Synopsis
TAKING YOUR COMPANY CREATIVE. Starting today, this company will implement organizational creativity to improve everything we do, from the mailroom to the boardroom. That's all it takes. One statement of purpose from the person in charge. The decision to take a company more creative must begin at the top. From that point on, your biggest challenge will be to get your people to bring their brains to work and volunteer them for creative service. Once that commitment is made. Good enough will no longer be good enough. But don't think of this as a revolutionary process. Although its results will be measurably impactful, organizational creativity is, in fact, evolutionary in its infusion to your corporate DNA. It starts at the suggestion box level and grows through ad-hoc creativity circles organized to bring the best ideas to fruition. But not just any ideas. Ideas that save time, money or energy. Ideas that can grow your company. Creativity At Work provides forward-thinking companies with a roadmap to applying organizational creativity to their corporate growth initiatives. Learn the step-by-step process by which your company can begin to deploy this valuable business skill throughout the enterprise. And then build on it. Incentivizing Creative Service Taking your company creative is a bold decision. Creative service getting people from the mail room to the board room to volunteer their efforts for the good of the company is an essential component to the success of this program. Those individuals willing to volunteer their time and effort to see a great idea that they are part of make it to market or be incorporated into a new process that saves time or reduces cost or waste are invaluable to the organization. Creativity At Work shows you how to develop incentive programs that reward creative service so that those participants will reap the rewards of the company's growth right along with it. Organizational Creativity vs. Artistic Creativity In most organizations, resistance to creative initiatives is par for the course. Even the mere mention of the word creativity makes the accountants and the bottom-line thinkers pretty nervous. Creativity At Work explains the difference between the artistic creativity your nephew (the budding cellist) was born with and organizational creativity, which can be nurtured and developed within each and every one of your people, creative or not. Organizational creativity, or applied creativity, is practiced within a business context. It is driven by commercial imperatives and objectives, not by artistic license. Organizational Creativity and the Corporate Structure The practice of organizational creativity is not about creating another layer of management to get the job done. Quite the contrary. Bureaucracy actually stifles creativity. Organizational creativity is more like the oil that allows the gears of a complex mechanism to run smoothly at slow, medium, or even the highest speeds. Creativity At Work demonstrates how to harness the power of organizational creativity as an orderly pathway through, around and above the bureaucracy to those whose decisions are responsible for growing the company.
About the Author
Harry Webber. Since childhood, Harry Webber has been a creative person for hire. At the young age of 12, he created safety posters for the once mighty Pennsylvania Railroad. At 19, he moved to Detroit to become the first art director for the legendary Motown Record Corp., winning 22 gold records. Five years later, Harry returned to New York to join Young & Rubicam, where he was on the team responsible for creating such memorable television campaigns as A Mind is a Terrible Thing to Waste and I'm Stuck on Band-Aid Brand, two of the longest running campaigns in advertising history. For the next 25 years on Madison Avenue, Harry Webber has been credited with creative responsibility for Chow, Chow, Chow; Thanks, I Needed That; Quality is Job 1; and many other mass-marketed television and print efforts for such well-known advertising agencies as Leo Burnett, SSC&B, McCann-Ericsson, and Wells, Rich, Greene. In 1985, Mr. Webber saw the writing on the wall for the practice of mass marketing. Moving West to Los Angeles, he founded Smart Communications, Inc., the first marketing firm to devote itself to the development of segmented marketing in America. Since then, his clients have included McDonald's, Kentucky Fried Chicken, Hardee's, Denny's, The Coca-Cola Company, The Walt Disney Co., Columbia/TriStar, United Paramount Network, Turner Home Entertainment, F/X Networks, The California Lottery, Athearn Trains in Miniature, L'Ermitage Hotels, California Department of Health Services, OrNda Healthcorp, Tenent Healthcare Corp, Sun Microsystems, and DirecTV. His landmark book, Divide & Conquer, (John Wiley & Sons, NY) is a best seller on the practice of market segmentation. Harry Webber's work is in the Clio Hall of Fame, The Museum of Advertising, Madison Avenue's Advertising Walk of Fame, and the permanent collections of the Museum of Contemporary Art and the Smithsonian. He has been featured in the books Mirror Makers and Positioning as well as the Wall Street Journal, The Los Angeles Times, CBS, NBC, CNN, AdWeek, Adrants, and Advertising Age. The New York Times credited Harry's CokeClassic. A Cool American campaign with pioneering the trend of user-generated content over the web. Some 10,000 advertising and marketing professionals worldwide read Harry's online column, MadisonAveNew.com, each week. In 2006 Mr. Webber, along with partners Angela Glenn (The Gasp Company, LLC), Dan Cracchiolo (Producer, The Matrix), and John Feist (Producer, Survivor), began developing branded entertainment content for the Institute for Advanced Practices in Advertising, an ad industry think tank. In 2012, Mr. Webber was the Chief Creative Officer of the Obama SuperPac and after the election he was selected for the task of re-branding Capitalism in America by the NeoCapitalist Society. Creativity at Work, is Mr. Webber's third book. His second book, for children, Fantazzzmia: Where Dreams Come From (with educator Monica Erne), was also published by Four Dolphins Press in Los Angeles.
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