Reader Chat
This month, after his little bit of feedback on the Nobel Prize bit, I invited my friend Paul Edwards to join me for a little back-and-forth on feedback.
Â
I figured: hey, if weâre talking about feedback, why not show it in action? So, hereâs our conversation - a mini story, a few lessons, and a reminder that feedback isnât just a workplace thing; itâs everywhere, even on the sets of TV adsâŚ
PE: I see the theme of this month's letter is feedback. Why did you pick that?
Â
RF: Honestly? Because
after the last letter, I got a bunch of thoughtful, sharp, and yes, slightly spicy feedback from readers like you. And it struck me: if Iâm benefitting from feedback, why not crack open the topic for everyone?
Â
PE: I saw a good example of feedback a couple of weeks ago.
Â
RF: Oh? Tell me more - what happened?
Â
PE: I was working as a background extra on a set. We were filming a TV ad, and for various, complicated reasons there were two directors. We did a take of a shot, and then one of the directors said that my glass needed to have ice in it. The next take was shot then reviewed, and the other director didn't want ice in it.
Â
RF: Ahhh, the classic 'Too many cooks in the kitchen' problem.
Â
PE: I would have said 'Too many bartenders behind the bar' problem, but yeah, that's spot-on. And it wasn't just my situation. There were a heap of tiny examples going on where one director wanted it to look one way, and the other wanted it to look like another. We were getting nowhere, and fast.
Â
RF: Far out. So what did you do?
Â
PE: I've done a little bit of acting work, and as a background extra, you generally can't step up and talk to the directors.
Â
RF: Right - youâre sort of in the âsmile and nodâ zone. So what happened?
Â
PE: It ends up that this was a big gig for both of these directors. They wanted to share the experience and the
credit. Fortunately, someone more senior than me on the set saw what was happening and stepped in.
Â
RF: Oh, I like where this is going. How does this connect back to feedback?
Â
PE: Well, this chap saw that it wasn't working and pulled the two directors aside. The ad had two scenes, so this chap suggested that one director work exclusively on Scene 1, and the
other in Scene 2.
Â
RF: Smart move. What gave him the guts to step in like that?
Â
PE: This is where it gets interesting. He was basically funding the shoot, so he had authority. I guess it's a lot harder if you don't have organisational authority, and that's where courage comes in. What would you suggest someone do in a similar situation where they lacked
authority?
Â
RF: Far out, thatâs a whole letter on its own! But in short: focus on building rapport early and asking clarifying questions - itâs amazing how much you can shift without a fancy title if you do those two things well.
Â
PE: In that case, maybe it's a topic for our next conversation!
Â
RF: Deal! So, tell me - how did the shoot wrap up?
Â
PE: Really well. I've seen the finished version of the ad, and it's great.
Â
RF: Love that. So, from a feedback angle, what stuck with you?
Â
PE: What was apparent to me was that feedback needs to not only be constructive, but ensuring it
is practical helps a lot too.
Â
RF: Paul, thanks so much for this chat, and for letting me drag you into the spotlight! I think what is important for those reading this is that it doesn't matter whether youâre on a film set or in a Monday meeting, good feedback isnât about fancy words or power moves. Itâs about making things better, together. (And maybe, just maybe, about knowing when to add ice to the glass.)
Â
Oh - and Paul, where can we catch this ad and admire your superior background-acting skills? Should we be watching for a masterful glass-holding cameo?Â
Â
PE: It was on Gruen. Start watching
from about 22 minutes 15 seconds so you get an idea about what is going on. I am in the white collared shirt on a lounge chair talking with a guy in a gold cravate, which is my usual Friday night. I am holding the glass like a pro.
Â
RF: Looking forward to it seeing you in action.
Your turn! Got a feedback story of your own? Hit reply and share it with me. I read every email
(yes, really) and might just feature your tale in a future issue. Letâs keep making this a two-way street.Â