Cense

Innovation to Impact

Narration Interrogation

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Police (and some parents) know the secret to spotting a lie in a story: ask someone to repeat that story backwards. As it turns out, it’s a lot easier to concoct a false story going forward than it is backward because of the way we logically connect events in our heads.

This same technique can be used to help spot gaps in logic. Even if we’re not lying to one other (or ourselves) we may find some parts of the story that don’t quite make sense. This gap in logic is not uncommon because as humans we often will fill in the story because of how we are wired for narrative coherence as a species.

Narrative interrogation is a way that we can walk through the story of our program or service to help us identify the key elements that are present in most good stories and how or whether we have them organized (or have them at all). Unlike real interrogation, this is not aggressive or adversarial — rather a way to explore stories through inquiry.

Story Elements

Some of the key elements in a good story are:

  1. Actors. These are your protagonists (the leads), the supports, and the chorus — those in the background. Ask yourself who the main actors are in each scene of the story (e.g., who has the problem that needs solving? What are they looking for? What is their motivation?). This is where using personas can be helpful to fill in the details about these characters.
  2. Relationships. How are the actors related to each other? Are they working collaboratively or competitively and do they need each other? Are there roles that individuals fill? Are there special qualities to their relationship (e.g., power, partnership, etc.).
  3. Setting and Structures. Where are things taking place? Do people need a particular service or product in a specific setting or context? Articulating these will also help you to frame the way in which system structures shape the interactions between the actors and help contribute to or facilitate the problem (or solutions).
  4. Time. Determining when things are to happen and how that temporal aspect shapes everything is important. Does timing matter? Does the amount of time matter? is the problem and solution one that is highly dependent on when something happens or not?
  5. Arc. The last piece is creating some form of coherent story arc between them all. Tying them together helps us understand who is involved, what they are interested in or seeking, why they have the challenges they do, how they are going about things now (and how we could change that with an intervention of a product or service) and the ways in which that will be affected.

Together, this starts to generate a theory of change and helps us connect what we’re seeking to do through our innovation (service, product, policy) and what is needed by those we are aiming to serve.

Using the Method

Stories are told by people, not objects, so this is one method where speaking with individuals is key. Involve those for whom the story matters in the telling of that story. This might be customers or clients, service operators, managers, or founders; it depends on what story you are looking to hear. The aim is usually not to capture everything, rather keep it focused on a specific aspect of your innovation. It might be in use (customers or clients), the development (product team) and marketing, or in understanding the purpose relative to the organization (e.g. senior management).

Using an open-ended approach — free-form — ask people to speak about the topic using a story lens:

  1. Start with the beginning: what is the first thing someone needs to know. This might be the choice to start the project, the moment the ‘problem’ appeared that required a solution, or even the backstory. This is something that the storyteller determines on their own.
  2. Focus. Encourage the person to speak in a manner that focuses on the purpose, however, ask points of clarification when it is unclear what the connection is at different parts. Good stories often involve non-sequiturs and so do poor ones; it’s important to know which one it is.
  3. Reflect back. Once the story is told, re-cap the logic of the story from front to back and
  4. Go backwards. This is the ‘interrogation’ part of sorts. Ask people to retell the story backward from the end. For example, ask what happened right before the conclusion of the story and then what happened before that and before that. It’s similar to the reverse of A Day in the Life method.

What you might find is that the story has different descriptors, relationships, or emphasis when told backward. These allow us to see different configurations of the issues that are associated with the story. It’s not that the person is necessarily lying or keeping anything from you, it’s about the limitations of narrative in that it only works with one set of issues connected logically at a time. Going backward allows us to see things differently, expanding our view.

The interviews and conversations with those involved should be informal and relaxed and can go into as much depth as you want. Generally, this is an approach that makes for a good ‘coffee conversation’ of about 30 minutes. It also can be done remotely, if necessary. It can be done internally by staff associated with the project or externally by an outsider. If the story involves highly sensitive subject matter or material, it is best to use an outsider to the project.

Learn more from your program, your people, and your work with this simple, powerful method for design exploration and research.

We help with storytelling through data. Contact us if you want to implement this with your organization.

