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DENNIS THE MENACE AND CRITICISM: AN ADVANCED LESSON

http://drjeffreyrubin.files.wordpress.com/2012/10/male-criticism.pngfemale-criticsmIn my previous post, I offered some suggestions for dealing with criticism.  There, I mentioned that in difficult situations I have found it helpful before providing criticism to pause. Because people want to be liked and to be free to make their own decisions, during my pause I think about how to minimize any perceived threat to these two desires.

To practice this skill, I then presented the following Dennis The Menace comic strip:

dennis1

In my previous post, I pointed out that Gina, the socially clever girl in the comic, noticing a conflict has popped up in her neighborhood, helps out by letting Dennis know how much he is loved at home.  I also mentioned that while criticizing Dennis about his room, his mom could have said something like this: “Dennis, I sure love you. It’s so much fun to have you around. It’s getting about that time to clean up your room. Do you want to do it now, or in an hour from now?” By letting Dennis know that she loves him and then giving him a choice, Dennis’s mom could have come off as more loving and less bossy.

A master at dealing with criticism must become highly skilled at addressing concerns about the desire to be loved and to maintain freedom.  For this reason, we will be going over many examples of how to address these concerns in coming weeks.  As for today, let’s dig a little deeper into the situation illustrated in the above comic.

Digging Deeper

Please take an especially good look at the following panels from the above comic:

dennis1It appears to me that Dennis has a conflict with his mother about her desire that he pick up his room.  Judging from the expression on Dennis’s mom and dad, they seem to be turning angry over Dennis’s response.

When this type of situation happens in Dennis The Menace comic strips, his parents usually end up responding by making Dennis sit in a corner.

Dennis new 2

Other parents in this type of situation feel that Dennis should be told  that he should not answer back, and that he should be forced to do what he is told to do.  If Dennis does not comply, such parents believe Dennis’s parents should beat some sense into him.  This type of parenting has been referred to as an authoritarian approach.  Critics of an authoritarian approach say that it leads sons and daughters to feel like they are pawns rather than origins.

Illustration by Deanna Martinez
Illustration by Deanna Martinez

When people feel like pawns, they feel pushed around, and they feel that they are like puppets with someone else pulling the strings.  This leads to resentment and recurring conflicts.  We get a sense of this resentment in the following comic:

Dennis new 1 Notice the angry expression on Dennis’s face and his hands balled up into fists.

Feeling like a pawn may be contrasted with feeling like I have an influence over what I do—that I have played at least a part in originating my behavior. We say that when people feel this way they feel like an origin.  Parents who help their children to feel like origins, instead of using an authoritarian style of leadership, use an authoritative style of leadership.  When we become skillful at using the DIG Conflict Model to deal with criticism and to resolve conflicts, we become authoritative leaders.

So, if Dennis’s parents, Henry and Alice, were skillful at using the DIG Conflict Model, what might that look like?

First, They Would Summarize and Delay.

Henry, realizing that he and Alice have become angry at Dennis’s comment, would very quickly respectfully summarize Dennis’s perspective (See blog post titled Summarize and Delay for a complete description of this approach).

To do this, Henry uses the word DIG to remind him to dig for what Dennis desires in this situation, what Dennis views as interfering with his desire, and what Dennis thinks his mother is guilty of doing wrong.  Because he is so well-practiced at this, even though he is angry, Henry does this rather easily.

“Dennis,” says Henry, I think I understand how you are feeling.  It looks to me like you desire that Mom will stop telling you to pick up your room. You feel she is interfering with this desire when she tells you that you have to do it.  You feel she is guilty of treating you unfairly because I pay her to pick up your room.  Is that right?”

“That’s right,” Dennis replies, “you pay her to clean up, and it’s not fair that she wants me to do it!”

“Okay, Dennis,” I understand.  “Your Mom and I are always interested in what you have to say.  We’re going to think about this for a little while, and then Mom and I will discuss this with you some more.”

During this calming-down period, Dennis is not pressured to pick up his room.  The topic is dropped.

