The Christmas Truce of 1914

Christmas_Truce_1914.jpgA bullet split through the frozen ground and ricocheted into the trench. The British soldiers shifted position, their feet stirred the sloppy straw-laced mud as they found their footing to return fire. None of the World War I soldiers wanted to spend their Christmas Eve dodging bullets. They preferred thinking about their loved ones back home and the traditional celebrations handed down through previous generations.

Lifting binoculars to his eyes, Captain Sir Edward Hulse kept a keen eye on the Germans. The 350-400 yard no-man’s-land between the British and German trenches reduced the number of casualties and made any form of pursuit suicidal. Captain Hulse knew the battle would be drawn out and slip into Christmas Day.

When the British soldiers stood for arms at six o’clock that prominent morning, the number of shots taken were greatly reduced from the previous day. By eight o’clock, only a few scattered, single shots could be heard off to the side where the border patrol stood watch. The main fighting zone held a natural truce that was neither dictated by the British or the Germans. The eye’s of the soldiers reflected a sense of peace that morning, allowing each one to ponder gratitude for the good within the lives of their families.

Germans Extend Grace

Captain Hulse was startled by movement out of the corner of his eye. He lifted the binoculars and spied four Germans who had climbed out of their trenches and headed toward the British.  None carried weapons. He watched as they slowed to a stop in the middle of no-mans-land, making sure not to cross into British territory.

Captain Hulse wondered what message they might have carried and quickly ordered two men to meet the Germans in the middle unarmed. None wanted to take such a risk on Christmas, forcing Captain Hulse to climb out of the trench and traverse the frozen ground alone. The walk felt longer than it was, knowing that 100,000 or so men from both sides were watching every step he took.

The Captain was greeted by three privates and a stretcher bearer. One German shared how they felt compelled to wish the Captain and his men a happy Christmas. The four Germans had put their lives on the line, trusting the British to keep the unstated truce. The German spokesperson shared that the men personally had no feeling of enmity against the British, but they were soldiers who had to obey their superiors.

The conversation became complex as the Captain and soldiers discussed the terrible wounds made by the rifle bullets. They all agreed that the high-velocity bullets with a pointed nose were designed to inflict wounds at short range. They also agreed that the old South African round nosed bullets made a cleaner hole. The conversation continued for a half hour, at which time a German, who saw great similarities between men, suggested that both sides return unarmed in the afternoon to the no-mans-land to celebrate Christmas.

Christmas Party for All

Later in the afternoon, a large group of unarmed Germans entered no-man’s-land. One of the German snipers led his fellow soldiers in the singing of Christmas carols, while they watched the unarmed British move toward them. Soon they sang a chorus or two of O Tannenbaum and the British joined in with the English translation of O Christmas Tree. The men marveled at their unified ability to sing the same song with different words. Laughter and handshakes followed.

The party lasted a couple hours and many exchanged gifts, based on what they had on them at the time. Some exchanged pipe tobacco, cigarettes, pens, pins, alcohol, and other small paraphernalia. Everyone had a merry time.

A 19-year-old private named Henry William Williams smoked a pipe during the party that was given to him by Princess Mary. In the pipe was German tobacco gifted to him from one of the enemy soldiers. They had met after a joyous chorus, shook hands and exchanged gifts or souvenir trinkets. Both gifts were heartily received.

When the day grew short, Captain Hulse ordered his men back to the trenches.

An Extended Truce

The Germans promised that they would maintain the truce indefinitely. Captain Hulse said that the truce had ended, but the Germans persisted that they would not continue the fight unless the British fired first. The Captain clarified the end of the truce and continued walking back to the trenches. A short time later a few British soldiers took plum pudding to the Germans, received thanks, and returned to their trenches. Not a single shot was fired for the rest of the evening. Neither side wanted to fire on the men that they had met personally.

The night watch hours were also silent. Not a single weapon was raised against the opponent. The men were comfortable in the aura of peace that had befallen all soldiers. Several men wrote letters to their mothers during the still of the night, speaking highly of the men they had met and the miracle truce that transpired. Those writing letters never fathomed how their letters, years later, would testify to the Christmas miracle—thanks to World War I historians that documented the war efforts.

Not a single man was willing to break the miraculous gift of the truce that surpassed their understanding. They embraced the silent night with thankfulness in their hearts.

Relieved

Quietness filled the wore-torn battlefield late into the evening. The Grenadiers arrived and relieved the British soldiers. By first light, the Grenadiers stood and fired upon the Germans. A new battle had broken out and thousands of lives were lost. But the miracle story of the truce was remembered and retold every year by those who understood the power of Christmas and the joy of those who participate.

