So you’re Gen Y and you want to advance in your job quickly. That’s fairly typical. We’re known for our bullheadedness, after all. But one of the drawbacks of ‘moving up’ the corporate latter is that you inevitably end up spending more of your time managing the people underneath you and less of your time writing, designing, and doing other creative tasks.

There’s a twisted kind of logic at play here. As you accumulate more responsibility within an organization, other people get hired underneath you to take on some of the work you were previously doing. Often this is the creative stuff: the report you were writing, the new branding you were working on, the idea you had for a blog on the web site. Get that stuff off my plate, the rationale says, and then I’ll have more time for… managing the people doing that stuff.

This can be bad for you professionally — especially if what made you stand out in the first place was your ability to handle creative tasks — but, more importantly, it’s often bad for you personally. Nothing is more satisfying for a creative person in the workplace than actually sitting down and creating something. Developing ideas and making them real. Seeing that whole process all the way through. It all has tremendous value when it comes to making you feel like what you do actually matters.

So as you move up the ladder, don’t give away all your creative tasks. Often, you’re forced by a time crunch to step away from that sort of work for a while, but do not make that a permanent thing. Whenever you get a chance, step back into the creative realm and remind yourself what it feels like. Your own professional morale just might depend on it.

Photo by laffy4k. Licensed Under Creative Commons

I saw Richard Florida do a Q&A at the book launch event for his latest — Who’s Your City? — last week. Up until then, Florida was one of those guys I had read and heard a bunch about, but never seen in the flesh. He looks a lot like you would expect a guy from New Jersey to look like. Sure, he’s a respected academic but he honestly wouldn’t look too out of place as an extra on an episode of The Sopranos.

He’s also brilliant.

I’ve yet to read Who’s Your City? but in the one-hour Q&A session he shared a number of ideas and themes from the book that are of particular relevance to Generation Y. I thought I’d share them here.

Where you live = most important decision of your life

Florida takes a different tact than Thomas Friedman and his belief that the World is Flat. He agrees that there is globalization and that we are seeing a diffusion of the labour pool across the world, but he also points out that, as this is happening, we’ll still see pockets of talent intensify in certain areas — cities — ultimately creating a labour market that is more spiky than it is flat.

So where you choose to live is still critically important, not only because that’s where the money will be, but also because that’s where the people will be. Florida points out that increasingly people are making decisions on where to live based on a city’s “personality” — the creative scene, the number of single people, etc. It’s not as simple as just “going where jobs are” — the city has to fit.

A lot of cities are missing the boat

Florida’s aroused controversy in the U.S. (and praise in Canada) due to his stated belief that the U.S. is going in the wrong direction and does not have many true ‘creative’ cities. (A lot of this seems to be motivated by his political views, but I don’t necessarily think that’s an irrelevant basis at all.) He points out that a lot of the US is littered with cities that were built on the backs of one industry (ie. manufacturing) and are now empty shells. Further, he says that there are cities that are actively booming currently that are likely destined for a similar fate, especially in the developing world (China, India, Brazil, etc.)

Cities that are destined for real success are those that work to establish their own ‘personality’ and a lot of that, he maintains, has to do with supporting creative industries. If a city isn’t appealing to artists, writers, musicians, stage performers, and so on, it’s not on the right track.

Helping the Valleys

Florida cautioned several times that the overarching message to the book wasn’t a positive one. One of the side-effects of the ’spiky world’ will be that a lot of places will be stuck in metaphorical valleys — left without economic engines to power them, they’ll stagnate. (And the smart young Gen Y workers with talent will leave in droves for the cities at the peaks.)

He does point out, though, that sometimes it only takes one person or company to raise up a whole geographic area. The obvious examples are Silicon Valley in California and Waterloo in Canada, which were both turned into major economic hubs due to IT companies moving in, but there’s a little bit more to it than just a visionary or two coming to town: what really drives these people to establish their companies in these locations is the previous existence of talented people, ready to come work for them. To get those talented people to come, and stay, it’s important that municipal, provincial/state and federal governments put a strong emphasis in two areas: education and the arts.

Without them, you have no hook.

Dan Benjamin¹ writes about Offices and the Creativity Zone and makes about a million good points.

There’s no choice about how or when you’re expected produce, or under what circumstances. Here is your computer, here is your workstation, you have the tools, the florescent lights are turned on, why don’t you go ahead and get to work, thanks, bye.

I’m beginning to think that when you boil things down to their core, the modern day ‘knowledge worker’ has two functions: creation and collaboration. And for the latter, the office environment can be important. I love online collaboration environments as much as the next person, but there’s always something to be said for the face-to-face meeting, where ideas fly over the boardroom table. It’s a proven method, and will always be enough to justify traditional office space.

But the creative element is a whole different matter. For that we are uniquely individual in our needs and practices.

Unfortunately, most people can’t simply step into The [creative] Zone. In the very same way you’d want to find the right time and place to read a book, creative types need to setup the specific conditions they need to enter The Zone. For some people, this might mean listening to a certain kind of music. It might be fueled by caffeine and a dark room late at night. Some people work best in the silence of the early morning. It all depends on the person.

One of the major symptoms of the shift to the information age is that more and more of your employees are doing work that requires creativity. Stuff like answering phones, filling out forms, data entry, tech support, purchase order accounting and so on, is either less important or has been outsourced to another organization halfway around the world. In smaller businesses, especially, it’s important to understand that everyone can be (and should be) a creative worker, but it will only happen if you give them the flexibility, freedom and motivation to find their ‘creative zone’ in relation to the work you’ve asked them to do. And if that zone happens to be outside the wall of your office then, well, who cares?

And definitely don’t do this:

Of course it makes sense why corporations work this way, but that doesn’t mean that this is the right setting for creative people. The corporate world rewards based on perceived productivity rather than accomplishment. People who arrive at work at 8am, take a 30 minute lunch break (at their desk), and leave at 6pm are usually congratulated regardless of their real accomplishments, while those who struggle with corporate schedules but produce brilliant work (delivered on time) are often penalized.

The hour is an irrelevant metric in most work. Smash the clock.

1. Benamin, with John Gruber also regularly appears on the excellent podcast The Talk Show [↩]