Second, They Are a Wise Friend to Their Angry Self.

As Henry and Alice leave Dennis, they keep in mind that their angry self does not have to seek to suppress any anger to reach a state of relative calm (see BEING A WISE FRIEND TO YOUR ANGRY SELF).  They are confident this will occur naturally without any effort at all. They just listen to what is going on inside of themselves in a caring manner, just like a good friend would, and they are confident that their calm will return.

Now, as Alice and Henry go through this calming period, they notice their angry selves chattering away, saying things like, “That Dennis is acting like an idiot!  He is a stupid jerk for making me angry.”  Other derogatory statements about the source of their anger come to mind.  They realize this is just part of the anger process.

At such times, they simply observe their angry self in a nonjudgmental manner as this is happening.  They are as kind to their angry selves as they can be throughout this process—just like a good, compassionate friend would.

Third, After They Calm Down They Map out a Plan.

Jack's Picture cropedOnce they are in a state of relative calm, Henry and Alice begin to respond to the conditions that led to anger in a more reasonable manner. They calmly discuss the issue with each other, and Alice calls a couple of friends whom she respects to get their take on how this situation can best be handled.  Soon they feel comfortable with a plan that they have created.

Fourth, They Carry Out the Plan.

Alice and Henry call Dennis in for a discussion and quickly summarize for him what had happened. Then Alice says, “Dennis, from what happened, I can see that you are starting to get some ideas about Dad giving me money and what I have to do for it.  That’s good.  Let me explain a little more about how this works.

“When Dad goes to work, he does some things for his boss, and his boss does some things in return for Dad.  One thing the boss does is pay Dad some money for the work that Dad does for him.  At home, I do some things for Dad, and he, in return, does some things for me.  For example, I cook dinner most of the time and wash the dishes.  In return, Dad gives me some money, and sometimes he goes to the store to pick up some things I need, or he goes with me to a party.  So, you see how it works, Dad does some things for me, and in return, I do things for him.

“Now, your Dad and I do lots of things for you, so it seems to us that it’s only fair that you do some things for us.  Here’s some things that Dad and I do for you–we make you meals, we wash your dishes, we take you to parties, we buy you toys, and do lots of other things for you.  What do you do in return for us?”

“I go to school,” says Dennis.

“Dennis,” says Henry, “we don’t think that when you go to school it is for us.  When you go to school, that helps you to learn to read, count, and stuff like that.  Mom and I do things for you.  What do you do for us in return?”

After thinking about this, Dennis appears stuck.

“One thing I want you to do for us,” says Alice, “is to pick up your room when I ask you to do it.  When it gets messy in your room, I can trip and hurt myself, or I might step on something and break it.  I also like the way it looks when the room is all picked up.  When I ask you to pick up your room, you don’t have to do it right away if you feel you are busy with something else, but after I ask you, before the end of the day, I want it picked up.  Is that fair?”

“I guess so, Mom,” Dennis replies.

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Some people will enjoy reading this blog by beginning with the first post and then moving forward to the next more recent one; then to the next one; and so on. This permits readers to catch up on some ideas that were presented earlier and to move through all of the ideas in a systematic fashion to develop their emotional and social intelligence. To begin at the very first post you can click HERE.

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DEALING WITH CRITICISM: LESSONS FROM DENNIS THE MENACE

In a recent post (Dealing with Criticism by Digging Deeper) I discussed some difficult situations that may occur when we deal with criticism.  There, I mentioned that in these types of situations, it can be helpful to do our best to describe what the criticizer’s most obvious desire is for providing the criticism and then to look to see if there are any other desires that might be involved.  To help us to dig a little deeper to find any of the other important desires in a difficult situation, I provided readers with two types of tools to dig, two types of shovels to dig, if you will.

a. look for the desire to be liked or loved.

b. look for the desire to be free to make one’s own decision.

Today, we begin to get some practice utilizing these two shovels.

