Employee Engagement: Building a Better Workplace

This week, I'm going to switch gears and, instead of relating an anecdote, I'd like to share some things I learned in a recent webinar given by the Canadian Management Centre.

In August, 2012, Ipsos Reid prepared a report on employee engagement in Canada.   They interviewed 1,200 employees at over 500 companies, as well as 484 human resources managers.  The report covered 25 industry sectors. 

As managers, we'd love to think that our employees absolutely enjoy working for our companies.  However, the Ipsos-Reid study indicated that only just over a quarter - 27% - of employees consider themselves engaged.  Disturbingly, 23% classed themselves as totally disengaged.

I think it's safe to say most employees would be quite content to stay with the same employer throughout their careers.  However the study suggested only 37% of employees think their employers are doing a good job of retaining good employees.

What are the economic effects of employee engagement?

One school of thought is that the cost of employee disengagement is the product of one year's average salary times the rate of voluntary turnover (i.e., employees who resign)

According to Ipsos-Reid, employees who are highly engaged in their jobs are 2-1/2 times more likely to consider themselves satisfied with their jobs - and 1-1/2 times more likely to excel in their jobs. To me, this suggests that companies who foster engagement among their employees will have a team that outperforms their competitors.

This correlates with popular wisdom among sales managers that sales people who strongly believe in the product (or service) they're selling are the ones most likely to succeed.  Their passion about the product is infectious and helps them persuade customers to buy.  Their passion - and success - make the job fun, and that makes it a lot easier to get out of the office and make calls on customers, which, in turn, generates even more sales.

A key factor in building employee engagement is for managers to actively get out of their offices and spend time getting to know the people on the front lines.  Really, this is a matter of communication, and the Ipsos-Reid study dealt also with how communication impacts engagement.

Interestingly, another payoff for developing engagement is that, by moving an employee from actively disengaged to highly engaged reduces the likelihood of them leaving the organization by 92%.  If your best and brightest aren't engaged, cultivating positive relationships with them could be your best way to avoid losing them.

According to the study, overall, 68% of Canadian workers are at least somewhat satisfied with their jobs.  When workplace issues (such as working conditions, business cycles, potential layoffs etc.) are seen by employees as being communicated in a timely manner, job satisfaction increased to 88%.

The interaction of "management by walking around" probably is one of the best ways of building engagement because it promotes regular flow of information back and forth between manager and employee.  It permits some key company initiatives to be conveyed informally (which may also be perceived as more sincere) and allows employees to express concerns before they build up to a crisis.

The webinar is posted on YouTube.  Here's a link to take you there:

http://www.youtube.com/watch?v=89NTnL6ilYI&utm_source=Campaigner&utm_campaign=2013_Post_NTLS_August_8_webinar__&campaigner=1&utm_medium=HTMLEmail&utm_content=2013_Post_NTLS_August_8_webinar__

Another CMC webinar from December 2012 presents highlights of the study.

http://www.youtube.com/watch?v=Go7MKm4WjC0

Employee Engagement: Are Unions Really a Barrier?

Ask most people who work in manufacturing about how they feel about unions, and you’ll get mostly negative responses.

Unions have rules that are counterproductive. They protect poor or lazy employers. 
They’ll strike at the drop of a hat.  They result in higher labor rates.  Union people are antagonistic.

In my career, I‘ve worked in both unionized and non-unionized plants and had equal success in both. 

When in moved from CPG into B2B, I moved from one company with a history of labor woes to another. At my previous company, the plant employees had struck about a month after I’d joined.  At my new employer, I attended my first communications meeting in the first month.  The union representatives were extremely outspoken and confrontational with my boss, the general manager.  At my previous company, the plant was in a different city from our where our offices were located, so I was relatively insulated from the conflict during the strike there.  This time, I was seeing the result of years of poor labor relations first hand.  It was very unsettling.

Our management team overcame the labor relations issues at this company by devoting a portion of our time to being on the plant floor and to becoming approachable so the employees felt comfortable coming to us with questions or issues.

My next employer also was a unionized plant, though I never really noticed the presence or influence of the union when I was on the plant floor.

My sales team and I had been working on developing a new customer in the US. We had provided them sample material.  They never ran it.  I took their sales manager out on sales calls to see if we could jointly develop a new application for the customer’s product.  The project didn’t move forward, but at least we were able to communicate better, though they still had not found time to run our sample material.

It turned out the customer was planning to exhibit at a major industry trade show (as was my company) and I contacted the sales manager to suggest to him it might be a good idea to hand out some samples of their product at the show, and that we’d be happy to supply the material.  I’ll never forget his response.

“Ron, we have four other suppliers for our films and we still haven’t gotten around to qualifying the samples you provided.  However, none of those other suppliers offered to supply film for the samples we wanted to run.  Consider this your first order with us. And please bill us we couldn’t have you provide the film at your expense.”

We wanted to make a really good impression on this customer and provide him a first class product.  I asked our plant manager if I could meet with the operators who would be running the customer’s order.

I told the operators of our goal on this order and asked them how they wanted to run it.  What kind of printing plates?  What kind of inks? Which film supplier to use?  It wasn’t a very long meeting, but I came away feeling like we had a clear plan on how to produce this order.

When the customer received the order (on time, by the way), he called up to complain.

“We aren’t going to pay for gravure printing (a higher-resolution, more costly process than flexography). This job was supposed to be done flexo.  We need flexo printed film ASAP to make the show”

I explained to him, over the phone, that we had definitely used the flexo printing process on his order and that there would be no change in the price.  I asked him to get a magnifying glass and take a close look at the printing, and pointed out to him the characteristics that verified the printing was flexo.  The customer responded,

“Well, this is the best damn flexo printing I’ve ever seen!  I’m impressed.”