Copyright 2018 by CJ Powers

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Three Creative Journals Worth Exploring

I recently received three journals from the Ellie Claire imprint and was very impressed by the quality of the books. Not only do the books lay flat for the writer, but they use a very high grade of paper for those of us who like to sketch with ink. I even used watercolor markers without worrying about bleed through on a subsequent page.

fc3755_8ed06bba0d37467e94c4bd607ce3b518_mv2The Illuminate Your Story Journal had quotes and scriptures salted throughout the book. After every couple of writing pages, the book instructs the writer with how to create illuminated letters used in ancient times. The steps were easy to follow and helped me build my bullet journal lettering vocabulary of styles and fonts. Based on the book and my new abilities, the art of illumination is certainly not lost today, as I once thought.

The hard cover was designed to last a lifetime and is rugged enough to survive more drops than I’d make. The texture and embossing of the book are also of a high quality, making you feel like you own something worthy of your words. The artistic value is amazing and the elastic band to hold the book closed helps protect the pages when the book takes a tumble. The book also has a place saving ribbon and a pocket for collected ideas in the back.

IMG_6799

fc3755_0695f523a03a4f5fabd6f848fdb42986_mv2The Faith and Lettering book is a little larger in size and offers lessons on typography. It only took me a few minutes to understand one of the designs and immediately start using it in my daily business notes. The book also gives professional tips on how to draw flourishes, arrows, and banners.

One of the most fun aspects of the book is the training pages that encompass line art, a graphic, banner, and a mixture of type fonts using a decorative verse. The page shows the final work, provides a lightly traceable version for practice, and gives enough space for a couple efforts of your own.

Not only did I have fun practicing the various styles combined with imagery, but I found myself having memorized the verse just from the writing process. I also had the imagery of it ingrained in my brain so I could review it in my mind’s eye whenever I chose. Prior to doodling in this journal, I had no idea how quickly memorization could happen as a result of this artistic process.

fc3755_92690eef39404e29ac5d755c19f85c77_mv2The Illustrated Word was the third book I reviewed. It took me back in time to the art of the Renaissance. This coloring journal had numerous illustrations ready for my choice colors. It also had a fully colored segment on the opposite page to see what the artist thought to use as an appropriate color palette.

The book had far more pages for writing than the other books and included a full-color illustration on every spread from the Museum of the Bible archives. The artistry illustrated from hundreds of years ago was amazing, and the intricate handwritten words brought an understanding of the importance of words to bear.

All three books were masterfully crafted and raised my interest in the Ellie Claire imprint. I went to EllieClaire.com to see the hundred plus additional artistic products, most of which are worth far more than its price tag.

So, check out the three new journals and let me know how much you enjoy them.

Copyright 2018 by CJ Powers
Disclosure of Material Connection: I received one or more of the products or services mentioned above for free in hopes that I would mention it on my blog. Regardless, I only recommend products or services I use personally and believe will be good for my readers. I am disclosing this in accordance with the Federal Trade Commission’s 16 CFR, Part 255: “Guides Concerning the Use of Endorsements and Testimonials in Advertising.”

The Remnant has Launched

There is a small group of “believers” who are pouring their lives into the secular marketplace. The impact of the group is growing, and while the general public are embracing their message of hope, others who defend the “Evangelical lifestyle” over all else are attacking the remnant.

Lauren Daigle has a clear vision to reach those “outside of the church walls.” Her recent appearance on The Ellen DeGeneres Show and Jimmy Fallon was well received by the general public, but those who are trying to keep the Evangelical lifestyle alive (I’ll refer to them as the ELAs) warned the “church” that her secular venues might lead her astray, causing Daigle to abandon her worship roots to become a secular artist.

The odd thing is that Daigle is a Contemporary Christian Artist through and through. Her latest album “Look Up Child” reached #3 on Billboards Top 200 because its message was universal and appealed to the masses. Unfortunately, Daigle’s performance on NBC received criticism on social media. Most argued that Daigle was wrong to appear on the show because Ellen is a lesbian.

Daigle responded to some of the criticism during an interview on WAY-FM Radio, “I think the second we start drawing lines around which people are able to be approached and which aren’t, we’ve already completely missed the heart of God.”