PRACTICE

Consider the following Dennis the Menace comic:

dennis1

In this comic, obviously, Dennis’s mother desires that he straighten up his room. What other desires are important to consider?  It appears to me that Dennis’s mother is glaring at him.  Hmmm?  

When a boy hears his mom criticizing him in this way, there’s a chance his desire to be liked will feel threatened. Is there also a chance that there is another important desire in this challenging situation?

As criticism is being provided to us, we often begin to think something like, “I’m not going to let this person push me into doing something I don’t want to do. I’ll do whatever I want, and I don’t need anyone pushing me around.” This stance is part of what we call defensiveness.

EASING THE LIKING PROBLEM

When the desire to be liked and loved raises its mischievous head, we can let the person who has been criticized know that he is liked. This is what Dennis’s friend, Gina, does to lower the intensity of Dennis’s anger in the comic.

When Gina tells Dennis that his mom will cry if he leaves, Dennis is reminded that his mom really does love him.

dennis 2

Then Gina explains to Dennis that not only will his mom miss him, so too will his dad and dog. dennis3Dennis ends up deciding to resolve his conflict and go back home. Gina helped to resolve the conflict by focusing on easing the “liking” problem in this conflict.

Now let’s consider what we can do to help to resolve the problems in this situation by focusing on easing the “freedom” problem.

EASING THE FREEDOM PROBLEM

In the Dennis the Menace comic, while criticizing him, his mom could have offered Dennis the freedom to choose between two times to pick up his room. More specifically, she could have said something like this: “Dennis, I sure love you. It’s so much fun to have you around. It’s getting about that time to clean up your room. Do you want to do it now, or in an hour from now?” By giving a child a choice, a parent can come off as less bossy.

To male criticismhelp to come up with these types of ideas, the one thing I tend to do before providing criticism is to pause. Recognizing that I am about to provide criticism, and knowing that people tend to get defensive about not being liked and having their freedom threatened, I think about how to ease any perceived threat to these two desires.

SUMMARY

  • Many people associate criticism with not being liked.
  • Many people associate criticism with an attempt to reduce their freedom to make their own decisions.

Once we learn to be skillful at recognizing these types of conflicts, we are in a better position to come up with plans to either resolve them or to lower their intensity.  Therefore, in future posts I will be frequently providing examples that allows the reader to practice this skill.

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Some people will enjoy reading this blog by beginning with the first post and then moving forward to the next more recent one; then to the next one; and so on. This permits readers to catch up on some ideas that were presented earlier and to move through all of the ideas in a systematic fashion to develop their emotional and social intelligence. To begin at the very first post you can click HERE.

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DEALING WITH CRITICISM BY DIGGING DEEPER

picture 2“I’ve been reading your blog posts, Dr. Rubin,” Judy says sounding annoyed. “You are making everything sound way too complicated.”

“I’m pleased that you’ve been checking it out,” I reply.  “I’d love to hear more about your reactions.”

“Well, yesterday I went over to pick up my friend, Sue, to go to a party.  She was wearing an outfit that was almost identical to mine. So I told Sue I didn’t like what she was going to wear.  If we went to the party in the same outfits we’d look like the Bobbsey twins. We’d look ridiculous.  Sue quickly saw that I was right and changed her clothes. Then we decided that in the future, whenever we plan to go to a party together, we’ll check with each other before we pick out what we’ll wear. So, you see, without going through all of your stupid ‘DIG,’ desire, interference, guilt, nonsense, I provided negative criticism to Sue, and we worked it out just fine.”

“I like the way you dealt with it, Judy, especially how you made plans to prevent the same problem from recurring.  Checking with each other before choosing your outfits makes a good deal of sense.  Well done!”

A glorious smile graces Judy’s face.

“Judy, I also agree with you to a large extent about using the DIG Conflict Model to deal with criticism.  In many situations, perhaps even most situations, there is no good reason to go through the steps I’ve been describing in my blog posts.  As long as the issues are simple enough to understand easily and if whatever approach you are in the habit of using leads you to a comfortable resolution, then, by all means, you don’t have to bother using the DIG Conflict Model.”

