Visual strategy and facilitation

Draw more creatively with FLARE

25/07/2025 by Ben Crothers

If you want to find ways to draw topics more creatively, or you feel like you’re in a bit of a rut drawing things the same way all the time, then the FLARE prompts are for you.

How do you draw a person? Or a building? Or a tree? There are lots of ways to draw real-world objects, and we can use curiosity, observation and practice to draw these in satisfying ways.

A group of simple drawings depicting common objects like a lightbulb and cloud

^{Some simple images of simple real-world objects}

But how do you draw more complex and abstract concepts, like ‘innovation’, ‘strategy’, or ‘diversity’? It’s much harder, isn’t it?

A couple of years ago, Axelle Vanquaillie (a masterful visual practitioner, facilitator and leadership coach, and owner of the company Visual Harvesting) and I were discussing how to help people in our training workshops with this common challenge: how do you illustrate abstract concepts in more creative ways? We realised that many of us anchor on to one idea, and find it hard to go beyond that. My design background has always taught me that it’s always better to use divergent thinking, and that the way to have one great idea is to have 100 so-so ideas first.

With that in mind, we pooled our knowledge, sketched a lot, and swapped stories of various training sessions we had run and examples we’d come up against. And that’s how FLARE was born.

We’ve since used FLARE with a variety of different groups in training sessions, with a variety of levels of confidence in drawing, and it has always helped everyone be more creative and get more satisfying results from their drawing. And now it’s your turn to learn!

^{A participant in one of our training sessions reflecting on the experience of using FLARE to illustrate a tricky concept}

What is FLARE?

FLARE is a set of prompts you can use to help you move beyond the way you’re used to thinking about a topic you want to draw, and think about it in new ways. What you get is a much greater range of ideas that you can then refine and combine into one final image.

A drawing of the process of coming up with ideas without FLARE and with FLARE

^{The FLARE process gets you more initial ideas from which to create your final visual}

FLARE stands for:

Feel – What does it feel like? What emotions does this trigger?
Look – What does it look like? What are the real-world objects at play?
Another word – What’s another word (or words) to describe this?
Result – What is the result of this? What is the end-game of this topic or scenario? Is there a benefit realised? Or a negative impact that might happen?
Experience – What is the experience of this? Is it something where there are several steps involved? Or several devices, places, people or roles involved?

A drawing of the word FLARE with text expanding on what each letter stands for

How to use FLARE

It’s really important to understand that when you use FLARE, you don’t try to come up with The Perfect Image first. What we’re doing here is generating lots of different ideas first, to help us explore the topic in better ways, and then we go back and refine and combine our best ideas.

1. Write your topic in the middle of a big page

Start with a topic – especially a complex or abstract topic – you have in mind to draw. It’s best if it doesn’t include any clichés or existing visual metaphors. If it does, try to restate it in a clearer way. Then, write it down in the middle of a big blank page.

Now, write the letters of FLARE around it. We’re going to make a mindmap. You can also do this as a grid if you like; the main thing is to give yourself plenty of space to write first, and then draw your ideas.

In this example, I’m going to go with “Teams struggle to understand each other”…

A drawing of a prompt in the middle, surrounded by the letters FLARE around the outside

2. Ask yourself the first FLARE prompt and draw your ideas

The first FLARE prompt is F: “What does it feel like?” Too often, concepts are – well – too conceptual, and it’s easy to forget that whatever the concept is, it probably affects people in ways that might actually be relevant to capture. Jot down some words that describe how your topic feels.

A drawing with a prompt in the middle surrounded by the letters FLARE

3. Jot down ideas for the other four prompts

Repeat step 2, and write down any ideas you come up with for the other four prompts. Allow each prompt to help you think about the topic in new ways, from new perspectives. You should have a set of descriptions around your original topic.

Don’t worry if you can’t think of several things for each of the five prompts. Some prompts won’t suit the topic as well as others. If you get stuck, just move on.

4. Draw lots of different ideas based on what you wrote

Now we get drawing! Go back over everything you wrote, and do some quick sketches to capture what you wrote. Remember, this isn’t about trying to draw the One Perfect Image now, or even to draw the entire topic or concept in one go; this is still just brainstorming.

As I sketched various ideas based on what I’d written for this example, I made sure not to self-edit as I went. The more rough sketches, the better.

5. Refine and combine

Now comes my favourite part! This is where you channel your inner editor, look over all your various sketches from across the prompts, and choose the ones you think are most relevant, most compelling, and/or most insightful. There might be one that just nails it on its own, but typically there are a few.

As I went back over what I’d written and sketched in this example, the bridge idea really resonated with me, as well as showing several different languages. The going-around-in-circles also appealed to me.

Now, draw something that unites those several good ideas into one single cohesive picture.

Two different drawings illustrating the prompt

As you can see here, I landed on two different ideas. The first idea to illustrate the topic of “Teams struggle to understand each other” uses speech balloons and thought balloons… No surprises there, but positioning them on a roundabout double arrow added some more meaning. As I thought about my second idea with the bridges, it occurred to me that it could look interesting if either ‘side’ basically built their own different bridge, and even though both bridges are complete, they never meet in the middle. This speaks to the inward-looking nature that some teams have when they struggle to communicate with one another.

Which one do you prefer? What do you think you would draw for this topic?

Some tips to help

Here are a few other things to consider about the FLARE method

Trust the process! Too often we’re hard-wired to try to draw just one image that works the first time. Embrace the fact that it’s better to create and explore many options first, and then you’ll have more to choose from. And who knows, you might have some a-Ha moments about the concept itself you’re trying to draw along the way, as well as how to draw it.
Not all prompts have to be present in the final image. Try not to force an image that includes something that speaks to every prompt. It’s totally fine if your final image ends up just being about how your topic feels. It’s also fine if you land on an image that combines feel with look and result.
Feel free to skip step 3 if you like, and jump straight to drawing your answers to each prompt. I put this step in to help you if you’re more comfortable with writing as well as drawing.
Not all prompts will make sense all the time and that’s okay. They’re just prompts; if you’re stuck on a prompt because it doesn’t seem to work for your topic or context, just move on.

Taking FLARE further

I encourage you to give FLARE a go the next time you need to illustrate a tricky topic, or if you want to try illustrating a familiar topic in a more creative way. The FLARE prompts help you think deeper about the topic, and maybe help you to clarify your point of view, too.

With that in mind, there are other ways you can use the FLARE prompts.

