more semantic premium:

    .logo { @include colSpan(6);}.search { @include colSpan(3);}.social-share { @include colSpan(3);}

    Media questions

    The next ingredient for flexible design is press queries. Without them, regardless of whether the content remained readable, would shrink to fit the available space. ( The exact opposite issue developed with the introduction of a mobile-first approach. )

    Media questions prevented this by allowing us to add breakpoints where the design could adapt. Like most people, I started out with three breakpoints: one for desktop, one for tablets, and one for mobile. Over the years, I added more and more for phablets, wide screens, and so on. 

    For years, I happily worked this way and improved both my design and front-end skills in the process. The only problem I encountered was making changes to content, since with our Sass grid system in place, there was no way for the site owners to add content without amending the markup—something a small business owner might struggle with. This is because each row in the grid was defined using a div as a container. Adding content meant creating new row markup, which requires a level of HTML knowledge.

    String premium was a mainstay of early flexible design, present in all the frequently used systems like Bootstrap and Skeleton.

    1 of 7
    2 of 7
    3 of 7
    4 of 7
    5 of 7
    6 of 7
    7 of 7

    Another difficulty arose as I moved from a design firm building websites for smaller- to medium-sized companies, to larger in-house teams where I worked across a collection of related sites. In those positions, I began to work more frequently with washable pieces.

    Our rely on multimedia queries resulted in parts that were tied to frequent window sizes. If the goal of part libraries is modify, then this is a real problem because you can just use these components if the devices you’re designing for correspond to the viewport sizes used in the pattern library—in the process never really hitting that “devices that don’t already occur” goal.

    Then there’s the problem of space. Media questions allow components to adapt based on the viewport size, but what if I put a component into a sidebar, like in the figure below?

    Container queries: our savior or a false dawn?

    Container queries have long been touted as an improvement upon media queries, but at the time of writing are unsupported in most browsers. Although there are JavaScript workarounds, they can lead to dependability and compatibility issues. The basic theory underlying container queries is that elements should change based on the size of their parent container and not the viewport width, as seen in the following illustrations.

    One of the biggest arguments in favor of container queries is that they help us create components or design patterns that are truly reusable because they can be picked up and placed anywhere in a layout. This is an important step in moving toward a form of component-based design that works at any size on any device.

    In other words, responsive elements are meant to replace responsive layouts.

    Container queries will help us move from designing pages that respond to the browser or device size to designing components that can be placed in a sidebar or in the main content, and respond accordingly.

    We still use layout to determine when a design needs to adapt, which is my concern. This approach will always be restrictive, as we will still need pre-defined breakpoints. For this reason, my main question with container queries is, How would we decide when to change the CSS used by a component?

    The best place to make that choice is probably a component library that is disconnected from context and real content.

    As the diagrams below illustrate, we can use container queries to create designs for specific container widths, but what if I want to change the design based on the image size or ratio?

    In this example, the dimensions of the container are not what should dictate the design, rather, the image is.

    Without reliable cross-browser support for them, it’s difficult to say for certain whether container queries will be successful. Responsive component libraries would definitely evolve how we design and would improve the possibilities for reuse and design at scale. However, we might need to modify these elements in order to fit our content.

    CSS is changing

    Whilst the container query debate rumbles on, there have been numerous advances in CSS that change the way we think about design. The days of fixed-width elements measured in pixels and floated div elements used to cobble layouts together are long gone, consigned to history along with table layouts. Flexbox and CSS Grid have revolutionized layouts for the web. We can now create elements that wrap onto new rows when they run out of space, not when the device changes.

    .wrapper { display: grid; grid-template-columns: repeat(auto-fit, 450px); gap: 10px;}

    The repeat() function paired with auto-fit or auto-fill allows us to specify how much space each column should use while leaving it up to the browser to decide when to spill the columns onto a new line. Similar things can be achieved with Flexbox, as elements can wrap over multiple rows and “flex” to fill available space. 