Camera Work and Cultural Probes

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Gathering insights about how people live, work, socialize and experience their world is one of the principal challenges facing innovators, design researchers or those looking to do design-driven evaluation. It’s easy to forget that most of us have access to a powerful tool for data gathering on our phone or in the body of a camera.

Camera work can be a great means for capturing social life and patterns. Whether it is through using a process like Photovoice or using it as part of an array of data gathering tools, cameras are often forgotten when we think about how to learn from our users. Let’s look at one way we can use cameras to support understanding our users’ context better: The cultural probe.

The Probe

A camera (or phone camera), notebook, and instructions are all that’s needed for your prospective users to turn their lives into an anthropological adventure. This method is user-focused and meant to involve your prospective users taking pictures and notes and thoughts about what they are recording. The instructions are tied mostly to the basics of photography (e.g., consideration of light, framing, and ethics of taking pictures of others, in certain settings, etc.).

Instructions can also focus participants’ attention on specific things. For example, you may wish to have your participants focus on a topic, setting, context, interaction, or situation — anything you want to learn more about. Keeping it too general is often not a good idea and can be anxiety- or confusion-provoking in your participants. If they are too specific, you might lose some of the creative possibilities.

The probe part of this method is the ‘thing’ you want your participants to focus on. The cultural part comes from what context, framing, explanation, or interpretation participants (and others) bring to the photos.

Interpretation & Expression

What makes the cultural probe method useful is that it allows for a guided activity that has a standard format while producing artifacts — pictures — that delve into the uniqueness of your users’ lives.

What participants choose to take pictures of can be instructive. It provides an opportunity to discuss why something was included and why other things might not be.

What context the photos were taken is also helpful as it indicates priorities, habits, situations, or choices that the participant makes.

Photographs provide a means to ask questions about what is in the pictures, how things are framed, and what kind of reflections are made by participants from the photos.

This method can also be used in group settings where people agree ahead of time (with the right to withdraw agreement, of course) to share some of the photos they take. It can be useful in times of conflict or ambiguity when participants themselves aren’t sure what is going on and collective sensemaking is needed.

The camera is a powerful tool. Its insights can help us design services and products better, create and learn more from people, and provide a means of qualitative evaluation data, too.

We love this method. If you want help using cameras as a storytelling, design, or evaluation tool contact us and we can help you along.

Innovation Design Quality Control

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You want and need help in transforming your organization or business line and are seeking a consultant to help you. What should you look for? Let’s look at questions and issues you may want to consider when starting an innovation journey.

We break it down into three (plus) areas: Design research and foresight, service development, and evaluation.

Design Research

Design research is about exploring the problem or circumstance that you’re looking to intervene in through introducing a new product, service offering, or policy (which we’ll refer to as an innovation).

Design research is much more than ‘doing your homework’ and is meant to work with any marketing and financial studies you may have done. Design research is about exploring your end-user(s) — both identified and potential additional users. Responsible design research is also about looking at who else your innovation affects.

It will incorporate systems thinking into the process by considering the various ways in which your innovation affects and is affected by the various interconnections around it. For example, your service might be tied to other things (e.g., supply chain, regulatory issues, community norms) and good design research will help articulate these and allow you to map and model systems using visual tools.

Your innovation design team should have skills in design and research and understand a variety of methods and approaches such as quantitative analysis, qualitative data collection, sensemaking (for innovations dealing with complex situations), and behavioural science. The last point — behavioural science – is what allows you to understand what, why, and how an individual or group will choose to engage with your innovation and serves as a foundation for the next stage of work: service development.

But first, let’s go a little ahead into the future to look at the other part of design research: foresight.

Foresight

Strategic foresight is an approach to research that looks at the trends and drivers that influence specific domains of interest like your market, community, or social life as a whole. It draws on a variety of data sources such as published reports, publicly available (or privately held — if you have access) databases, as well as a series of exercises and activities that allow you and other stakeholders to envision what possible futures might look like.

The UK Social innovation agency Nesta has a useful, accessible primer on some of the methods that are used to envision futures.