Group drawing – FLARE is fun in pairs! Two heads are better than one, as they say, and if you try these prompts with someone else, you’ll both benefit from each other’s different experiences and points of view.
Facilitation questions – If you run any meetings at work, you probably know that great facilitation is often about asking great questions, to help your group have a better conversation. The FLARE prompts might give you ideas about how to enrich your next conversation, by helping everyone think about their topic in different ways.
Problem solving – As Charles Kettering is said to have said, “A problem well stated is half solved”. So often, a great solution lies in the way a problem is articulated in the first place. Using the FLARE prompts can help you and your team approach any problem or challenge from a different point of view, to perhaps reveal a hidden solution.

Feel free to drop me a line and let me know if this helps your drawing. 🙂

Volume 2 of Journey Mapping Icons out now!

04/09/2024 by Ben Crothers

I’ve just released a second volume of journey mapping sketched icons, containing 120 more icons. All images are in 300dpi PNG format, with transparent backgrounds, available for you to use in any way you like.

You’ll find some additions to existing categories found in the Volume 1 set of icons, including expressions, people, devices, technology, and buildings:

You’ll also find icons for some new categories, like weather, artificial intelligence, and digital lifestyle:

Who are these icons for?

This set is for anyone who likes to use drawing and visualisation in their work, to help themselves and others think better and communicate better when it comes to explaining problems and plans, and generating ideas and solutions. This includes:

Designers and Researchers – User Experience (UX) Designers, Visual Designers, User Interface Designers, Service Designers, Product Researchers
Product Managers, including Product Owners and Feature Leads
Project Managers, including Scrum Masters, Program Managers and Studio Coordinators
Marketing Managers, Community Managers, PR and Communications Managers

The icons not only come in handy for UX design (e.g. journey maps, user flows, task flows, storyboards), but also for business communication and generally spicing up any presentation slides.

You can use these PNG files in your favourite design software (Figma, Canva, Photoshop, Illustrator), presentation software (PowerPoint, Keynote), or even in online collaboration spaces like Miro and Mural.

Go check out the Journey Mapping Icons Volume 2

How to construct a great story

31/05/2023 by Ben Crothers

As I’ve written about before (and in my Presto Sketching book!), storyboards give you great bang for buck when you want clarity and direction in any project, especially for product and service design. Here’s how to construct the most essential ingredient: the story itself.

Storyboards can guide you and your team from problem to solution to experience to execution. They serve as explainers for an existing experience (e.g. a customer experiencing a problem), or as prototypes for a future experience (a customer achieving their goal using a solution). And by ‘drawing it out’, you can spot gaps in your thinking, and invite more effective feedback from team members and stakeholders alike.

A hand-drawn image showing how ideas can flow between people with storyboards — *Storyboards are great for clarifying and refining problems, solutions and envisioned experiences as a team*

Get your story straight

Whether you’ve never drawn a storyboard before, or you’re a seasoned veteran, it can be daunting to put pen to paper, let alone show your storyboards to others!

Never fear.

The most fundamental element of a successful storyboard is not the actual drawing. It’s the story itself. I’ve seen storyboards that weren’t that useful, even though they were sketched by people who are ‘good at drawing’, because the story didn’t make sense.

It’s the story that joins all the frames together. It’s the story makes your audience care. It’s the story that feeds their curiosity, sparks imagination, and keeps them reading to find out what happens next.

Don’t go on the Hero’s Journey

As a designer, I was taught the Hero’s Journey story format, the Monomyth by author Joseph Campbell, in his book The Hero with a Thousand Faces. On one level, it’s easy to see how you can use it as a way to tell your customers’ stories: by casting your customer as the hero, you can then illustrate a challenge they’re up against, and your solution as the Helper or Mentor.

Even when I first tried to apply it, I found it problematic. For a start, the way of using it I just described ignores most of what’s actually on the Hero’s Journey, including the whole point of it: the Hero returns not only conquering whatever Enemy needed conquering, but a transformed version of themselves. That’s what makes so many stories so endearing. Plus, do we really want our customers to go through the Abyss, and Atone for their mistakes…?

The diagram of The Hero's Journey, but annotated to show how it does not work well for UX journeys

And that’s only the start of it. It’s been rightfully claimed that when Joseph Campbell combed through the stories of all ages and cultures to derive a single Monomyth, he basically cherry-picked what already fit the prevailing cultural narrative of the ‘rugged individualist’. In this way, what he did was falsely reductive and colonialist.

Also: is conquering enemies – even metaphorical ones – the only way to resolve things? What about collective experiences, rather than individual ones?

If you want to pen the next Star Wars or Lord of the Rings, go for it. But I think our customers’ and communities’ stories deserve better.

The Freytag story arc

There’s no doubt that stories of challenge and achievement have a huge pull on us, and it’d be rude if I didn’t mention the arc from Gustav Freytag’s book Technique of the Drama. Freytag rationalised stories into 5 acts: exposition, rising action, climax, falling action (or final suspense and resolution), and denouement (conclusion).

This might work well for the story you want to tell, but it always still fell short for me. Being mad keen on storyboarding my entire design career, and wanting to find a repeatable successful story framework that worked for me, my team, and other design teams, I extracted the best of what I could from these two and made my own narrative structure:

The Presto Sketching story structure

This story structure is purpose-built for product and service teams, but also works for change management projects as well, where you need to show an experience that involves either a problem with a negative impact, or a solution with a positive benefit.

And it goes thus:

A diagram showing the Presto Sketching 6-step story structure

I’ve done a screenshot of these stickies in Miro, to show that you can construct your story using words and simple sticky notes, whether real sticky notes, or digital. Let’s take a look:

CONTEXT – Set the scene. Who is the story about? Where is this character or protagonist? Why are they there, or what is their goal? This helps your audience to know exactly what’s going on.
TRIGGER – Show the motivation. What is the unmet need or problem? Without this, it’ll be hard for your audience to care about what’s going on.
SEARCH – Wind up your character, and let them go. What does your character do first (and do next), to try to solve their unmet need or problem?
KEY – Show what’s new. What’s the main feature or change that unlocks success from here on in?
ACTION – Let your character go again. What do they do next, that involves the feature or change that they have found?

At this point, your story structure will be different depending on what you intend to show:

WIN – Show the achievement. What’s the end-game, or benefit? How does your character achieve their goal? OR
LOSS – Show the frustration. What’s the negative impact? What is your character left with?

How to use this Presto Sketching story structure

You can use this structure as a way to synthesise and translate the various elements you have into a visual story that your audience can read and act on, based on the 6 ‘stages’ listed above.

Step 1: Set your goal

Decide what the goal of your story is going to be. This includes:

What is the main point you want to make with your story (and then storyboard)? Is it to explain a situation that needs attention/fixing? Is it to show a new idea in action?
Who is your main audience? What is their perspective on the subject of this story? How close or distant are they to the subject matter? What’s in it for them?
What action do you want them to take? As pleasant as it will be for people to read your story/storyboard, there needs to be a clear point to it. Do you need to raise awareness? Clarify and educate? Get them to empathise? If so, why? Do they need to make a decision of some sort?