Jeremy Lynch appears to be another member of this up and coming remnant. His passion is making movies that reach the general public with messages of hope and love. Lynch is a Millennial filmmaker who got his start working crew for Batman v Superman: Dawn of Justice. After getting his feet wet, he became an editor and worked on the visual effects for The Ryan Car Show. Most recently he wrote, directed, and produced his first short film The Scavenger, which can be seen on Amazon Prime Video. The Scavenger is a story of transformational love that changes a selfish man into a self-sacrificing man—a clear demonstration of unconditional love.

Lynch is not immune to ELA attacks, but has far less to worry about since his passion has always been focused on the general marketplace. Most ELAs have a penchant for going after those well established in the “Kingdom” because of what some call a “we/they” mentality. While the Bible directs Christians to “go” into the marketplace, ELAs believe Christians should “separate” themselves and create their own marketplace, which some see as a contradiction to the “Great Commission.”

While the argument about “separating from the world” versus “being in the world, but not of it” will continue to be argued for years to come, high profile people like Selena Gomez are taking advantage of this new uprising of the remnant.

Selena_GomezGomez has promoted Daigle’s album multiple times on social media to her 144.4 million followers. Daigle’s top three songs have been listened to by millions within the general public, creating one of the greatest witnessing tools of this past decade. Yet, the ELAs are more concerned that Daigle might create less worship songs, rather than rejoice in the millions who have heard her message of hope.

Unity within the church and the supporting of those who go into the marketplace must be revived for denominations to survive these changing times. The question is, will the ELAs empower this revival or will they become modern day Pharisees?

No matter what the outcome, millions will continue to be touched by the remnant.

Copyright © 2018 by CJ Powers

Is The Book Or Film Better?

Book vs. FilmThe number of scripts I receive for consideration or review every year is astounding. Each of the major studios receive about 100 scripts a day and 99% of them are not worth reading. The biggest dilemma I face comes from the author. Most of the scripts I receive are from talented literary authors trying to write a screenplay, which seldom goes well.

The first problem that I typically encounter is the author using detailed and flowery words in long-winded descriptions, as if it were lifted right out of a novel. Few authors understand that the screenplay is written in a specific manner for budgeting and creative purposes, and obviously, for the screen. Here is a scene example that I’ll use to discuss the differences:

NOVEL

“Adrenaline pumped through David’s veins as his pace quickened toward the lone grave hidden beneath the canopy of large oak trees deep within the forest. His soiled gym shoes stopped in front of the fresh pile of dirt rounded over like a grave before rain settles the soil. David’s face aged 10 years in that moment and his legs weakened. He dropped to his knees with sorrowful eyes, knowing that he might be facing his daughter’s burial site. His hands looked like gnarled creature paws as he stroked away at the soil, digging deeper and faster with a weak hope of finding an animal in her place.

But he knew the truth. His hands would soon find his kidnapped daughter. He readied himself for the sight, as he plotted a new vision for revenge. His hand snagged a piece of material. The same as the dress his daughter wore at her seventh birthday party, the night she was kidnapped. David’s face flushed and turned stone cold. A fiery revenge welled within his soul forcing him to his feet. “I’m com’n for yah,” he groaned. With more energy than he thought possible, David bolted through the woods focused on his target.”

SCREENPLAY

EXT. FORREST – DAY
Exhausted, David scrambles through the forest. He stops at a fresh grave. Grimacing, David drops to his knees. He paws through the soil. David stops, hardens himself and glances off in the distance.

DAVID
I’m com’n for yah.

David runs from the grave, letting a streak of sunlight hit the floral cloth protruding from the soil.

PRODUCTION TOOL

The same overall action occurs in both depictions of the scene. The screenplay version is measured at 2/8 of a page, which tells the production manager how long the segment will take to film and how much it will cost. The word choices within the screenplay suggest the needed shot list to capture the story. The list includes:

  • XLS: David running in forest
  • MS: David panting as he runs
  • CU: David’s gym shoes stop at the grave
  • MS: David drops to his knees
  • MLS: David kneels at daughter’s grave
  • CU: David
  • CU: Hands digging
  • MS: David’s dialogue
  • LS: David running away from grave
  • XCU: Dress protruding from grave

With the scene being 2/8 of a page, the DP and 1st AD know they have to capture the full shot list in an hour to stay on budget. If, however, the scene were written like the novel, it would take 4-6/8 of a page and the team would allow 3-4 hours for the shoot. Unfortunately, the scene will still only take 15-20 seconds on screen, making the novel version far more costly to shoot—forcing the project over budget.

