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OBJECTIVES

OBJECTIVES. The participants will: Define creativity and innovation. Identify the importance of creativity and innovation in fire service organizations. Analyze the elements of creativity. Identify the 5 steps of the creative process. OBJECTIVES (cont'd).

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OBJECTIVES

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  1. OBJECTIVES The participants will: • Define creativity and innovation. • Identify the importance of creativity and innovation in fire service organizations. • Analyze the elements of creativity. • Identify the 5 steps of the creative process.

  2. OBJECTIVES (cont'd) • Evaluate personal blocks to creativity. • Identify ways of fostering creativity in subordinates. • Identify effective techniques for selling new ideas. • Develop strategies to enhance creative leadership traits.

  3. OVERVIEW • Icebreakers • What is Creativity? What is Innovation? Why Are They Important? • Elements of Creativity • The Creative Process

  4. OVERVIEW (cont'd) • Creativity Blocks • Fostering Creativity in Subordinates • Selling Your Ideas to Top Management • Self-Assessment and Personal Improvement Strategies

  5. ICEBREAKER #1 1000 40 1040 1000 40 1000 30 1000 20 1000 4090 Total 1000 40 1000 30 1000 3070 1000 40 1000 2040 Total Total 1000 40 1000 30 1000 20 1000 10 4100 Total 1000 40 1000 30 1000 20 3090 1000 40 1000 30 2070 Total Total Total

  6. How many squares are in this figure?

  7. 3 1 4 2 7 5 8 6 11 9 12 10 15 13 16 14 16 small squares 1 large square

  8. 16 + 1 =17 The 4 quadrants 17 + 4 = 21

  9. 16 + 1 =17 4 4 inset boxes of 4 squares + 1 center box of 4 squares 21 + 5 = 26

  10. 16 + 1 =17 4 5 4 inset boxes of 9 squares 26 + 4 = 30

  11. DEFINITION Creativity is the ability to produce original ideas or products.

  12. DEFINITION (cont'd) Innovation is the ability to improve a present practice, method, or product by adaptation or alteration.

  13. THE IMPORTANCE OF CREATIVITY • To keep up with external changes • To assure state-of-the-art methods and techniques

  14. Myths About Creativity from The Creative Manager By Camille Cates Barnett Myth #1: The more intelligent you are, the more creative you are. Reality: Creativity is not a function of intelligence. Creativity is seeing what everyone else has seen and thinking what no one else has thought.

  15. Myth #2: People are born creative; creativity cannot be learned. Reality: It's true. People are born creative--that is, all of us are. But we can acquire skills to help us achieve our creative potential. Creativity can be learned, much as tennis and piano can be learned. Do you remember the first time you ever tried to ride a bicycle?

  16. Myth #3: Creative ideas come in a flash, like lightning bolts. Reality: Persistence and concentration are keys to creativity. You can't plant a garden until you have prepared the soil.

  17. Myth #4: Creativity is disruptive to the day-to-day life of an organization. Reality: Successful organizations are really two parallel, mutually supportive organizations--one innovative, one routine. Remember that every routine was once an innovation.

  18. Myth #5: Creativity is a luxury; it should be encouraged only in times of abundance. Reality: When you don't have money to throw at a problem you need to be more creative. Necessity is the mother of invention.

  19. Myth #6: True creativity is found primarily in the arts and has little practical business application. Reality: According to Princeton's Creative Research, Inc., 80 percent of corporate sales are from products unknown 10 years ago. Forty percent of the gross national product is attributable to research and development during the past 15 years.

  20. ELEMENTS OF CREATIVITY Element #1 Fluency

  21. ELEMENTS OF CREATIVITY Element #1 Fluency Element #2 Flexibility

  22. How could you make this equation read correctly without moving a match? =

  23. A woman dropped her watch. The face broke into 4 parts. The numbers on each part added up to 15. Draw a picture of how the watch face might have been broken.

  24. ANSWER 12 11 1 10 2 9 3 8 4 5 7 6

  25. ELEMENTS OF CREATIVITY Element #1 Fluency Element #2 Flexibility Element #3 Originality

  26. ELEMENTS OF CREATIVITY (cont'd) Element #1 Fluency Element #2 Flexibility Element #3 Originality Element #4 Awareness

  27. ELEMENTS OF CREATIVITY (cont'd) Element #1 Fluency Element #2 Flexibility Element #3 Originality Element #4 Awareness Element #5 Drive

  28. A NEW IDEA • A new combination of existing ideas • An adaptation of existing ideas

  29. STEPS LEADING TO NEW IDEAS: • Preparation • Concentration • Incubation • Illumination • Verification/Production

  30. S-C-A-M-P-E-R FLUENCY S-C-A-M-P-E-R DRIVE FLEXIBILITY S - What can you substitute? C - What can you combine? A - What can you adapt? M -What can you magnify, miniaturize, or multiply? P - What can you put to other uses? E - What else? Who else? Where else? R - Can you rearrange or reverse? AWARENESS ORIGINALITY

  31. CREATIVITY BLOCKS "I don't want to look foolish." "I don't want to fail." "I'm not creative." "That's not my area (skill, style, etc.)." "I don't get paid to have fun."

  32. TEN RULES FOR STIFLING INNOVATION(From The Change Masters By Rosabeth Moss Kanter) • Be suspicious • Be inaccessible • Pass the buck • Criticize at every opportunity

  33. RULES (cont'd) • Discourage people from letting you know when there's a problem • Control everything carefully • Make significant policy changes in secret • Keep people in the dark

  34. RULES (cont'd) • Pass on your dirty work in the name of delegation and participation • Above all else, never forget that you, the supervisor, know everything there is to know

  35. CHARACTERISTICS OF SUPERVISORS WHO FOSTER CREATIVITY • They are willing to absorb the risks taken by subordinates. • They are comfortable with half-developed ideas. • They are able to make quick decisions. • They are good listeners.

  36. CHARACTERISTICS OF SUPERVISORS WHO FOSTER CREATIVITY (cont'd) • They don't dwell on past mistakes. • They enjoy their jobs. • They expect subordinates to succeed. • They capitalize on subordinate strengths.

  37. ASSESSING THE "SELLABILITY" OF YOUR IDEA Will it work? • Has it been tested? • Is it practical? • Is it distinctly better than the present way?

  38. ASSESSING THE "SELLABILITY" OF YOUR IDEA (cont'd) Will people accept it? • Will it improve quality? • Will it increase productivity? • Will it use personnel more effectively? • Will it improve present methods? • Will it improve safety? • Will it eliminate unnecessary work? • Will it reduce costs? • Will it improve working conditions?

  39. ASSESSING THE "SELLABILITY" OF YOUR IDEA (cont'd) Is your idea timely? • Is it fully developed? • Is top management ready for it? • If it's approved, are you ready to act on it? • Are you sure it doesn't conflict with other projects that already have top-management approval/priority?

  40. DEVELOPING A PERSUASIVE ARGUMENT • Relate your idea to a recognized need • Appeal to positive values • Anticipate objections • Get others involved • Ensure your credibility

  41. SUMMARY • Each person has creative/innovative potential • We can improve our creative ability • COs must foster creativity in subordinates • COs must be skilled in "selling" new ideas to management

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