Example:

Some how-to details on the Presto Sketching story structure

Step 2: Gather your material

You’ll probably need some material to translate into your story. This could include:

Customer interviews, survey responses, customer quotes, personas/archetypes, and other authentic user research and analysis
Product/service usage data
Existing journey maps and service blueprints
Existing or new ideas for user interfaces, processes, other other aspects of the experience or change you area designing
Existing or new product/service ideas, and ideas for how your customers/employees will use them

Step 3: Get 6 sticky notes

Whether you use physical or digital sticky notes is up to you. Both are quick and cheap to use.

Step 4: Get writing

Label each of the 6 sticky notes with the stage names above (including whether you choose WIN or LOSS). Then, try to write a succinct sentence describing each stage. Note: one stage doesn’t have to equal one scene in your storyboard; it might end up being one frame or several frames. That doesn’t matter right now.

Example:

Set yourself up for storyboarding success

Congratulations! Now you have the bones of your story. You have a sound, logical structure that has a beginning, middle and end, and that unites the various essential elements into a coherent whole.

From here, you’re ready to draw your storyboard. This can take several forms – office paper, large long gallery-style sheet of paper, PowerPoint slides, Miro canvas, you name it – but now you have a story that you can tell, and you can adapt to any of these media.

…and drawing the storyboard will be the subject of another blog post. 😉

So, what do you think of this structure? Try it out. I’m interested to know how it works for you, and how you might adapt it for your team and your project.

Why your project needs storyboarding

31/05/2023 by Ben Crothers

There’s that fantastic time in any product or service design project where an idea is just starting to take shape, and spread its wings. Will it be The Next Big Thing? Will it be able to stand up to the barrage of oncoming questions, like: will it resonate with your target audience? How will it work? Is it even feasible?

That’s where storyboards are your friend, and the best way to help your idea spread those wings, and be ready for those questions.

Storyboards are sets of frames with pictures and narrative text, organised as a sequence to be read as a story. They’re very useful for when an idea is too hard or conceptual or expensive to prototype. You can sketch out your idea using a sequence of simple pictures arranged like a comic, to show the context of that idea: who is experiencing the idea, what they do, how they do it, when they do it, and why.

Why storyboarding is so effective for any team project

As far as design asset bang for buck goes, it’s hard to go past storyboards. They not only capture and communicate an experience so fast and so well, they also double as a prototyping tool; the act of drawing a storyboard helps you to understand and test your own ideas.

Storyboards came from the world of film. They bring the various elements of the craft of cinema – such as script, characters, location, and of course the plot – to life in a unified way that others can start to see how it all comes together.

An example of a storyboard I drew to bring an early mobile experience to life — A storyboard I drew to bring an early mobile experience to life

Storyboards are an important way to visualise stories involved in user experience design:

Illustrating an existing experience, often showing a particular problem in the experience, and its negative impact on people
Illustrating an envisioned experience, showing a solution and the benefits of that solution
Showing state differences in products and services where interface designs wouldn’t be enough, such as showing differences based on different times of the day, different locations, or different personas/archetypes

They are also very handy when it comes to envisioning, prototyping and planning other kinds of experiences, like:

Change management envisioning and roll-outs
E-learning content and training videos
Explainer videos and promotion videos
Games
Video advertisements

What storyboards are not

Here’s how storyboards differ from other assets created in the world of product and service design:

Journey maps – journey maps offer a schematic view of an experience from a single user’s perspective, showing how a string of actions leads (or in some cases doesn’t lead) to a goal, and often how that journey feels. Journey maps are useful for visually summarising many different aspects of an experience – such as pain points, opportunities, sentiment – as a single map, in a way that just wouldn’t fit on a storyboard.

Service blueprints – service blueprints are similar to journey maps, but usually replace indications of how the journey feels, with much more information about what the journey includes from a system perspective, covering all user types. This means that what happens behind the scenes (or off-stage) is visually captured as well as what happens from the user’s perspective (on-stage). This can include internal teams, processes and systems, such as customer support resources and approval processes.

User flows – user flows are a schematic view of the experience from a task perspective. They typically show a flowchart of the sequence of actions and decision points linked together, usually outside of time. They capture what happens, rather than how, or how long.

Screenflows – screenflows and user flows are often interchangeable, but screenflows show the experience from the interface perspective. They tend to be sets of simplified screen designs or wireframes. They are useful for understanding how a given task/s is/are achieved across various screens and interface elements on a website, application, or other product, rather than who is doing the actions, or when.

What makes a great storyboard for your project?

Storyboards are best used as instruments of process, not product. In other words, they are best used to stimulate discussion, not seek approval. They are best used as prototypes, sketches only, made to inform others and get feedback about how an idea works, rather than being a fully-formed aesthetically-pleasing product about what the idea is.

A photo of a team at Pixar discussing a movie, surrounded by storyboards — *Director Pete Docter during a meeting for Pixar’s Inside Out. Note the various storyboards around.*

Storyboards should focus on being:

Quick – they take hours – rather than days or weeks – to create

An example of a simple but effective storyboard — *This is a simple storyboard from a team at BBC. Note how rough and ready it is, and yet conveys the story it needs to.*

Cheap – they are created using simple tools like pencil, sticky notes and paper, possibly some pre-made templated elements (rather than needing sophisticated software and training), before needing to spend any great amounts of money.

Another example of a simple storyboard — *A simple storyboard by Bryant Hodson*

Evocative – they should capture your audience’s attention, and help anchor discussion to how to improve the experience, not how to make the solution. In a now-famous move, Airbnb hired Pixar animator Nick Sung to bring specific moments in their customers’ experiences to life (code-named “Snow White”), and posted them around the organisation’s office walls.

An example of a storyboard used in UX strategy at Airbnb — *A single frame and a look at some of the other storyboard frames from Nick Sung, for Airbnb*

Unifying – storyboards are great at giving everyone – from designers to developers to customer support agents to managers – a common language to use, to discuss and improve customer experiences or employee experiences.

An example storyboard with added UX details under each panel — *A storyboard for a fictitious startup called You’re In, by Jordan Husney. Notice how you can arrange other information (in this case potential projects to prioritise) under each frame.*

Minimal – they should focus on the essence of what needs to be communicated and validated. This includes the level of detail and draughtsmanship finesse; when it comes to communicating the idea of a house, a simple blocky rendering of a house is the same as a professionally-drawn house, or a computer-generated image of a house. In cases like these, simple drawings are usually better, because extraneous distracting details can be omitted, e.g. age and style, size, materials.