When properly written, a screenplay reveals the shooting schedule, budget, and camera shots.. It also hints at the character arcs and the emotional tonality the actor must consider when developing his character. There are also hints sewn into the script about the editorial pacing and tempo.

A person who knows how to read a professional screenplay can easily spot the above. But the novelist has no clue what information must be laced into the scene or how to concisely interweave it. Most don’t understand how this scene is likely to be shot handheld because of the story’s emotional turmoil and shooting schedule.

Beginning screenplay writers find themselves writing something halfway between the novel and professional screenplay, which inaccurately reflects the shoot requirements with information that cannot be seen on screen. A screenplay improperly written becomes a useless tool for the producer and production team. The better the screenplay writer, the more accurate the budget.

BOOKS ARE NOT FILMS

A second factor I face with authors is their misguided understanding of what makes for a good film versus a book. The original story allows the reader to get inside of the protagonist’s head, while the film can only show what happens, unless you like a lot of narration, which slows a film down and pulls the viewer out of the film story.

Books are about thought and films are about action. They are two different mediums and must be treated according to its own form. While most authors feel disgruntled about having their story altered to better fit the medium, they hate with a greater magnitude films that try to follow the book and end up destroying the story as a result.

The vast majority of great authors have to get used to seeing their “A” plotline become a “B” plotline in a movie, and their “B” plot become the “A” plotline. This inverted plotline structure makes for a far greater motion picture, and opens the story up to a wider audience than what the book was aimed at. Since movies cost a lot more than a book to create, this distinction is significant.

While there are additional factors that authors face when transitioning their work to the screen, I’ve run out of room to mention them in this post. The key is to understand that film and books are very different and require opposing skills to pull off. Flexibility is paramount for the author desiring a shot at the silver screen.

© 2018 by CJ Powers

Understanding the Visual Draw of Men

Understanding_VisualWe’ve all heard that men are visual. We’ve even heard that they are more visual than women. We’ve also been told that this difference is significant. So monumentally different, in fact, that women can’t quite understand what it’s like to live in a man’s visual world.

In a recent video hosted by Dennis Prager of Prager U, Dennis clarified some of the visual differences between a man and a woman. His examples were all related to sex, since this is one area more easily explained. However, the difference between a visual person and a literary-oriented person are far more reaching than the one life category of sex.

The Internet shifted from being a literary to a visual platform in 1994 with the first release of pictures and direct broadcast images. This expanded to far more homes in 2010-2014 with the introduction of broadband connections. Today there are hundreds of millions of visuals being consumed daily across the globe.

This increase in video-based Internet connections causes many women to believe they have become more visual. The great decline in the written word suggests there is something to the idea. But being visually versus literarily driven is not determined based on the amount of visuals consumed. It is established by how the visual impacts the individual.

I had the opportunity to observe a woman in her natural life setting as she interacted with the Internet, TV, and a book. She considered herself a visual person, as she explained during our conversation about visually driven men. She never understood how her thoughts of being visual were skewed by the fact that she was not actually visual.

When she read her book, I tried to converse with her, but nothing seemed to get through. Once I became overly rambunctious about chatting, she set the book to the side with extreme anger for me having interrupted her story. She was a literary-based person and I had interrupted her flow.

During a movie she watched on TV, I interrupted her often and she had no problem responding. She even took her eyes off the screen numerous times during our conversation. Pulling away from the visual medium took her little effort. In fact, she got up and walked into the kitchen several times without concern for having missed any visual information.

The Internet gave an interesting twist to my observations. When she was reading text, our interactions were just as adversarial as our book experience. But she had no qualms about being interrupted while watching videos online. The pause button was simple for her to push regardless of the visual story unfolding.

The woman who thought she was highly visual didn’t understand the drive that visuals have on men, nor the understanding that she was not consumed by the visuals. When we discussed it, she tried to point out how visual she was due to her inability to pull herself away during one part of the movie. I asked what was happening at the time and she mentioned her transfixiation with the dialogue—a literary, not visual element.

To help women understand men’s visualness, I’ll explain it using literary terms. Visuals are typically a man’s first language. Little boys do not chatter it up like little girls do, instead they keep a close eye on their toys and make sounds as they picture the dump truck backing into the construction zone filled with its load of gravel.

When I was at a Fortune 50 company a woman handed me a stack of reports to review before my afternoon meeting with our male executives. The pile was just shy of an inch thick. After reviewing the materials, I designed a one-sheet dashboard report with seven graphics.