    .wrapper { display: flex; flex-wrap: wrap; justify-content: space-between;}.child { flex-basis: 32%; margin-bottom: 20px;}

    You don’t need to wrap elements in container rows, which is the biggest benefit of all of this. Without rows, content isn’t tied to page markup in quite the same way, allowing for removals or additions of content without additional development.

    This is a big step forward when it comes to creating designs that allow for evolving content, but the real game changer for flexible designs is CSS Subgrid.

    Remember the days of crafting perfectly aligned interfaces, only for the customer to add an unbelievably long header almost as soon as they’re given CMS access, like the illustration below?

    Subgrid allows elements to respond to adjustments in their own content and in the content of sibling elements, helping us create designs more resilient to change.

    .wrapper { display: grid; grid-template-columns: repeat(auto-fit, minmax(150px, 1fr)); grid-template-rows: auto 1fr auto; gap: 10px;}.sub-grid { display: grid; grid-row: span 3; grid-template-rows: subgrid; /* sets rows to parent grid */}

    CSS Grid allows us to separate layout and content, thereby enabling flexible designs. Meanwhile, Subgrid allows us to create designs that can adapt in order to suit morphing content. The above code can be implemented behind an @supports feature query even though Firefox is the only browser that supports subgrid at the time of writing.

    Intrinsic layouts

    I’d be remiss not to mention intrinsic layouts, a term used by Jen Simmons to describe a mix of contemporary and traditional CSS features used to create layouts that respond to available space.

    Responsive layouts have flexible columns using percentages. Intrinsic layouts, on the other hand, use the fr unit to create flexible columns that won’t ever shrink so much that they render the content illegible.

    frunits is a statement that says,” I want you to distribute the extra space in this way, but… don’t ever make it smaller than the content that is inside of it.”

    —Jen Simmons,” Designing Intrinsic Layouts”

    Intrinsic layouts can also make use of a mix of fixed and flexible units, letting the content choose how much space it occupies.

    What makes intrinsic design stand out is that it not only creates designs that can withstand future devices but also helps scale design without losing flexibility. Without having the same breakpoints or the same amount of content as in the previous implementation, components and patterns can be lifted and reused.

    We can now create designs that adapt to the space they have, the content within them, and the content around them. We can create responsive components without relying on container queries using an intrinsic approach.

    Another 2010 moment?

    This intrinsic approach should in my view be every bit as groundbreaking as responsive web design was ten years ago. It’s another “everything changed” moment for me.

    But it doesn’t seem to be moving quite as fast, I haven’t yet had that same career-changing moment I had with responsive design, despite the widely shared and brilliant talk that brought it to my attention.

    One possible explanation for that might be that I now work for a sizable company, which is significantly different from the role I held as a design agency in 2010: In my agency days, every new project was a clean slate, a chance to try something new. Nowadays, projects use existing tools and frameworks and are often improvements to existing websites with an existing codebase.

    Another possibility is that I now feel more prepared for change. In 2010 I was new to design in general, the shift was frightening and required a lot of learning. Additionally, an intrinsic approach isn’t exactly new; it’s a different way to use existing skills and CSS knowledge.

    You can’t framework your way out of a content problem

    Another reason for the slightly slower adoption of intrinsic design could be the lack of quick-fix framework solutions available to kick-start the change.

    Ten years ago, responsive grid systems were everywhere. With a framework like Bootstrap or Skeleton, you had a responsive design template at your fingertips.

    Because having a selection of units is a benefit when creating layout templates, intrinsic design and frameworks do not go hand in hand quite as well. The beauty of intrinsic design is combining different units and experimenting with techniques to get the best for your content.

    And then there are design tools. We probably all used Photoshop templates for desktop, tablet, and mobile devices to drop designs into and demonstrate how the site would look at all three stages at some point in our careers.