The trade show was a huge success for the customer.  His samples were well-received.

I also conveyed to the crew that ran his order the comments he’d made.  They loved it and you could see the pride on their faces.  They knew they’d done a great job.

Did I remember to mention this crew was all union?  I can only see how these guys put aside management-union bias to show off their skill.  And I never heard a negative word from the union local about meeting with their people or working with them.  We all won that day.

Music at Work

On weekends, I play in a band, and have been doing so for about three years.

A lot of people might think this is a frivolous way to spend my free time. Given the image of the music business, many might think we're into drugs, sex (as well as rock 'n' roll).

The truth is that my band is made up of guys like me. We're all in our 50's. We all enjoy music. And none of us have any expectations we'll be raking in Grammy awards and seeing gold albums on our walls.

Another truth is that playing in a band is, in many respects, like running a business. Here's how.

TEAMWORK

Unless you're a very talented musician like Frank Zappa, in a band, it's really important that everyone be playing the same song in the same key, at the same tempo and at the same time. Otherwise you have cacophony (a musical term for chaos).

Each member of the band has his/her part in the piece.

Drums provide the rhythm, tempo and time signature that everyone else depends on to keep together. Bass provides a foundation for musical structure of the piece. The other instruments (and I'm including voice as an instrument) fill in the melodic and rhythmic components of the piece. Usually, the onther instruments will perform solos in turn - each having an opportunity to express their interpretation of the melody of the piece.

Together, it sounds wonderful - better than any part individually. However, if someone doesn't do his/her part properly, the musical term is "train wreck."

COMMUNICATION

Communication on stage - or in a jam session - is critical to the success of the performance. When we watch jazz musicians play, it difficult for most of us to understand what's going on and how/why different players come in at different times.

Uusally, before starting, the players agree on an arrangement and in which order everyone will solo. While we've all heard songs where someone shouts out something like "Play it, Johnny!", most musical cues are a form of non-verbal communication. They could be the nod of a head, a particular sequence of notes that indicates the conclusion of a solo or just looking eye-to-eye at the next soloist. The non-verbal cues make the whole performance look seamless when done properly.

The basic structure of the song - melody and chords - provides a framework for soloing, and some of the cues, but direct communication between musicians is what really makes it all work.

Music also requires good listening skills.

As you're playing, are you playing in the same key as everyone else? Is everyone hitting the same point in a bar at the same time? These listening skills help the musicians adjust how they play so they all are synchronized.

POSITIONING

Most people think that a band plays by picking songs and just getting up and playing them.

However, there's an element of positioning in any band. Will the focus be on blues, country, rock, jazz, folk or some other genre? There has to be consensus among the players on what style of music will be played and, once this consensus is reached, the common interest in the genre helps inspire and unite the musicians.

In our band, we have regular meetings to discuss adding songs to our repertoire. We might reject some as being too country or too heavy for what we consider to be our style (and skill). Songs get added when we all feel we like the tune and/or beat and would be fun to perform.

The analogy in business would not only be positioning, but also strategy.

PRESENTATION SKILLS

In sales, marketing and politics (among others), the ability to get up in front of an audience and deliver an engaging presentation is a critical way of connecting with the audience.

So, too, with music.

A good performance depends on preparation or, in musical terms, rehearsal. Our band rehearses weekly for about 3 hours and we systematically run through our repertoire of songs we perform as well as work on songs we WANT to perform. It takes us about six weeks of rehearsal to do our entire catalog.

In our rehearsals, we make certain we have the basics of the song down pat, but also work out our solos so, while each performance might be a little different, we've each established the basic approach we want to take to our solos.

By rehearsing like this, when we get up in front of an audience, we all feel comfortable about what we're going to do.

All bands work off a set list. Think of this like a playlist - a sequence of songs to be performed. We put the songs in a particular order so we have something at the beginning that's familiar and gets the audience's attention. Similarly, the closer of each set will be a song strong enough to leave the audience wanting to hear more. We'll vary the tempo of the songs in between so the mood doesn't become monotonous.

THINKING on your FEET

When we listen to a studio recording, we are hearing a finely tuned version of the piece, whereby each bar is usually recorded over and over again until a perfect "take". Every time you listen to that recording, you will hear exactly the same rendition - note-for-note.

In a live performance, the basic structure of the piece may be pretty close to the recorded version, but the solos will most likely be different.

The solo represents an opportunity for the performer to express his or her own unique interpretation of the piece. While the performer may have a rough idea of how to structure the solo, each performance is different. That interpretation can be influenced by the performer's mood at the time, cues from the other musicians and by the audience response. In some respects, the solo is the opportunity for a performer to demonstrate true musicianship - more than just an ability to play by rote.

We sometimes have had guest performers join us onstage for a number or two, and the injection of a new group member creates a whole new dynamic for the performers.

If the guest artist is a singer, the other musicians have to follow the singer's lead and style - which can be very different from those of the singer they normally work with. Adapting to a different performer requires using those listening and communication skills I mentioned earlier. This usually is helped by the basic structure of the song (chords and melody).

When a performance like this comes off really well, it is as much a tribute to the musicians' communications skills as to their musicianship, and it usually makes the performance more interesting to the audience. It builds confidence among the team members that they can handle forces that could be potentially disruptive.

CODA

For the members of my band, the band is an outlet for our creativity, but also an oportunity to connect and enjoy playing with each other. It's also something we can all see us continuing into retirement.

So, the message I want to leave you with is that an individual's hobbies can help them develop skills that are useful of which can be applied in their jobs. Hobbies make us more interesting as people by adding dimension to our character. Explore these with your staff.

Ron