I placed the thick report in front of each executive and handed them my one sheet. Within two minutes the action steps were decided and the executives asked if they had missed any key points from the report. I merely pointed out the woman’s name who worked diligently to produce the report and suggested they give kudos for her impressive and detailed efforts.

They agreed, got up, leaving the reports on the table, and took the dashboard report. The visual tool was a reference for our newest venture announcement minutes later, which was based on the report. The executives never read the report, but they referenced the visual dashboard report daily. Why? Because it gave the same information using their first language of visuals.

After my last speaking engagement, I was surrounded by business people wanting more information. One person noticed the notes for my keynote presentation and asked if he could take a picture of it. Within a few seconds men were lining up to do the same. For longer speeches, I use a sketchnote outline.

My notes are made up of a series of visuals depicting each portion or step of my speech. The pictures are directly correlated to my talk. I’d say it’s similar to an infographic that rapidly explains my entire talk with pictures. In fact, when these moments happen there is always one or two people who demonstrate their prowess by citing the part of my talk for each picture they see. They are amazed at how well the picture captures the talking point, which of course is why I do it.

I’m a visual person who has never been able to give a talk from a written outline. However, I found that longer talks are easily presented using a sketchnote outline. Why? Because I’m visual. Or, I can put it another way…I read, write, and speak visual first, English second.

So what language drives you…visual or literary?

© 2018 by CJ Powers

Story and Audience Targeting

10-058_STORY

The number one problem producers and pastors have in common is their ability to bring the right story to the right audience. Both have to target multiple age groups with a story that’s broad enough to touch everyone, yet only a percentage within the larger group will find that the story resonates with them.

To compensate, many pastors will tell several stories within their sermon to help demonstrate how the teaching applies to each generation. Filmmakers do the same thing by having some scenes aimed at Baby Boomers, Gen Xers, Millennials, and Gen Z. The scenes must play well enough for all generations to accept it as a functional part of the film’s story, but the generation that the given scene is aimed at will find that particular scene speaking into their lives.

I wrote a screenplay titled The Professor that is aimed at a four-quadrant audience. Some scenes are specifically for Gen Z, while other scenes jointly aim at Millennials and Gen Xers, and a few scenes speak directly to Baby Boomers. The results are clearly spot on when my script is read by each generation. Not because each of my scenes work for everyone, but because there are specific scenes that speak into each generation’s life without detracting from the other generations reading the story.

To develop a story that speaks specifically to each generation takes a tremendous amount of work. The four-quadrant audience, which is broken out between old and young, and male and female, is the basis for each generational viewpoint. In other words, to speak directly into each guardant within each generation will take a minimum of 16 scenes. Those details are better shared over several chapters in some future book I might write.

For now, I’m going to share the three base drivers that must be used to target a story to the right audience. Since only one driver can be clearly used through the protagonist, I’ll use the hero model for my explanation.

Story is about change. The person who changes the most is the protagonist or hero (yes, there are exceptions, but I’m trying to keep this post short). The hero has a worldview that is driven by a core belief that can be categorized as lawful, moral, or ideological.

LAWFUL: The hero believes in institutions like government, religion, schools, and any other man-made system used to protect or grow our communities.

MORAL: The hero takes responsibility to make a difference when something goes wrong with our institutions or thinking. This might be a whistleblower, vigilante, or a (fed up) underdog.

IDEOLOGICAL: The hero believes in something that is overarching and sees each life as a small pebble in the greater scope of humanity. However, the hero also understands that each pebble might be the one that creates the avalanche, like the final straw on the camel’s back.

From these three vantage points we can quickly direct the perceptions of the audience as they follow the hero on his journey. Gen Z is all about the ideological and they want it in the form of what is real. They can see through the fake or the trumped up.

The Millennials and Gen Xers both relate to the moral and feel a responsibility to correct the wrongs put in place by the Baby Boomers. And the Boomers, well, they are all about the lawful and supporting the institutions that made their generation great.

Pastors find their words about the institution of communion and worship resonating with the Baby Boomers. Those pastors who empower church members to help those hurting in the community find their messages speaking to the hearts of the Millennials and Gen Xers. And, those pastors who talk about the actions we must take in order to participate in God’s overarching plan find Gen Z embracing every activity required of them to fulfill the big picture.

The pastor who wants to teach on prayer would tell Boomers to pray without ceasing according to the scriptures. He’d teach the Millennials and Gen Xers how prayer changes us and thereby changes our communities for the good. To Gen Z he’d teach the truth that some prayers go unanswered, but for the ones that are answered, they are only answered when they are prayed. For God’s overall plan to work, we each have to pray daily for our part in the matter and for others.

