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<span id="hs_cos_wrapper_name" class="hs_cos_wrapper hs_cos_wrapper_meta_field hs_cos_wrapper_type_text" style="" data-hs-cos-general-type="meta_field" data-hs-cos-type="text" >Telum Talks To: Andy Green, Founder of AndyGreenCreativity</span>

Telum Talks To: Andy Green, Founder of AndyGreenCreativity

Andy Green is a multi-award-winning UK-based PR practitioner who has worked for major brands around the world. He is the Founder of AndyGreenCreativity and has written seven books on creativity and brand communications. He is also a Co-founder of Grow Social Capital and the Dublin Conversations. Telum Media caught up with Andy in Australia, where he had just run a mobile creativity workshop in Melbourne for the IABC called "Tramspiration".

Andy, I wanted to talk about creativity in PR. I was wondering how the move to hybrid working post COVID has affected the creative process. Does it have a big impact on how creative we can be?
It's a mixed blessing in that it encourages people to work independently and from different locations, while also bringing people together. That combination of solo and group working can have a positive dynamic.

The danger I'm really worried about is around age. You learn in the workplace essentially by earwigging - by watching people in action - and you get inspiration. I do worry that there's a generation now with less exposure to good role models, mentors, and just incidental learning.

There's a push to get people back into the office, partly driven by office space costs, but supported by that idea of learning by osmosis from people around you.
Yes, but even then, there's a lot of variety at home. This is an interesting dimension of one of my passions: how your journey to work is perhaps one of the richest parts of the daily schedule for inspiration and stimulus, because you get the most unexpected interventions, masses of stimuli.

The challenge we have, however, is that the majority almost choose to stare at their screen or stare inwardly, be alone with their mind and their thoughts, rather than be energised and engaged with the tremendous opportunity that the journey presents, whether it's a tube, a tram, even in the car.

Let's talk about that journey. You've been over here in Australia running a course called “Tramspiration” - on a tram for a couple of hours to talk about creativity. What's the idea behind it?
The essence of the creative process is essentially framing, so the journey of 100 miles begins with a question.

The more flexible and dynamic you can be in your question framing, the more potentially successful you can be in terms of generating different novel, unusual, creative output.

So really what we do with the "Tramspiration" sessions, or "Tubespiration" when we run them in London, is to get people to identify and work a challenge, and then, through a series of prompts, get them to refine their challenge.

Our first task will be to identify the level of complexity. And the London Underground can work as a metaphor here - Zone 1 problems are very simple, a neat beginning, middle and end. You may just be looking to answer one question.

Zone 6 might involve a couple of lines, a couple of changes, but still potentially doable, so you're looking at a bank of questions.  Zone 10 is, well, "off the map" - chaotic - a series of anchor questions, a bank of questions, seeds of doubt, and a range of prompts.

The idea then is to use the journey and every single prompt, whether it's the physical journey, the different adverts, or the stimuli.

We had one journey where we succeeded in losing one of our group of eight during the trek from the meeting room to the tube stop. That was used as a positive stimulus to say, "what's the comparison in your situation?", which we would never have necessarily come up with as a potential seed or a provocation. And so it's really about the journey: you get 1001 similarly unexpected things happening, which you don't get while sitting at your desk.

I'm also passionate about what I call incubation, where you sleep on an idea and be creatively mindful.

So it's essentially about posing the question, being alert to stimuli, and then also switching off and letting it grow unconsciously before it emerges with blinding clarity.

There has been a lot of focus and discussion on the place of AI in our profession, looking at how it can impact and improve workflows and team dynamics. Is it a help, a hindrance, a threat, or just another tool that we need to understand and master?
It's every single one of those dimensions. It's a great help and I think the more masterful you are at the art and craft of creativity, the better you can exploit its potential.

I liken AI to having the most resourceful, intelligent team of interns at your disposal. But they are interns.

At the other end of the spectrum, it's going to introduce lazy creativity, lazy work. You're going to get a lot more "crud" as easily available options that could pass off as "amenable", the lowest quality threshold.

The middle ground is going to be the big loser, where people can do things faster, quicker and cheaper through AI, and you're not realising the full potential of the master craftsperson.