Future-thinking is important because your innovation will always be applied to tomorrow, not today. Sustainable, effective innovations are those that meet emerging needs not just present ones. Foresight considers how and why things might change and, when combined with strategy and behavioural science, allows you to shape the design of your innovation to better anticipate and (hopefully) meet those changes as they emerge.

Service Development

Service development can include everything from exploring the physical space where your innovation will be deployed to undertaking usability research on digital platforms. The range of practices associated with what is more commonly called service design are many and when enlisting support to design your innovation it’s critical to ensure you have the right talent.

Service design often seeks to develop models of your intended users based on the design research you’ve undertaken. This can result in tools such as personas that provide evidence-informed caricatures of your users that you can use to develop and test scenarios.

Service design methods incorporate visual thinking methods and tools and design thinking by exploring the research, developing ideas, testing and trying these ideas out in ways that inform strategy, and then deploying them into the world. Having a design team with skills in design methods, facilitation, and visual presentation will make this much easier.

Visuals can include everything from simple (but illustrative) maps like the image above to more sophisticated visual models, ‘gigamaps‘, and storyboards.

Evaluation

Last and certainly not least is evaluation. It’s one thing to design an innovation, it’s another to know whether it does what you think it does. Evaluation allows us to assess what kind of impact our innovation has on the world, what processes lead to that impact, and what aspects of our service, product, or policy are most likely influencing this impact.

It is through evaluation of our innovation that we are better able to fine-tune, amplify, or retract our offering to ensure it’s creating the most benefit and not doing harm. Evaluation also allows us to understand what hidden value our innovation might be offering, to articulate your return on investment (ROI), and to widen your perception of what your innovation does and could do.

Bringing in design firms that do not build in professional-grade evaluation to the project is like doing half the work. What good is your new product or service if you have little idea how or whether it works in the real world over time?

These are some of the things that anyone looking to develop an innovation in-house or with a consultant team needs to consider. We have a lot of resources on our learning page on some of these methods and tools as well as overall approaches to supporting groups in asking better questions prior to engaging a contractor.

This is what we do. If you want help with any of this and doing good, quality service design, design research, evaluation and foresight, please reach out and contact us. We’d love to hear from you.

Personas: Visualizing Your Audience & Customer

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When we design any service or product we are creating it with someone in mind. Personas are a design-oriented approach that can enable us to envision this ‘someone’ – our markets – to better design our products and services for them.

Whether it is a new software product, a grant-making project, a collaborative initiative, or a social policy — any product or service is designed for some person(s) and groups. The more we can anticipate what the needs, wants, and preferences are of this group and how they live, work, and play — the better fit we’ll have.

Personas are a visual way to develop hypotheses and insight into what our customers, clients, and audiences might think, act, and use .

Personas: Qualities

Personas provide evidence-based insights that help us reframe
challenges by creating caricatures that are rooted in data and observations and can provide us with a means to anticipate how or why these individuals might engage with our products and services.


• Personas are not just descriptions of what we already believe about our audience. They come from the perspectives of our actual users. They may challenge or differ from the usual categories we rely on to think about our users.
• Each persona represents a group of users with similar characteristics,
habits, needs, and/or goals. Demographics may or may not play a key
part in a persona.
• Users also differ in important ways from each other; personas highlight
differences that matter.
• Personas are formed by bringing together multiple sources of
quantitative and qualitative data from diverse internal and outside
sources. If the data is not available, then design research is recommended to gather what’s required to make informed decisions.

This might include: surveys, published research from elsewhere, government or external reports, key informant interviews, field observations and direct observation or engagement with users.

Design Steps

Personas begin by looking at the data you have available and, where necessary, gathering more data to ensure you have a reasonable sample that captures both who you believe is your primary user and those who might be potential users.

Examine patterns and look for qualities among the sample — those individuals and groups that are represented in the data — that might go together. This includes things like:

  • Demographics – those that matter related to your product (e.g., age, sex, gender, race, ethnocultural heritage, income, sexual identity, education, employment)
  • Personal Identifiers (e.g., lifestyle behaviours, consumption patterns)
  • Experience with product or service. Are they experienced or new? What knowledge do they have or need to use it? What motivation might they have to use it?
  • Aspirations. What does the product or service solve for this individual? What does it bring to them or allow them to achieve? What are their goals?
  • Fears and Hopes. What are the ‘pain points’ or the things that will attract or detract users from engaging with your product?
  • Skills and Knowledge. What do users know, need to know, and what skills are necessary to engage with your product or service?