The filmmaker has to break things out in a similar fashion. If he is making a film that suggests we can’t be great living a life of apathy, the message must be contoured for each generation. A scene designed to resonate with a Boomer might include the hero learning the discipline of football basics. The Millennial and Gen Xer might be moved by a scene about the hero realizing that he must perform well at the game to earn a scholarship to lighten the financial load of his parents concerning his college tuition. The Gen Z scene could show the hero playing defense across from the starting offensive line to prepare them for the sake of all the students counting on a homecoming win.

By targeting each generation with the right portion of the story drives box office success. Films that only reach one generation must be all the more targeted in its marketing approach to draw the right crowd. By creating a universal story that can touch multiple generations, a filmmaker and a pastor can stir far more people with the right message than others who don’t target their story.

© 2018 by CJ Powers

 

The Film and Corporate World Flex or Die

PosterIt was an amazing weekend for the box office. Independent film Beautifully Broken exceeded the film distributor’s (ArtAffects) lifetime box office gross (including adjustments for inflation for its previous titles) in its first weekend with just under $500K as a limited release. However, the small ad budget restricting the film’s promotions and the lack of available screens for expansion in this saturated market might kill the picture’s chance to surge this weekend. In other words, this weekend might be its last in theaters.

Crazy_Rich_AsiansCrazy Rich Asians was the biggest winner with a $25MM take at the box office. While most films’ ticket sales drop 35-60% during its sophomore weekend, Crazy Rich Asians fell less than 6%. This is in keeping with the new movement of audiences looking for lighter films with redemptive endings. You can read more about it in my post titled Gen Z Drives New Stories.

Filmmakers always need to be ahead of the curve to lead shifts in the marketplace, rather than try to catch up to the trends. Corporations have also been forced by the demands for innovation to be flexible and agile with every market shift. The good news is that trends are not only trackable, but they give off hints 3-5 years in advance—for the alert CEO.

IMG_0142In my latest talk, No Box Creativity: Building Innovative Teams, I speak to the patterns of change that every company faces. From entrepreneurial and boutique businesses to Fortune 500 companies, I share case studies of why some companies fail and others expand.

Companies like Radio Shack and RCA disappeared due to inflexibility, while Britain’s GKN, originally a coal mine, became a cutting-edge aerospace company since it launched 144 years before airplanes were invented. GKN’s flexibility allowed it to transition to iron ore and become Britain’s largest producer by 1815. Shifting again in 1864, the company produced fasteners and became the world’s largest producer by 1902. By 1990 the company sold off its fastener business and provided services to Boeing. GKN clearly knew how to think out of the box.

Earlier this year, Adobe and the Forrester Consulting group released their findings from a survey dedicated to learn more about creativity in business. Numerous Fortune 500 companies participated in the survey of which 82% of the companies saw a correlation between creativity and business success.

With innovation being a big influencer in the marketplace among startups at the turn of the century, most people weren’t overly surprised by the findings. The real surprise came further into the survey with the revelation that while companies saw the correlation, only 26% did anything about it.

The first two decades of the 21st century have started to see numerous out-of-the-box oriented companies meet their demise due to disruptive innovation brought on by competitors. Large agile companies like Lucent Technologies with 165,000 employees quickly dropped to 25,000 employees due to its improper handling of its own disruptive innovation—IP phone technology switches. Lucent was soon taken over by Alcatel, which was then absorbed by Nokia.

The business community in a short period of time shifted from a box mentality, to an out-of-the-box mentality, to a no-box mentality. Unfortunately, only an estimated 10% of the market shifted with each change and another 45% attempted to catch up. This left 45% of the businesses to waver and shrink, if not totally collapse like Radio Shack and Polaroid. The survivors that held on either purposely or accidentally stumbled upon a sustainable customer need that had not yet been disrupted.

The survey made it clear that innovation is the only thing that will save businesses in our future ever-changing, no-box marketplace. That innovation can only flourish when led by creative thinkers that understand our new intangible marketplace. Companies desiring to be leaders in this new frontier are forced to learn more about No Box Creativity to drive their innovations and catapult their disruptive market share-grabbing initiatives.

If you know of any companies looking for a guest speaker on surviving the trends using creativity to innovate, please let them know about my latest talk No Box Creativity: Building Innovative Teams.

© 2018 by CJ Powers