Is there a risk that we invest so much time in implementing and integrating these tools into our creative process, and then the whole thing grinds to a halt because the courts and regulators clamp down to protect people's original creative output?
Yes and no. It's a bit like when you're lost in a strange city and you rely on Google Maps, and that reliance then sort of negates the need for you to get any bearings and understand or grasp the context or situation, so you can be completely left high and dry when your phone dies.

On the other hand, I'm a great believer that stuff-ups are a great avenue for creative or disruptive thinking.

There does need to be an emphasis on investing in and enhancing these tools.

The other end of the spectrum, what I call social capital comms, is where you're just talking with people, engaging with people, listening to people and drawing appreciative inquiry, drawing a positive from any encounter. I think that'd be a richer yield area, because the really successful people are the ones who have access to wider answers, compared to those who just sort of stick to the core, the mainstream and the obvious.

The concept of purpose and sustainability is very rapidly moving away from a tick-box corporate reporting thing, and the creative process is being brought to bear on it in a big way, as companies realise they have to embrace it, talk about it, and do something about it. How important is creativity in understanding your purpose as an organisation and communicating that authentically?
Creativity is a dimension of one's purpose, so you have a lot of fulfilment through what we call creative purpose, and it's partly fuelled this trend because of the move to convergent media and multi-channel stories - you had to move away from tactical stories to much more strategic stories.

Now, in an age of greater scepticism and lack of trust, you've really got to dig down deep on authenticity, and one of the most powerful authentic tools is not to say "trust me", but to demonstrate with a story how you can trust me. That builds the bridges, creates the avenues for confidence in the relationship and trust, and a future sustainable relationship.  
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Industry update

Nicole Reaney to head IPREX, Asia Pacific

Global communications group, IPREX, has named Nicole Reaney as its new Asia Pacific President. She succeeds Anu Gupta of APRW in Singapore.

This announcement comes as part of a series of leadership changes to the group's global board, which includes the recent appointments of Heidi Otway as IPREX Global President and David Rudd as Americas Regional President.

Nicole, who is also CEO of InsideOut PR, will continue in her role, adding the IPREX leadership remit to her portfolio.

Nicole said: "I'm thrilled to take on this role and help strengthen APAC region's visibility on a global front." 

The Earned View

The hidden cost of seeing risk everywhere

There is a particular psychological condition that develops in senior communications leaders over time, and nobody talks about it because it looks too much like competence.

It rarely appears in job descriptions or competency frameworks. But it quietly shapes how organisations think, behave, make decisions, as well as how we think about ourselves.

Our profession trains us to anticipate failure. We are taught, often implicitly and through hard experience, to read the room before the room knows it has a temperature. To feel the tremor before the quake. But the organisations we serve still need us to be capable of belief, momentum and possibility, and somewhere in the gap between those two truths, a lot of us have quietly lost our footing.

The competency nobody questions

Modern communications leadership has always revolved around institutional threat interpretation.

  • What if this leaks?

  • What if this offends people?

  • What if activists organise around it?

  • What if the media reframes it in ways we cannot control?

For senior communicators, this kind of thinking is not paranoia. It is a core competence, and in many ways, it has rightly been rewarded as such.

But there is a point at which healthy vigilance begins to distort institutional behaviour in ways that are difficult to see from the inside, because from the inside it still looks like diligence.

 

Spun out

Institutional trust was already eroding before many of us arrived at the table. The scepticism was real, the scrutiny was justified, and the pressure on organisations to protect themselves from an increasingly unforgiving public environment was entirely understandable. But as the Edelman Trust Barometer continues its steady annual decline, I sometimes wonder how much of that erosion we have since built ourselves. Whether the old art of spin has, quietly and over time, spun the web we now find ourselves increasingly caught in.

 

We are what we rehearse

Ultimately, organisations become what they rehearse. And organisations that rehearse fear long enough eventually struggle to distinguish discomfort from danger, criticism from crisis, and the raised eyebrow from the burning building.