As author Scott McCloud says, they focus on amplification through simplification.

What you need to create a storyboard

I’ll get into how to draw storyboards in another post, but for now, it’s good to know that you need the following elements to set yourself – and the idea that you want to communicate – up for success:

A user type – Who is your main character?
A goal – Why is the character doing what they’re doing?
An audience – Who will read this storyboard, and what do you want from them? Are you wanting to persuade them about fixing a particular problem? Or for them to provide feedback on a particular solution? Or to empathise with customers in a particular way?
A story – All of these elements come together and are brought to life through the story itself, or a sequence of events that is usually meant to engage your audience’s head (how does it relate to their knowledge and experience), heart (what does it mean to them) and hands (what do you want them to do).

That last element – crafting your story – is the subject of another post too.

Discover how your customers tick with the Decision Factors sketch

26/10/2020 by Ben Crothers

It can be really hard getting a handle on what factors affect your customers’ decisions, or how to get buy-in from your stakeholders. The Decision Factors sketch can make it easier.

Why do we buy the products and services we buy? Why do we choose one brand over another? Why do some factors influence us more than others? Or why is it so hard to get teams to use a new system, as part of change management?

If you’re a researcher, designer, marketing professional, product manager, or change manager, you probably spend a lot of your time thinking about these sorts of questions. There’s an incredibly complicated soup of factors and biases going on in the way we make decisions, large and small, as well as various forces that play on those factors and biases. There’s also a huge body of ongoing research into the cognitive psychology and behavioural economics involved in decision-making.

I want to show you a simple framework that has helped me apply the essence of this research: the Decision Factors sketch. It helps you visualise the various factors going on as we make decisions for behaviour change, whether that change is to make a purchase, to join a meeting, to approve a design… anything at all.

What’s in the Decision Factors sketch?

As you can see in the sketch below, there are four main elements going on:

SUBJECT – Your customer, persona, stakeholder, staff-member… the person who you want to make a decision for change
OFFERING – The thing (idea, solution, product, proposal) that you want the subject to buy, or buy into
ATTRACTORS – The factors that attract this person to your offering
INHIBITORS – The factors that inhibit, distract, or otherwise prevent this person from making the decision to buy/buy into your offering

By mapping out the factors in this way, you can really put yourself into the mind and shoes of that person, spot gaps in your understanding, and enrich your own thinking about the relationship between your offering and your customers/stakeholders. Let’s take a closer look…

Attractors

By using this sketch to list out the factors that encourage someone to make a decision in favour of your offering, you pull the focus of the offering from its features (usually what we think about the most) to what those features are for. These tend to do with things like:

GOAL – What would this person achieve with your offering? This is the main factor that everyone thinks about, and is at the foundation of user-centred design and jobs-to-be-done theory. A decision cannot take place without the recognition of a need of some sort, to help solve their specific problem.
OBJECTIVE BENEFITS – What is better about your offering than the competition, or what the person is doing already? You should be able to list some differences your offering affords them, e.g. to do some task easier/ faster/ cheaper, to do better, gain more, save more.
SUBJECTIVE BENEFITS – What emotional need lies on the other side of the goal (above)? This is the factor we like to think drives everyone else except us… but we know that’s not really true. This is the factor at play in marketing messages and advertising. These are the ’emotional jobs’ in JTBD theory. Things like: make me look good in front of others, make me more popular, make me feel smarter/ sexier/ cooler/ more powerful. Make me more…complete.
TRUST – How much would the person rely on your offering? Past experience of something is our best predictor of the future performance of something similar. The trust earned from a previous positive experience is a strong attractor in itself.

Inhibitors

Inhibitors are the forces that turn us off, hold us back, or get in the way of deciding to buy or change, things like:

HABIT – People’s habits — their regular entrenched way of thinking and/or doing things — can be a powerful thing to have to overcome.
OBJECTIVE DRAWBACKS – There may well be specific disadvantages that are worth highlighting in the array of factors affecting the person, such as increased cost of time and resources. But sometimes behind these objective drawbacks, lie factors that actually affect that person more…
SUBJECTIVE DRAWBACKS – These factors don’t apply to all buying or behaviour change decisions of course, but they can still be powerful deterrents. What might the person be afraid of, if they decide to do/buy/use your offering? Is there a fear of change? Fear of loss of control? Or any limiting beliefs in the way, e.g. “I don’t know if I actually deserve this”, “I’m not worthy of it”, “It’s out of my reach”…?

Visualise the factors at play with different-sized arrows

I hope you can see that the Decision Factors sketch is more than just listing pros and cons for the subject. This is a visual, so we can map how big/small each of the factors are, with different-sized arrows. This helps you (and others you show it to) understand how these various factors might work together, or counteract each other, more quickly, accurately, and comprehensively.

What do I use the Decision Factors sketch for?

You can use this to:

Help explore how to make your product/service more desirable to your customers
Help analyse research results about customers’ needs and buying habits
Help dig into why people are/aren’t adopting a new product/service/way of doing things in your organisation
Help yourself prepare for a pitch to stakeholders, to attune your communications to what they care about the most
Have a more productive discussion in any 1:1s with staff or stakeholders

How do I do the Decision Factors sketch?

1. Draw up the framework

Start by drawing the basic framework of the Decision Factors sketch on a whiteboard, flipchart, or even just a piece of office paper. You can even put these elements together in an online collaboration space like Miro or Mural.

2. Use the areas as prompts for discussion

Now, use each area to help structure your thinking and prompt group discussions, all with the aim of gaining a deeper understanding of how to maximise the likelihood of a particular subject adopting your offering. You can ask yourself or your group questions like:

What’s in it for this person to buy/use our offering / solution?
What is holding them back from buying it/using it?
What might distract them from making this decision?

Note! You don’t have to solve anything right now. Resist the temptation to justify your offering, or falsely ‘jack up’ the power of some attractors over others, or to rationalise any of the inhibitors away.

3. Capture and visualise the factors

Capture what you’re thinking, or what others are saying, on the sketch as you go. Messy is totally OK; this is definitely a case where the process of using this sketch is often better than the final product. remember to play with the size of the arrows, to indicate what factors are greater than others, or what factors you know you need to focus on. This can also expose some blind spots that you or your group might not have thought about.

4. Discuss next actions

Once you or your group have laid out and assessed the array of various attractors and inhibitors, now you can switch to ‘solution mode’, and think about what you need to do, to increase the chances of this person adopting your offering.

Is there something about your offering that needs to be introduced? Or dialled up? Or taken out?
Is there a benefit of your offering that just isn’t clear enough?
How might you change any marketing or communications to help people decide?
Are there any specific messages you need to put out there, to help people deal with the inhibitors?
Is there something you can do to help with a specific inhibitor, that would tip the balance in your offering’s direction?