Next, sketch out the user. Make them visual — a look or feel and even a name. You might find yourself coming up with many different personas and this is helpful do allow you to determine the differences that make a difference. For example, if you find that the use of your product isn’t highly influenced by a certain demographic quality then that persona isn’t as affected by what you choose on that issue.

Once your personas have been developed, it’s helpful to consult with actual users that represent those personas in some form to test or validate some of the assumptions you used to develop those personas. Personas are not representative of actual people, they are combinations of qualities so the fit doesn’t have to be perfect, just coherent. Coherence is what you’re looking for.

After this, refine and design. Take what you learn and start designing your product or service for these users.

Sample

Below is an example of what a Persona could look like. The example below is modified from a real project undertaken by Cense Ltd and uses the example of volunteerism within a particular community as the focus. It represents one of many personas that were developed as part of an understanding of the issue. In this case, there was considerable data available on users which made it possible to give a confidence score out of 10 based on how confident the team felt the persona adequately represented characteristics of actual users.

What you’ll find is that by undertaking this research and the process of envisioning your users and potential users you can create a better fit with your product, higher adoption rates, and far fewer problems down the road.

This is a highly participatory process and when combined with the best data and developmental design approach increases the learning of your organization as well as creating better, more innovative products.

Want to apply this to your work and need some help? Contact us and we can help. This is what we do.

The Personal Inventory Method

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What’s important to you? It might sound simple, but when we engage in service design the way we ask that question will shape the answers we get.

Keeping with a design-inspired ethos of ‘show, don’t tell’ the Personal Inventory method is a simple means to answer that question of importance for people.

The method is simple, flexible, and can be used in physical, digital, or hybrid contexts so it’s suited to a variety of situations where we might seek to understand the values and beliefs of an audience or particular service user. The Personal Inventory method is a means for participants to gather and catalogue artifacts and evidence of their activities that help answer the question they are posted about what is important to them in a particular context.

Setting Up

The Personal Inventory is shaped around a specific question tied to importance and value within a context. While it can be helpful to ask the question generally, most often we want to focus attention on a particular topic. For example, if we are seeking to design a system that supports patients in navigating their healthcare, we might ask a question: What is important to you about your healthcare experience? Or, What is important to you when being cared for?

The next step is to provide a context for data gathering and presentation. For those who are using digital tools, it might be worth using a platform that is easy to navigate such as a Pinterest board, a shared Google Photos or Flickr folder, or a more sophisticated, but highly modifiable tool like Milannote. The tool should be something that your participants feel comfortable with and this might require some initial training and support.

For using a physical media, a simple scrapbook or posterboard will do.

Gathering, Sharing, and Learning

Provide a timeline for the project that is reasonable and have individuals capture artifacts that represent or illustrate what is important to them. This might include original photos or videos, representative images from the Internet or magazines, even sound recordings. For physical-based projects, this could also including bringing in physical items (or photos of them).

The guidance for the participants is recommended to be light so that individuals aren’t too directed toward a particular ‘idea’ and influenced to give what they think the researcher wants.

Once gathered, the process of ‘show and tell’ can be illuminating for everyone involved. This can be done as part of an individual interview/conversation or as part of a group (with permission from all participants) to allow everyone to speak to what they are sharing. Sometimes items might have a clear explicit meaning and an implicit meaning. The design team has an opportunity to converse with participants and ask further questions to help understand values, behaviours, and memories.

Outcomes

The Personal Inventory method is a creative, visual means to engage participants in research and elicit knowledge about values-in-practice. The opportunities to inquire about things in context and in relation to the problem domain that we are design for is high and it allows individuals to speak to their experience freely in a non-technical way. This method works well for people of various literacy levels and means and can produce insights into what both current designs do (and don’t) and what future designs might consider.

This is a simple method to use. If you want or need help designing your project and using this, reach out and contact us. This is what we do.