“There are times that I do get defensive or confused,” Judy allows.  “I know there are times I get defensive, and I’ve said some things even recently that I now regret.”

“I want to hear about those regrets, Judy.  At the same time, it takes a special kind of learning to handle defensive feelings.  I think it would be helpful if we first rehearsed a plan that can increase the respect you will feel for yourself.  It has to be well rehearsed because when people get defensive, they oftentimes have trouble thinking as clearly as when they calm down and have some time to think things over.  It’s also helpful to learn to get comfortable with this new way of thinking by discussing someone else’s conflicts, rather than discussing events that directly happened to you. This will allow you to look at this new approach more objectively.  Once you get the ideas down so that you can smoothly work with them, then it will be far easier to apply them to events that are occurring in your own life.  So, if it’s okay with you, Judy, let’s return to my Charlie Brown comic that I used in my last blog post.”

“Well, I do want to get you back on my recent regret, but I love the Peanuts characters, especially Lucy.  Go ahead, Dr. Rubin, let’s hear one of your lessons.”

FIRST, LET’S REVIEW THE OLD LESSONS

“Okay!  First, please read again the Peanuts comic we looked at in our last lesson:

Charlie1

Judy, after reading it, smiles, and says, “Okay, now what?”

“Let’s review some key points, Judy.  From the ideas we have been discussing over the last few months, what do you think Charlie Brown can do in this type of situation that will be helpful?”

“He can tell himself that it is good that he has begun to criticize himself in this situation.  Criticism, if handled skillfully, is the path toward wisdom.” (see blog post titled, Is Criticism Bad?)

“Excellent!  What else might be helpful for him to do?”

“Think about how he is likely to criticize himself, and rate that style using the skills in my post Providing Negative Criticism: Five Levels of Maturity.  If Charlie Brown already started to criticize himself before he did this, it would help him to look at the style he has begun to use, and then rate that.  After rating the style, it would help him to see if he could come up with a more mature style that would match either a 4 or 5 level.  To help him do this, he might work a little on summarizing his problem using the word, “DIG.”  That will help him to dig for his desire, what is interfering with his desire, and what he feels guilty about.” (see Dig For The Conflict)

“Very impressive, Judy.  You’re a fine student.  If Charlie Brown asked you to summarize his conflict, what would you say?”

Charlie Brown, you seem to desire that you not yell at your baby sister, but the fact that you did has led you to perceive that, interfering with your desire, you are likely to continue yelling at her.  You appear to feel guilty for your actions by saying you hate yourself.”

NOW, THE NEW MATERIAL

“Well, Judy, I can see that you’re now ready to move on to some new material.  After you get skilled at summarizing the most obvious conflict in a difficult situation, it’s then helpful to use the word “DIG” to remind you to dig a little deeper to find other desires that may be important to consider.  What other desire do you think Charlie Brown might have that is important to consider in this situation?”

After some thought, Judy replies, “He desires to play with his puzzle, but his sister interfered by messing it up.”

“Yes, Judy, very good.  Do you think Charlie Brown thinks his sister is guilty of doing something wrong for messing up the puzzle?”

“Probably not.  He seems to recognize that she is only a baby, so he’s not blaming her for what she did.”

“I think you are right, Judy.  Now, when we are using the DIG Conflict Model, to have a full conflict we must have all three conditions of a conflict, the desire, the interference, and the guilt.  In the problem you just described, we only have the desire and the interference, but no guilt.  Even though this is not a full conflict, it may still be very important to consider in this situation.  We will be calling this type of problem a DESIRE-INTERFERENCE PROBLEM.  And so, when we think about all of the possible problems that might be involved in a difficult situation, we write down a summary of all of the possible conflicts and all of the possible DESIRE-INTERFERENCE PROBLEMS.