Try it yourself

As I hope you can see, the Decision Factors sketch can be a powerful analysis and re-framing device. It can be fast and light – like using it right before you go into a pitching presentation – or it can be thorough and in-depth, like in a product strategy workshop.

However you use it, I hope it brings you might insight and success!

Here’s how your pen can break down walls

12/12/2019 by Ben Crothers

In the last post, I showed you an effective way how to chart out a goal and how to get there, using the simple ‘Build a Bridge‘ visual framework. It included a way to plot out the different steps you’d need to take to reach that goal, and the distractions you’d have to watch out for.

You might have been thinking: “What about the things that get in the way of achieving that goal? How do I show those?” And well you should. We come up against barriers all the time, don’t we? I’m always a fan of not loading too much into one sketch to explain something, otherwise it loses clarity. So here’s another type of sketch that might come in handy for you or your team. This is the Goal Barriers visual framework. Take a look, and have a go at sketching it yourself:

It’s pretty simple, but as you’ll see it will communicate a lot. On the left is you. On the right, the target is your goal. That goal could be losing 10Kg, or launching a campaign at work… whatever is meaningful for you. The idea is that you can shoot your metaphorical arrow and hit your target. Now I’m going to add walls in the middle, getting in the way of you hitting that target with your arrow:

It can be incredibly insightful simply thinking and visualising exactly what barriers there are to your goal. Try it yourself, and try to be specific: draw a wall representing each barrier you can think of, and write what the barrier is above each wall. Is it lack of time? A special stakeholder who won’t get on board? Another project in the way, that needs to finish first?

Let’s take this a step further. Just like a wall is made up of bricks, each challenge is probably made up of smaller parts. Draw a few lines across each wall, like this:

We can now add a question below each wall about how we can break down that wall. For example, if the target is to lose 10Kg, and the first wall is “No time to exercise”, the question can be “How might I get some time to exercise?” Now – and here’s another useful thing about visualising barriers and cutting them down – you don’t have to remove the wall entirely, but just enough for the arrow to go over it.

Visualise what are some things you could do to start chipping away at those walls. You might even want to sketch those on the same piece of paper, too. Pretty soon, your walls could look like this, and you can then hit your target:

So go ahead and visualise (1) your target; (2) your barriers; and (3) how you’re going to knock those barriers down. Once they’re out of your head and onto paper, you’re one step closer to knocking them down in real life.

Was it good for you?

I’d be delighted to hear any feedback or questions you have about this Goal Barriers visual framework. Imagine if your whole team could do this together, and start busting down those barriers together?

See a clearer path to your goal with the Build a Bridge framework

01/09/2019 by Ben Crothers

One of the best things about sketching is how it can help clarify your thinking. I’m sure you’ve had times where your head is swirling with thoughts, questions, worries and maybes… it could be about that important meeting tomorrow, or that prickly situation with stakeholders at work, or maybe something closer to home.

Whatever it is that’s keeping you up at night, getting your thoughts out of your head and onto paper is always a great idea. I want to show you a simple framework I’ve picked up along the way (I forget where I first saw it now) that has helped un-muddle my thinking a lot, and I hope it helps you too.

Visualising your goal with a simple bridge sketch

Take a look at the Build a Bridge framework sketch below, and why not grab a pen and some paper, and try drawing it yourself. It’s a really simple sketch, but I find it communicates a lot.

On the left side is you, and where you are right now. On the right side is your goal. That goal could be something quite tangible (like losing 10Kg, or launching a book by next July), or it could be more intangible (like a stronger team, or a healthier marriage).

Whatever your goal is, try to make it specific and realistic (hello SMART goal framework). You might want to even try drawing what that goal is, rather than a flag like I’ve done.

Next, draw a curved line from one side to the other. As you do that, visualise yourself reaching that goal. This is your bridge to your future. Now draw a few lines on the bridge, like this:

Those little lines across your bridge represent specific steps you can take to get to your goal. Think about these steps, and make notes above the lines about what each step could be. Don’t worry too much about the order and effort needed in each step; just get all those thoughts out as words on the paper, because you can worry about order and effort later on.

Next, draw a couple of crocodiles under your bridge. These are the things you’ll happily avoid now that you have a bridge to your goal (rather than swimming across, geddit?), but can still be distracting for you, as you try to reach that goal. Take a look at my crocs; they’re never going to win a Waterhouse Natural Science Art Prize, but they look enough like crocs to represent distraction.

Now, name each crocodile with a specific thing that could distract you from reaching your goal, like – oh, I don’t know – Toblerone chocolate, or too much scrolling on your phone at night rather than getting a good night’s sleep (guilty!).

“Ah, but what about the things that get in my way, Ben?” I hear you muse. It’s a good thing not to overburden one drawing with too many things. Plus, we’ll deal with barriers in another post…

And behold – this is a map to your future. Look at your drawing, and think: how can I get to each step across this bridge? Keep that drawing taped up in your bathroom, or on your fridge… anywhere where you’re likely to see it every day, as a reminder of what you want to achieve.

It works super well for businesses too. Here’s a variation of the bridge drawing, this time with a building representing an organisation:

I’ve drawn the steps as financial quarters, but these could be anything that represents meaningful progress for your organisation. Why not give this a go in your next project planning meeting, or company strategy meeting?

How was it for you?

Try drawing this visual framework yourself, for a goal of your own. Or, you might like to try it at your next project kick-off meeting, as a way to help everyone get a clear, shared understanding of the project’s goal and major stages, before digging into the detail. If this is useful for you, either for yourself as an individual, or at work, why not drop me a line and let me know?

Until next post, happy sketching!

Mapping your user’s day with the User Clock Sketch

28/06/2019 by Ben Crothers

See your user’s experience of their day through their eyes with the User Clock Sketch.

The power of mapping user experiences

Are you involved in making products and services for customers and communities? If so, you’ll know how important it is to make sure your offering matches what they need. A standard way of connecting user research to making products and services is to visually map out the journeys that they go through, using techniques like journey mapping, user story mapping, and service blueprinting.

The synthesis stage in the Double Diamond of design, showing where journey mapping usually happens

These visual tools are really effective. They’re a great way to – quite literally – get people from various parts of the business ‘on the same page’. They help everyone to see where the pain points are in a user journey, and where opportunities might be, too. Often more importantly, they help everyone to get a shared understanding of how all the various individual parts (from their perspective) relate as a whole, according to a common reference point. The user’s perspective.

A user journey map (or customer journey map), for example, is more than just boxes and arrows. It can show what a particular persona/user type is doing (tasks), thinking (expectations, decisions) and feeling, as they use one or more of your products and services. This is a bit different to user story maps and Indi Young’s mental model diagrams, which are usually independent of your product.