    How do you do that now, with each component responding to content and layouts flexing as and when they need to? This kind of design must take place in the browser, which is something I’m very fond of.

    The debate about “whether designers should code” is another that has rumbled on for years. When designing a digital product, we should, at the very least, design for a best- and worst-case scenario when it comes to content. It’s not ideal to do this in a graphics-based software package. In code, we can add longer sentences, more radio buttons, and extra tabs, and watch in real time as the design adapts. Does it continue to function? Is the design too reliant on the current content?

    Personally, I look forward to the day intrinsic design is the standard for design, when a design component can be truly flexible and adapt to both its space and content with no reliance on device or container dimensions.

    First, the content

    Content is not constant. After all, to design for the unanticipated or unexpected, we must take into account changes in content, like in our earlier Subgrid card illustration, which allowed the cards to modify both their own content and that of their sibling components.

    Thankfully, there’s more to CSS than layout, and plenty of properties and values can help us put content first. Subgrid and pseudo-elements like ::first-line and ::first-letter help to separate design from markup so we can create designs that allow for changes.

    Instead of the dated markup tricks below,

    First line of text with different styling...

    —we can target content based on where it appears.

    .element::first-line { font-size: 1.4em;}.element::first-letter { color: red;}

    Much bigger additions to CSS include logical properties, which change the way we construct designs using logical dimensions (start and end) instead of physical ones (left and right), something CSS Grid also does with functions like min(), max(), and clamp().

    This flexibility allows for directional changes according to content, a common requirement when we need to present content in multiple languages. In the past, this was often achieved with Sass mixins but was often limited to switching from left-to-right to right-to-left orientation.

    Directional variables must be specified in the Sass version.

    $direction: rtl;$opposite-direction: ltr;$start-direction: right;$end-direction: left;

    These variables can be used as values—

    body { direction: $direction; text-align: $start-direction;}

    —or as properties.

    margin-#{$end-direction}: 10px;padding-#{$start-direction}: 10px;

    However, now we have native logical properties, removing the reliance on both Sass ( or a similar tool ) and pre-planning that necessitated using variables throughout a codebase. These properties also start to break apart the tight coupling between a design and strict physical dimensions, creating more flexibility for changes in language and in direction.

    margin-block-end: 10px;padding-block-start: 10px;

    There are also native start and end values for properties like text-align, which means we can replace text-align: right with text-align: start.

    Like the earlier examples, these properties help to build out designs that aren’t constrained to one language, the design will reflect the content’s needs.

    Fluid and fixed

    We briefly covered the power of combining fixed widths with fluid widths with intrinsic layouts. The min() and max() functions are a similar concept, allowing you to specify a fixed value with a flexible alternative. 

    For min() this means setting a fluid minimum value and a maximum fixed value.

    .element { width: min(50%, 300px);}

    The element in the figure above will be 50 % of its container as long as the element’s width doesn’t exceed 300px.

    For max() we can set a flexible max value and a minimum fixed value.

    .element { width: max(50%, 300px);}

    Now the element will be 50 % of its container as long as the element’s width is at least 300px. This means we can set limits but allow content to react to the available space.

    The clamp() function builds on this by allowing us to set a preferred value with a third parameter. Now we can allow the element to shrink or grow if it needs to without getting to a point where it becomes unusable.

    .element { width: clamp(300px, 50%, 600px);}

    This time, the element’s width will be 50 % of its container’s preferred value, with no exceptions for 300px and 600px.

    With these techniques, we have a content-first approach to responsive design. We can separate content from markup, meaning the changes users make will not affect the design. By making plans for unanticipated changes in language or direction, we can begin to future-proof designs. And we can increase flexibility by setting desired dimensions alongside flexible alternatives, allowing for more or less content to be displayed correctly.

    First, the situation

    Thanks to what we’ve discussed so far, we can cover device flexibility by changing our approach, designing around content and space instead of catering to devices. But what about that last bit of Jeffrey Zeldman’s quote,”… situations you haven’t imagined”?