“To help us to dig a little deeper to find any of the other important problems in a difficult situation, today I am giving you two types of tools to dig, two types of shovels to dig, if you will. The first shovel is look for the desire to be liked or loved. The other tool is look for the desire to be free to make one’s own decision.  I discussed both of these tools (looking for the desire to be loved and looking for the desire to avoid interference with freedom) more thoroughly in my blog post titled, Why is Criticism So Hard To Bear?

“Oh, now I remember that one,” says Judy, as if a light suddenly went on in her head.  “You talked about how people, when criticized, might feel that people won’t like them, and why it’s important to consider this when we try to come up with a long term solution to problems.”

“Yes. I also mentioned that when we are criticized we often think that the criticizer wants us to make some change. This criticism might be provided not simply as a suggestion, but the criticizer soon begins to put pressure on us to change even against our will.  We may, therefore, become defensive as we begin to desire to make our own life decisions without outside pressure.  When we dig deeply into a difficult situation we would be wise if we look at how the “desire to be liked and loved” is involved in the situation and how the desire to “remain free to make our own decisions” is involved in the situation.  It helps to write down a summary sentence or two for each of the conflicts that you can see in the difficult situation, each of the desire-interference problems, and then dig deeper using the two shovels, that is, the liking/loving  shovel and the protecting freedom shovel.  In this way, you will get a list of the problems that all have to be addressed if you wish to create wise and lasting ways to deal with difficult situations.

“Sometimes, when we look at a difficult situation, it all seems to be so complicated, that we just get lost on how to move forward in a helpful way.  By using the approach I just described, the big difficult situation is broken down into easier-to-understand problems.  Oftentimes, working on making some improvements to deal with each of these easier-to-understand problems, one by one, the larger difficult situation begins to improve.

“In coming weeks, I’ll present examples of how this approach can be very helpful.  As we go through them, you’ll become so familiar with this approach that you will find that you can use it even in the most trying situations.”

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Some people will enjoy reading this blog by beginning with the first post and then moving forward to the next more recent one; then to the next one; and so on. This permits readers to catch up on some ideas that were presented earlier and to move through all of the ideas in a systematic fashion to develop their emotional and social intelligence. To begin at the very first post you can click HERE.

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INTRAPERSONAL CONFLICTS AND CHARLIE BROWN: ADVANCE LESSON

A few weeks ago I published a post titled CONFLICTS WITH OURSELVES: LESSONS FROM CHARLIE BROWN.  Today, let’s quickly review the ideas presented there, and then move on to discuss a few more.

Review

When one person has a conflict with another person, we call this an interpersonal conflict.  An intrapersonal conflict occurs when a person has a conflict with himself or herself.

When we describe a conflict using the DIG Conflict Model, the letters of the word, “DIG,” helps to remind us to first dig to find the DESIRE, then something that INTERFERES with the desire, and finally, the GUILT.  Earlier, we looked at the following example of an intrapersonal conflict:

Charlie13

When we looked earlier at this example, I provided the following tentative description of Charlie Brown’s intrapersonal conflict:

Charlie Brown seems to desire that he not yell at his baby sister, but the fact that he did has led him to perceive that, interfering with his desire, he is likely to continue his yelling at his sister.  He appears to feel guilty for his actions by saying he feels terrible and hates himself.

It would be simpler to describe this conflict by saying:

Charlie Brown desired that he not yell at his baby sister, but he interfered with his desire by yelling at her.  He felt guilty about it.

In this simpler description, we still have all of the three conditions for a conflict–that is, the desire, the interfering act and the guilt.  But they all took place in the past.  To become an expert at dealing with conflicts, we must learn to describe an existing conflict as something relevant to the future.  This skill will help us to prevent similar conflicts from recurring over and over again.

Okay, so there’s our summary in what was presented the last time we discussed intrapersonal conflicts.  Let’s now move on to some more advanced ideas.

Advanced Lesson

Whenever we have a conflict with ourselves, we oftentimes present to ourselves some negative criticism.  In the above three panels of the Charlie Brown comic, Charlie Brown indicates he has evaluated how he treated his sister and he makes it clear that he doesn’t like what he did.  When we evaluate something and state we don’t like what we evaluated, we have provided negative criticism.