User journey mapping is versatile

User journey maps, and the act of mapping as a team, can be applied in different ways. You can map out existing experiences, along with pain points, workarounds that the user type is doing, and opportunities for improvement. You can also map out envisioned experiences, where you have redesigned the experience to fix those pain points and take hold of those opportunities. In fact, an envisioned user journey map is like a new prototype, to show all the benefits of the new experience before going ahead and building anything.

Limitations with some mapping

As great as these patterns are, though, the way the information is arranged is still often according to your particular product or service. This means that there are some limitations:

Hard to scope – It’s sometimes hard to know where the journey map should start and stop, and can seem somewhat contrived
Susceptible to bias – The nature of scoping a map to show a particular type of user achieving a particular goal in a particular ‘happy’ scenario means we’re making lots of decisions to keep it convenient for us to map. This can open the door to unconscious bias.
They don’t take external factors into account – It’s usually too hard to visualise all the other factors contributing to that journey (e.g. other products and services that the user type interacts with), to achieve the user type’s goal you are focused on
Branching, cycles, multi-tasking, oh my! – Some journeys just aren’t linear (i.e. this action then that action then the next action and stop), or there may be multiple tasks going on at the same time. This can sometimes be excruciating to try to map!

Try adding the User Clock Sketch to visualise the ‘customer journey’

I remember trying to do journey mapping for some scenarios where people use Confluence, Atlassian’s wiki/documentation software. It got super-complicated really quickly, because people tend not to just do one linear this-then-that task. Instead, people tend to read several pages in different web browser tabs, search for some page in some other tab, and edit another page in yet another tab… all for different tasks and different goals! And then the following day, they do it all over again! Agh!

So, I asked: “What if we changed the perspective we’re taking, from Confluence’s point-of-view to the user’s point-of-view? What if we mapped a day in the life of the user type we are focused on (in that case it was project managers), to see what that looked like?”

And that’s how the User Clock Sketch was born. And it looks like this:

The User Clock Sketch – mapping an experience around the face of a ‘clock’

This is particularly useful for journeys that are pretty much the same, day after day (ergh, that sounds so depressing, but it’s not meant to!). It maps the actions of a particular user type from the point where they wake up in the morning, to the point where they go to sleep. Rather than getting into the nitty gritty of each task they do, it groups actions according to significant chunks of the day that matter to them, according to their context. AND it quite literally puts the ‘user at the centre’ of the picture, how good’s that? 😉

Here’s how to do it:

Step 1: Draw your user type in the centre of a big circle

Whether you’re using one sheet of paper or a large whiteboard, draw a large circle, and then draw a simple figure in the centre. You can label the figure as a role, persona, or whatever way you are identifying that particular user type.

Step 2: Draw a line up to the ‘12’ position

Draw a vertical line from the user type up to where the ‘12’ would normally go on a clock. This is the point where your user type wakes up.

Step 3: Section the ‘clock’ into significant sections

I tend to draw a line radiating up from the centre to about the ‘9’ position, to show the time where the user type would be asleep. After you’ve done that, draw radiating lines around the face of your ‘clock’. Each line will separate a particular ‘stage of the day’ that matters to that user type and their role. If it’s an office worker, it’ll tend to include commuting time and a lunch time. It might be important that you include small but significant moments, like a daily stand-up with the team, or an important meeting with executives.

Label each of the slices of the clock. Dress up the labels with some simple drawings that show real things going on: the type(s) of devices being used, their location and environment, and other significant factors.

Step 4: Overlay your product’s/service’s context

Notice that so far you haven’t included your product or service at all; this has been all about them and their goal, their tasks, their job, and so on. Now, you can grab a different colour, go back over the ‘clock’, and add in significant information according to your product/service context.

This might include particular product tasks that the user type needs to get done using your product at that particular time of the day. Or it might include specific features that get used a lot at specific times, or specific parts of your service that get hammered more than others.

Step 5: Explore, explain, enrich

Now is the point where you can start to ‘see’ your product being used in a new ‘re-framed’ way. Either individually or as a group, you can explore the ‘clock’ you have drawn as a map of time, to provoke more insightful questions and enrich your understanding of your users.

I’ve seen this visual pattern come in handy for anyone in a multi-disciplinary team, but as a start:

Researchers can share insights from research and tell a story according to this ‘day in the life of’ picture, so that others can relate to it from the user type’s point of view more easily, and empathise more easily
Product managers can gain a deeper sense of what features the user type depends on more often and why (and if there are gaps), and where the moments of greatest value to the user are, so that you can align strategy, plans and roadmaps to real value metrics
Designers and content writers can make connections from feature usage (or lack of a feature) to importance and urgency, from a user point-of view, so that you can prioritise where you want to spend the most creative energy

Adapting the User Clock Sketch

Every time I demonstrate this sketch to others, there always seem to be more uses for it… which is a good sign! Since the pattern relies on a journey being cyclical, it can come in handy in a way that a strictly linear map might not. You can also change the ‘resolution’ of the time, too. It could show a typical week for a user type, or a financial year, or for as long as it takes to order a meal and have it delivered… it’s up to you and your context. Here are a couple of variations:

Two User Clock Sketch usage alternatives

Enrich the way you ‘see’ your customers

What I’m really getting at here is this: we have to see our customers as real people, not just consumers of our products. We have to see the world through their eyes, not just through the eyes of our products. And we have to use multiple various ‘frames’ on how we see them, by visualising them and describing them in different ways, and not just reducing them to conceptual abstractions using one familiar pattern or the other.

According to Capgemini research (back in 2017, at least), 75 percent of companies considered themselves to be customer-centric, but only a measly 30 percent of customers agreed. I suspect this gap is because a lot of companies mentally and physically engage with customers on a pretty superficial level, and view them as replaceable parts of the whole (as seen on a chart), rather than as individuals with genuine goals and needs to fulfil.

But I’m hoping that using patterns like the User Clock Sketch (along with other mapping tools) can help this! By changing up the way we visualise customers, I think we can inoculate ourselves against this superficial kind of thinking, and enrich our mental models of our customers and users.

This will not only improve the quality of what we offer our customers, but will ultimately make our own businesses more successful.

…

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Better visual brainstorming with the Concept Canvas

27/01/2019 by Ben Crothers

Making big decisions about which idea or option to invest in amongst a group is really hard. Using the Concept Canvas to visually compare apples to apples makes it a bit easier (includes free PDF).

I was in a brainstorming session from hell once. I was part of a team to help a telecommunications company redesign several of its systems into a seamless customer experience. The stakes were high, and the salaries in the room were pretty high too. The facilitator (a project manager from another agency) started us off by describing the state of the existing systems. Then with whiteboard marker in hand, asked us for ideas.