    Rather than someone using a mobile phone and moving through a crowded street in glaring sunshine, it’s a very different design to be done for someone using a desktop computer. Situations and environments are hard to plan for or predict because they change as people react to their own unique challenges and tasks.

    This is why making a choice is so crucial. One size never fits all, so we need to design for multiple scenarios to create equal experiences for all our users.

    Thankfully, there is a lot we can do to provide choice.

    Responsible design is important.

    ” There are parts of the world where mobile data is prohibitively expensive, and where there is little or no broadband infrastructure”.

    I Used the Web for a Day on a 50 MB Budget.”

    Chris Ashton

    One of the biggest assumptions we make is that people interacting with our designs have a good wifi connection and a wide screen monitor. However, our users may be commuters using smaller mobile devices that may experience drops in connectivity while traveling on trains or other modes of transportation. There is nothing more frustrating than a web page that won’t load, but there are ways we can help users use less data or deal with sporadic connectivity.

    The srcset attribute allows the browser to decide which image to serve. This means we can create smaller ‘cropped’ images to display on mobile devices in turn using less bandwidth and less data.

    Image alt text

    The preload attribute can also help us to think about how and when media is downloaded. It can be used to tell a browser about any critical assets that need to be downloaded with high priority, improving perceived performance and the user experience. 

      

    There’s also native lazy loading, which indicates assets that should only be downloaded when they are needed.

    …

    With srcset, preload, and lazy loading, we can start to tailor a user’s experience based on the situation they find themselves in. What none of this does, however, is allow the user themselves to decide what they want downloaded, as the decision is usually the browser’s to make. 

    So how can we put users in control?

    The media queries are returning.

    Media questions have always been about much more than device sizes. They allow content to adapt to different situations, with screen size being just one of them.

    We’ve long been able to check for media types like print and speech and features such as hover, resolution, and color. These checks allow us to provide options that suit more than one scenario, it’s less about one-size-fits-all and more about serving adaptable content.

    The Level 5 spec for Media Queries is still being developed at this writing. It introduces some really exciting queries that in the future will help us design for multiple other unexpected situations.

    For instance, a light-level feature allows you to alter a user’s style when they are in the sun or in the dark. Paired with custom properties, these features allow us to quickly create designs or themes for specific environments.

    @media (light-level: normal) { --background-color: #fff; --text-color: #0b0c0c; }@media (light-level: dim) { --background-color: #efd226; --text-color: #0b0c0c;}

    Another key feature of the Level 5 spec is personalization. Instead of creating designs that are the same for everyone, users can choose what works for them. This is achieved by using features like prefers-reduced-data, prefers-color-scheme, and prefers-reduced-motion, the latter two of which already enjoy broad browser support. These features tap into preferences set via the operating system or browser so people don’t have to spend time making each site they visit more usable. 

    Media questions like this go beyond choices made by a browser to grant more control to the user.

    Expect the unexpected

    In the end, we should always anticipate that things will change. Devices in particular change faster than we can keep up, with foldable screens already on the market.

    We can design for content, but we can’t do it the same way we have for this constantly changing landscape. By putting content first and allowing that content to adapt to whatever space surrounds it, we can create more robust, flexible designs that increase the longevity of our products.

    A lot of the CSS discussed here is about moving away from layouts and putting content at the heart of design. There is so much more we can do to adopt a more intrinsic approach, from responsive components to fixed and fluid units. Even better, we can test these techniques during the design phase by designing in-browser and watching how our designs adapt in real-time.

    When it comes to unexpected circumstances, we need to make sure our goods are accessible whenever and wherever needed. We can move closer to achieving this by involving users in our design decisions, by creating choice via browsers, and by giving control to our users with user-preference-based media queries.

    Good design for the unexpected should allow for change, provide choice, and give control to those we serve: our users themselves.