In an earlier blog, we looked at providing negative criticism during interpersonal conflicts.  We saw that according to the DIG Conflict Model, there are five levels of maturity when it comes to providing negative criticism (see blog post titled, PROVIDING NEGATIVE CRITICISM:  FIVE LEVELS OF MATURITY).  Level 1 is viewed as the most immature level, and level 2 is viewed as a bit more mature, and so on.  Readers of this blog were encouraged to familiarize themselves with the five levels, and then to use them in the following way:

First, they learn to recognize that they are getting ready to provide somebody criticism.

male criticism

Then they pause to think about how they are likely to provide the criticism.

Jack criticism 2

Then, before they provide the negative criticism, they decide what level of maturity the criticism they are likely to give is at.  If it is below level 4, they try to change the criticism so that it matches level 4, or even level 5.

In this example, the man is the employer of the woman who wrote a report.  After looking it over, he sees he is likely to provide criticism in a style that would best match level 2, which states:

2.  This level requires displaying one or both of the following:

  • The criticizer does not explain what the offending behavior is, but instead expresses displeasure with glares, insults, shouting, silence, or threats that do not involve bodily harm.
  • Threatens bodily harm regardless of what else is said.

Now, I understand that some of you might feel that the employer deserves a higher rating because he does explain what the offending behavior is when he says the report is stupid.  But this just indicates in some vague way that he doesn’t like the report using the insulting word, “stupid.”  In my opinion, his comment is not an adequate description of what he doesn’t like about the report to warrant a more mature rating.

Seeing that this type of criticism is a bit immature, the man’s job in this example would then be to try to come up with a form of criticism that matches one of the more mature levels.  One of the more mature levels is level 4:

4.   The criticizer states the criticism without bodily attacks, damaging property, glares, insults, threats, or shouts, and with enough details so that the criticized person, if he or she wills, can improve the behavior, idea, or appearance.  If the person receiving the criticism becomes defensive or angry, the criticizer empathizes without returning glares, insults, threats, or shouts.

In this example, by pausing and thinking about level 4, the man asks himself to describe his criticism in a clearer, more precise way than shouting “The report is stupid!”  To help him to clarify his thoughts, he uses the word “DIG.”  Thus, he says to himself that “I desire that in the future this woman who wrote this report will follow the directions that I give her and interfering with this desire is the fact that in this report she did not do so.  I think she is guilty of ignoring my directions.”

Having slowed down so he can think about this, the man now decides that the best way to provide the criticism to the woman is to wait until he has managed to calm himself down enough so he can speak to her using a respectful tone of voice and without any insulting words.  Then he will go over the first direction he had given to her and ask her to describe how she might have written the report so that he would have seen that the report writer is following his direction.  If she is not sure how to respond, he could then explain more thoroughly what he wants when she attempts to follow this direction.  After clarifying the first direction, he could go over in a similar way his second direction, and so forth.

Now, I don’t mean to suggest that this is the only resolution to this employer’s conflict.  For example, he could instead assign the best report writer in his company to mentor this employer.  The mentor would review each of her reports before she hands them in, show her copies of high quality reports, and so on.   The point is that this employer can improve the quality of his criticism by pausing before providing the criticism, thinking about how he is preparing to provide the criticism, comparing it to the five levels of providing negative criticism, and then seeking a way to change the criticism to something that matches a more mature level.

With intrapersonal conflicts we carry out a similar plan as we do with interpersonal conflicts.

Let’s return to our Charlie Brown example:

Charlie13

Here we see that even before first recognizing he is about to provide himself negative criticism, he has already done so.  That’s not the end of the world.  Many old habits are not easy to change quickly, and if you find yourself slipping into past styles of dealing with conflicts, you need not beat yourself up over this.  There are better ways to helpfully carry on.

In our Charlie Brown example, even after having already provided negative criticism, he can still go through the steps we discussed for dealing with interpersonal conflicts.  That is, he can first look at how he did criticize himself and then compare it to the five levels of providing criticism.  Then, he can pick out which of the five levels best matches his response.

