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Q U A L I TAT I V E R E S E A R C H C O N S U LTA N T S A S S O C I AT I O N 23 People are always remarking about how different my dual vocations are, asking me what could an improv actor and focus group moderator possibly have in com- mon? The answer is – a lot. Improv shows, like focus groups, are dynamic group events filled with unex- pected twists and turns. At their best, both rely on participants working off one another to build upon ideas and make unexpected connections and associations. Success is fueled by listening, creativity, and synergy among group members. There are a number of ways in which improv techniques can enhance the focus group experience, providing tools for the moderator to stimulate group engagement and creativity. Moderating skills Performing with an improv group has been likened to driving a car without being able to look through the front wind- shield. You only have your rear view mir- rors to rely on, but by carefully observing where you've been, you get a sense of what may lie ahead. In order to excel, it is criti- cal for improvisers to be keen listeners. As the great philosopher Yogi Berra once said, "You can't hit a baseball and think at the same time." The same is true for improvisation. The natural tendency is to think ahead, and try to plan the next idea or joke. However, when improvisers make this mistake, listening suffers and the scene breaks down. Actors learn to stop thinking, concentrate on listening carefully, and focus their attention on the others on stage. In doing so, they come to realize that their sense of humor, intelli- gence, and insights into the human condi- tion will not abandon them, and, in fact, become more readily accessible. Similarly, in a focus group it is impor- tant to make respondents feel they are being listened to. I've known a number of excellent moderators, with very different interviewing styles and approaches, but they all share one critical skill – like improv actors, the best moderators are excellent listeners. A moderator is simulta- neously conducting several interrelated conversations, implicitly reassuring each respondent that his or her opinions are being heard, and are welcome additions to the conversation. I've also seen new moderators do quite the opposite. They become distracted by thinking too much about their objectives, trying to anticipate the next series of ques- tions, etc. By taking themselves out of the moment, they miss important opportuni- ties to follow up, simply because they were not listening. The solution? Stop thinking! Stay in the moment and focus on what is being said. We do it naturally when speaking with good friends. We engage. We react. We lis- ten. When we do, we usually make instant emotionally connected responses, and we rarely forget the important things that are said to us. It's easier said than done. In a focus group there are a lot of distractions going on that make listening a challenge. Multiple conversations are happening simultaneously. An anxious client may be submitting non-stop hastily scrawled notes. Perhaps the stimuli aren't quite as compelling as the agency promised. The third guy to your right is busy checking himself out in the mirror, etc. Group dynamics Like improv audiences, not all focus groups are the same. Some audiences come in with boundless enthusiasm, and it's the actor's job not to stifle that. They learn to "ride" the group's energy – building upon it and enabling it to grow. Other audiences are tight. On those occasions, the actors have to find ways to infuse energy into the crowd and avoid letting it flag. Groups can be the same way. We've all had those great ones, where a gentle probe here and there keeps the conversation on track. In retrospect, it often feels as if any- one could have done well with that kind of group, and in fact, it's probably true. But what about low energy groups? On those occasions, a moderator, like an improv actor, should recognize the situa- tion, and seek to infuse energy into the group. Here are some exercises designed to do just that: 8 to 1. Improv shows are often high ener- gy affairs. Even professional actors can't simply turn on a switch and go from 0 to 60 instantly, so they warm up physically and mentally before a show. Focus groups have the same challenge. If we only have 90 minutes or so to work with, it's impor- tant to maximize productivity from the very start, and not use the first half of the group to get 'em going. I sometimes use this exercise to quickly infuse energy into a group, just after intro- ductions and before getting into the issues at hand, or later on if energy has started to diminish and needs a jumpstart. Have everyone stand up. All raise their right hand and together quickly count from 1 to 8, slapping at the air as each number is called out. Without stopping, repeat with the left hand, then by kicking L et the truth be known. For the past 25 years, I've led a double life. During the week I'm usually holed up somewhere in a conference room mod- erating focus groups. On the weekends, you can find me "Off Broadway" performing with "Chicago City Limits," NYC's longest running improv group.

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