My heart sank.

I love brainstorming, I really do. I know some people will gnash their teeth and tell you that brainstorming never works, but it can and does work really well, if you ask the right questions, and have just a bit of structure. But alas, we didn’t have the right questions or structure in that session. And the only thing I remember that vaguely sounded like an idea that was written on the whiteboard was QR codes.

That was it, really. QR codes.

The problem with picking out one idea from many… will everyone else understand what it is and why?

I’m sure it made perfect sense to the regional manager that kept clanking on about it, but that’s all we had by the end of the session. I remember thinking that QR codes weren’t connected to the problem we were there to solve (nor to the customers and their situations) at all.

The problem with ideas

Ideas are awesome. An idea can be as vague and unrelated to anything as — yes — QR codes, or as grand and bold as democracy itself. A great idea can come from anywhere as they say, and the more ideas we have, the more chance we have of striking the right idea that will become the right solution.

But as great as ideas are, they can wither and die a premature death if others can’t ‘get it’ the way you do. An idea might seem clear and actionable to you, but it’s usually very tricky for everyone else to ‘see’ what you ‘see’ in your head. How is it connected to the original challenge? How does it work? What’s the risk? What’s in it for me?

Stakeholders may not understand your idea (let alone get onboard), but framing it as a concept helps!

Ideas usually need to be combined and refined into concepts. A concepts is what links one or more ideas into a structured actionable solution. It contains a lot more information that fleshes things out in such a way that you and a team could then execute on it. If you only ever go as far as generating ideas, it can be hard trying to refine and combine them, and it gets really hard to then make any decisions based on them, such as comparing one over another, or estimating how long it might take to make, or which market to take that idea into.

Refine and combine your ideas into concepts

The Concept Canvas

That’s where the Concept Canvas comes in. The Concept Canvas gives you and your team a way to add enough structure to your ideas, so that you can evaluate them more confidently. Like all canvases used in design and business strategy, you can draw it up on a whiteboard for a group to use, or draw it on single sheets of paper for individuals to use. And it looks like this:

The Presto Sketching Concept Canvas: This is an easy template to use to turn several vague ideas into a consistently structured set that you can then compare for value, risk, or any other factor you need

(By the way, you can also read about this canvas in Presto Sketching, the book).

Here’s a free PDF of the Concept Canvas for you to download and use yourself. 🙂

The Concept Canvas helps you to keep a ‘line of sight’ from the original problem you’re trying to solve and/or value proposition, to the solution you set up, through to the shipped product, service or process.

How to use the Concept Canvas

For the purposes of explanation, let’s assume you’re doing some sort of brainstorming session with a group to generate ideas on how to solve a particular problem, or meet a certain customer need.

Start your session with a clear problem statement or design challenge that the group must tackle.

Example: “We believe that people under 25 want to invest in property, but id it too expensive to even begin. We can help them by selling them small pieces of existing properties and then giving them the proportional share of any net rental income. We’ll know we’re right when first-time buyers of one piece return to buy more pieces.”

Ask everyone to individually come up with as many ideas as possible, on any particular aspect of this challenge. Wild and random; boring and expected; big, little… it doesn’t matter. Help get them started with more focused creative “How…?” questions, like these:

How can we attract prospective customers who have never considered this as a service?
How can we encourage existing customers to buy more pieces?
How do existing customers sell their pieces?

Now, of course people will (hopefully) come up with all sorts of ideas early on, and it’s great to capture those as phrases on sticky notes, whiteboard scrawls and sketches on paper. But watch out for ideas that are just one word. For example, I can just imagine my QR Code Guy blurting out “Referrals!” If this does happen, ask the person to add a bit more detail according to the “How…?” question, the audience and its goal.

Ask everyone to refine and combine all those ‘small’ ideas into their strongest three ideas, and fill in a Concept Canvas (above) to flesh out each of those ideas into a more realised concept.

Begin by copying the hypothesis into the Hypothesis section of the canvas.
Write in which particular audience type each idea is suited to in the Audience section (e.g. “Cynical evaluator, Brand new customer, Champion regular customer).
In the Goal section, write what that audience type’s goal is. It should be specific to the audience, and not a business or product goal. This helps everyone to really think hard about connecting their idea properly to the initial challenge.
In the Channels section, write in what channels are involved in the concept. How does the customer actually experience/use this concept? Is it through the existing company website? A new app on her mobile phone? On her laptop at work?
Now, use the main area of the canvas (Experience section) to describe and illustrate what the actual experience is. This could be a bulleted list, a flowchart, a storyboard, a set of wireframes… whatever helps to really bring this concept to life, and add rigour to your group’s thinking.
Finally, put a mark on each of the sliding scales in the Scope Sliders section for how ‘big’ the concept is. Just rough guesses is fine at this stage. You can use the existing sliders (risk, effort, value, resourcing, timing), or replace them with your own factors that would be important to you and your project.

Because everyone is using a common structure, the Concept Canvas now makes it easier for everyone to read and understand everyone else’s concepts. As a way of refining the output of the group, you can get each person to briefly pitch their concepts to everyone, and then them give them all three sticky dots to ‘vote’ on the concepts that they think are the strongest.

What you should now have is a refined ‘gallery’ of Concept Canvases. Even though the contents of each main Experience section might visually vary, you’ve given everyone just enough structure to help you sort through them and start sizing them for risk, effort, value, resourcing, and timing (or any other factors that you might have used).

Give it a try

As with all the canvases and whiteboard patterns that I share, why not download the free PDF of the Concept Canvas and try it yourself? There’s no harm in trying it out on paper yourself first, and then with your team on the whiteboard; I guarantee that visually structuring your ideas as fleshed out concepts will help everyone ‘get’ your ideas a whole lot more.

…

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Solve the right problem with the Problem Pyramid

23/10/2018 by Ben Crothers

Get clarity on a problem to be solved – either by yourself or as a team – by exploring it, reframing it and articulating it in a more insightful way using this simple visual pattern.

Ambiguity and confusion? You probably don’t have a proper problem statement

Have you ever had those times where you’re lying awake at night, with your mind gnawing on a problem, and you just can’t seem to think it through properly? You toss and turn, and as much as you want to turn your brain off, you can’t!

Or, you might have a project at work where you (and probably others too) can’t really say why you’re doing it. The project might have a goal, but still there’s no clear purpose. Sometimes people might even say smart things like “We need to know what problem this project is solving” (very true!) but still, nobody can actually articulate what the problem is.

Or you might even have a problem statement – or inherited a problem statement from somebody else – but it still just sounds like a goal.