In my judgement, Charlie Brown’s response falls somewhere between level 2 and level 3.

Level 2 states:

2.  This level requires displaying one or both of the following:

  • The criticizer does not explain what the offending behavior is, but instead expresses displeasure with glares, insults, shouting, silence, or threats that do not involve bodily harm.
  • Threatens bodily harm regardless of what else is said.

Charlie Brown, in this example does state what the offending behavior is.  That is, he says, “I shouldn’t have yelled at her, she is only a baby.”  But to match level 3 his response would have to look like this:

3.  The criticizer clearly states the criticism with enough detail so the criticized person, if he or she wills, can improve the behavior, idea, or appearance, but couples it with glares, insults, shouts, or threats that are not about bodily harm.

Charlie Brown’s criticism of himself, in my opinion, is not quite clear enough to fully match level three.  The fact that he repeatedly says he hates himself seems to be an example of insulting himself so that part of his criticism matches both level 2 and 3.

Once Charlie Brown figures out about what level his response had been, he could then see if he could come up with a response that better matches a more mature response, perhaps level 4, or even level 5.

Attempting to describe interpersonal conflicts using the letters in the word “DIG” can be helpful for coming up with a more mature response.  Similarly, attempting to describe intrapersonal conflicts using the letters in the word “DIG” can be helpful for coming up with a more mature response.  What would that look like?  Here’s one way Charlie Brown can do this:

He tells himself,

I desire that I not yell at my baby sister, but the fact that I did has led me to guess that, interfering with my desire, I’m likely to continue yelling at her.  I feel guilty for my actions.

Notice that there are no insults in this statement.  This statement is an important step toward coming up with negative criticism that matches a level 4 or 5 response.  Charlie Brown still must go on from here to come up with a plan that can help him to become less likely to yell at his baby sister.  Next week we will begin to look at some plans to help him do just that.

Practice

For those of you who truly want to become a master at dealing with intrapersonal conflicts, I recommend that you now take the time to either print out the five levels of providing negative criticism (see PROVIDING NEGATIVE CRITICISM:  FIVE LEVELS OF MATURITY) or if you don’t have a printer, write them out in any way you can.  Then, tape them to your refrigerator door.  This week, each time you see them, try to recall some time that you provided negative criticism to yourself.  Try to recall just what you said to yourself.  Then, try to see what level best matched what you said to yourself, and if it is less than a 4 or 5 level, try to create a response that would match a higher level response.  With this type of practice, you will soon see some real progress in your skills to deal effectively with intrapersonal conflicts.

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Some people will enjoy reading this blog by beginning with the first post and then moving forward to the next more recent one; then to the next one; and so on. This permits readers to catch up on some ideas that were presented earlier and to move through all of the ideas in a systematic fashion to develop their emotional and social intelligence. To begin at the very first post you can click HERE.

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Conflicts: Lessons from Beetle Bailey

Why would someone fling insults at you?  For the past few weeks we have discussed eight different reasons and how to deal with each one (see INSULTS: A COMIC STRIP LOVER’S GUIDE).

Sometimes when people attempt to insult you, they are being clumsy at letting you know they have a conflict with you.

Here, it looks like Lt. Fuzz insults Sarge because he has a conflict with Sarge.  That is, Lt. Fuzz has a desire that sergeants under his command are physically fit. Interfering with Lt. Fuzz’s desire is the fact that Sarge appears to be fat.  Lt. Fuzz seems to think that Sarge is guilty of not keeping himself in solid fighting shape.

Notice that the first letters of the three conflict components (DESIRE, INTERFERENCE and GUILT) spell the word, “DIG.”  The word “DIG” helps us to remember to DIG for the conflict by looking for the DESIRE, INTERFERENCE and GUILT.

If you are to become a master at dealing with name calling, insults and teasing, when someone is trying to insult you, you must prepare yourself so that you will be able to DIG to find out what the conflict is all about even under the stress of being bombarded with belittling comments.  To become skillful at this takes some practice.