I want to be honest here: I don’t have clean answers to this, and I’m not writing from the outside looking in. I have been and continue to be rewarded for exactly this kind of thinking, incentivised to find the risk, name the threat, and walk into rooms as the person who could see what others couldn’t. I understand its seductiveness, because it works. It earns us a seat at the table in a way that few other professional postures do, and that feeling of being genuinely useful to leaders navigating real pressure is one of the main reasons I get up to go to work.

Which is perhaps why it is so difficult to notice when the thing that made us valuable has begun to make us and the organisations we serve, smaller.


 

The case for genuine accountability

When avoiding exposure becomes the primary organisational reflex, accountability starts to erode. Not through any conscious decision to evade responsibility, but because genuine accountability requires a willingness to be clearly and publicly wrong, and clarity has become precisely what these organisations fear most.

What emerges instead is the language of accountability without its substance: acknowledgement without admission, review without consequence, apology without change.

Into that vacuum our profession has enthusiastically poured the concept of authenticity. We have advised organisations to be more human, more genuine, more real. And they have listened, briefed agencies, approved strategies, and published content that performs authenticity with considerable production value while remaining perfectly, carefully, and strategically safe. Which is not authenticity at all. It is its most sophisticated impersonation, and audiences know the difference in their bones even when they struggle to articulate it.

The result is not dramatic scandal. It is something slower and more damaging: campaigns that lose their personality through endless risk management until what remains is technically inoffensive and completely forgettable, public statements nobody inside actually believes and nobody outside actually trusts, and organisations so focused on avoiding negative attention that they have been stripped of the distinctiveness that made them worth paying attention to in the first place.

It doesn’t happen often, and most leaders we work with are genuinely trying to do the right thing in genuinely difficult environments. But we recognise it when it does. Those moments when the organisation is so focused on managing the perception of a decision that the decision itself becomes secondary, and we are brought in to help bridge that gap rather than to challenge it. It is a role that can flatter our craft while quietly diminishing our purpose, and most of us who have been in this profession long enough have felt that tension from the inside.


Us at our best

Our role is not to eliminate risk from institutions. That is impossible, and the pursuit of it is its own kind of damage. Our role is to help organisations navigate uncertainty without becoming psychologically captive to it, and sometimes that means being the person in the room who says that the greater risk is not the one everyone is currently afraid of.

That takes judgement, perspective and the kind of confidence that comes not from certainty, but from experience. And it is, I think, the most valuable thing our profession has to offer when we are at our best.

An organisation that optimises exclusively for reputational safety may well protect itself from backlash.

But it will also, quietly and incrementally, protect itself from relevance.


Matthew (Matt) Thomas is Founder and Chief Catalyst at Stake: The Reputation Company, a Melbourne-based consultancy working across brand, reputation, communications, and public affairs. He has advised some of Australia’s largest private companies and has worked extensively with global organisations localising their storytelling and narratives for Australian audiences. His experience spans consumer, government, health, infrastructure, technology, and corporate reputation, including advisory work at all levels of government in Australia.

Matt’s work sits at the intersection of communications, behaviour change, and institutional strategy. He is also a contributor to the The Oxford Handbook of Social Purpose, writing on reputation, legitimacy, and the growing gap between organisational messaging and operational reality.

Read more from our columnists in The Earned View

Welcome
The Earned View

Welcome to The Earned View

Telum Media is all about creating connections between journalists and PR / comms practitioners. Key to that are the connections we forge with media outlets and newsroom leaders on the ground in each of our markets, and with PR leaders and industry bodies.

Today we launch The Earned View - a curated collection of senior industry figures, sharp operators, and KOLs from across the Middle East and Asia Pacific, who have earned the right to pen regular columns on their chosen areas of expertise.

From Acorn Strategy’s Kate Midttun in Dubai to The Savage Company’s Chris Savage in Australia, Ashbury CommunicationsAdam Harper in Singapore to PRINZ CEO Susanne Martin in New Zealand, each of our 12 columnists will bring a thought-provoking mix of analysis, opinion, and practical advice to Telum Media’s PR News pages.

We kick things off with Matt Thomas, Founder and Chief Catalyst of Stake: The Reputation Company, writing on the hidden cost of risk in his strategic communications and reputation column.