*If this is a problem statement, what’s the actual problem*?

A proper problem statement – and I can’t believe I have to say this – should contain a problem. Something that is in the way of someone (or a business, or a system) achieving a goal. Yes, the statement itself can contain the goal, and yes it should say something about who has the problem, and no it should definitely not already contain the solution. Here’s a good guide that has always helped me:

[Persona / Customer type] wants to [Goal] but [Problem]. This is unacceptable because [Impact].

Note how adding the impact of the problem helps to say why we need to solve this particular problem, and maybe why we need to solve it now.

Is it hard to come up with such a succinct, insightful problem statement? Usually, yes. Do you come up with it just by getting a group of people to talk? Probably not. Problem framing by definition is all about describing a problem from a specific point of view, and we all know how likely it is that everyone is going to have a different point of view!

That’s why it makes so much more sense to visually map out the problem space, to get clarity and alignment first, before being able to distill it all into a problem statement. And that’s where the Problem Pyramid comes in!

What is the Problem Pyramid?

The Problem Pyramid is a visual pattern you can draw to help you explore and clarify a particular problem space, especially if that problem space is complex, ambiguous or misunderstood. You use it give more structure and meaning to any conversation about the problem space, so that you have a better chance of distilling a more insightful problem statement.

When do I use the Problem Pyramid?

You can apply this to all sorts of problems and in different situations, such as:

You have a problem, you’ve tried one or more solutions, but you can’t crack it yet
A team is struggling with the scope and purpose of a project, and needs a shared clear understanding of its intent
You’ve been given a problem statement, but it’s not helping to point the way to a solution
You’re ‘selling a solution’ about a particular problem to management, and you want to check your thinking by asking yourself the hard questions up front

What is the Problem Pyramid made up of?

Take a look at the sketch below:

In the triangle you write whatever you think is the problem you need to solve (this is the existing problem statement). The triangle (or pyramid) has 3 sides, which symbolise 3 different ways to explore that problem:

5 Whys – root cause analysis
5 Whos – perspective analysis
5 So whats – impact analysis

How do you do the Problem Pyramid?

You can draw this Problem Pyramid on a whiteboard, paper, even in an online collaboration space (like Miro or Mural). You can do it with your team as a session on its own, or as part of an existing meeting.

Let’s take a look at how you and your team can tackle a problem by visually exploring each of these ‘sides’ together. Be sure to share some markers and sticky notes around for different people to add what they want to, at different points throughout this activity.

Start by drawing a large triangle in the centre of a whiteboard, and write what you think is the problem you’re trying to solve so far inside the triangle. This may well change… but you have to start somewhere!

5 Whys

Problems are usually tackled more effectively when they’re addressed at the source, rather than tackling just a symptom of the problem. The ‘5 Whys’ activity is well known in the design and product innovation domains, and helps us do root cause analysis. For more information about 5 Whys, see the Gamestorming 5 Whys activity or IDEO.org’s 5 Whys activity.

Ask everyone why the problem written in the large triangle is happening (or what is causing the problem), get them to write their responses on sticky notes, and stick them in the area below the large triangle. For example: if the problem is “We didn’t reach our quarterly target of selling 15 thousand shinklebots“, ask them “Why didn’t we sell 15 thousand shinklebots?”

There’ll probably be several different answers to this question that you can read on the sticky notes that people wrote, and you may need to group any duplicates. Now, take each response, and ask why again. For example, if one of the responses was “The factory couldn’t make the shinklebots fast enough“, ask “Why isn’t the factory making shinklebots fast enough?”, and so on. The ‘5’ in the ‘5 Whys’ is to get you and your team to really push your thinking beyond the default top-of-mind cause. The deeper you dig, the better insights you’ll get.

Before long, you’ll unearth some juicy root causes to the original problem that as a team you’ll want to focus on more than others. It’s tempting to now race off and solve one of those causes, but hold up! We have to explore the other two sides first…

5 Whos

Next, ask everyone who is affected by this problem, and get them to write on sticky notes (one per sticky note) who they think is most involved, and group as necessary. Depending on the nature of the problem, it’ll be a mix of particular types of customers, or types of staff members, or partners…maybe even you and your team.

If the team come up with more than 5 (there usually are more than 5), ask them: who is most affected by or involved in this problem?

Why do we do this? Because it’s important to get everyone out of their own mental bubble, and thinking of others. This isn’t a blame game at all; it’s about seeing who’s who in the whole system of the problem space. Identifying different kind of people affected by the problem then leads to helping to see and describe the problem through each of their perspectives, which is what re-framing is all about.

5 So whats

Thirdly, it’s good to do some impact analysis. Looking at the causes of the problem and types people who are most involved in the problem you have generated so far, ask “So what?” I don’t mean “So what?” in a glib, negative way, I mean: “What happens next for the people we identified? What’s the impact of that problem on each of them?”. Whatever the answer to that question is, ask “So what?” again, and so on.

For example: if the problem is “We didn’t reach our quarterly target of selling 15 thousand shinklebots“, asking “So what?” generates answers like:

Quarterly revenue will be less than expected (business impact)
We’ll need to work out why (action to take)
There are too many shinklebots taking up space in the warehouse (business impact)

…and asking “So what?” again generates answers like:

We don’t get the capital needed to open the new branch yet (business impact)
We’ll need to temporarily divert some resources to do customer research (action to take)
We need to find more warehouse space for the incoming products (business impact)

You can visually capture these in the same way as the other two ‘sides’ of the problem area, using a mix of writing, sticky notes and simple drawing on a whiteboard. You might like to ask “So what?” for each type of person you have isolated, too. Doing this impact analysis helps you and your team get a keener sense of urgency about the problem, as well as a sense of the impact if you delay action, or don’t do anything at all.

Step back and see the story

Now’s a great time to step back and get a sense of the whole problem space you and your team have generated. You now have a ‘map’ of the problem. It’s bound to contain some areas that are more tightly defined than other areas, as well as areas that may be completely new and insightful for you and others in the team.

You can use this ‘map’ to join up some elements that stick out as being more important. For example, there might be a specific customer type affected more than others, and the impact on them leads to more negative impacts on others. Or there might be an underlying cause that the team needs to focus on and fix, which will alleviate most of the impact for most of the people affected.

This is how the Problem Pyramid has visual storytelling power, as well as analytical power!

Here’s what a Problem Pyramid looks like in action. Note, it’s normal for it to get messy first, before you can ‘join the dots’ and home in on a particular story to distill into a problem statement.

Try it yourself

As with all of the visual patterns I share, do let me know if you try it out, and what worked well, and what didn’t work so well. I hope this Problem Pyramid helps you see your problems better, so that you can solve them better!