Last week’s post provided followers of this blog some practice for digging for the conflict by using a major conflict from the Shakespeare play, Romeo and Juliet (see post titled CONFLICTS: LESSONS FROM ROMEO AND JULIET).  Today we will have some fun using some Beetle Bailey comics to sharpen our skills and to deepen our understanding about what it means to have a conflict.

Practice

As a fun way to develop the skill of coming up with conflict descriptions, please read the Beetle Bailey comic below and then see if you can describe from Sarge’s perspective the conflict he is having with Beetle in two sentences.

In formulating your two sentences, it is important to be aware that Sarge’s look of concern on his face when he hears Beetle’s stiff muscle excuse doesn’t figure to be genuine.  Any regular reader of the Beetle Bailey comics knows that Beetle’s character, although lovable, is one of laziness and perpetual excuse- making.

Sarge, painfully aware of Beetle’s laziness, in all probability is acting concerned just to play along with the excuse, while at the same time, harassing Beetle until he gets to work.

With this in mind, there are several two-sentence conflict descriptions that people might provide here.  Here’s an example that I like: Sarge desires that Beetle gets going but interfering with his desire, hears Beetle making an excuse to stay in bed.  Because Sarge is aware that Beetle has a long history of being lazy, I’m guessing that he believes that if Beetle doesn’t get going he would be guilty of pretending to be injured to avoid his responsibilities.

Why do I like this description?  It’s brief, and it’s consistent with the model of conflict we will be learning about on this blog—The DIG Conflict Model.

The Pattern for Describing Conflicts

The conflict statement we just used to describe Sarge’s apparent conflict with Beetle is in a form that doesn’t assure that a conflict exists; rather, it provides us a standard pattern that allows us to briefly describe the situation as best we can with each of the three conditions of a conflict in a familiar place.  Once we form the statement, we can see better if a conflict does or does not exist, although we rarely can be absolutely certain.

When there are only two parties involved in a conflict, the pattern can be described as follows:

First select an individual who appears to be one of the parties to the conflict and make him or her Party A.  Then create a sentence that identifies who Party A is.

The first sentence also includes Party A’s desire,

the other party involved and the interfering act. 

Then fashion a sentence that puts forth the theory that Party A perceives that the other party would be guilty of doing something wrong if he or she carries out the interfering act.

The first two sentences are composed, as best you can, from Party A’s point of view.  In composing these two sentences, you are to imagine that you are Party A, and you are doing the best that you can to briefly explain your position.  We will be frequently using this two sentence pattern throughout this blog.

Being Specific is Good

If I was able to ask Sarge to briefly describe his conflict with Beetle, suppose he answered, “Beetle is acting like a jerk.”  The fact that Sarge’s answer is brief is good.  But Sarge’s answer just tells us that he doesn’t like some way that Beetle is behaving.  Sarge’s answer would be more precise if his answer stated what specific act he desires and the specific act that is interfering with what he desires—i.e. gets going, versus stays in bedHis answer would be even more precise if it also provided enough information so that we understood that Sarge would view Beetle as guilty if Beetle carries out the act that would interfere with Sarge’s desire.

Conflicts and Problems

Whenever we discuss conflicts, it is important to make a distinction between conflicts and problems.  To begin, every conflict contains a problem.  The problem for Party A is how to achieve what he or she desires given the likelihood of someone acting in a way that prevents achieving the goal.

Although every conflict contains a problem, every problem is not a conflict.  To illustrate this, let’s go back to the scenario involving Sarge and Beetle.

Earlier I made the case that one reason this is probably a conflict is that Sarge probably believes Beetle is just pretending to be unable to move so he can get out of work.  Knowing Sarge from observing him over the years, I’m guessing he is very likely to think Beetle is guilty of shirking his responsibility of working hard even if he is a little sore.  But let’s change this scenario a little.  A doctor confirms to Sarge that Beetle has broken both of his legs.  So you can vividly envision this, let’s say Beetle got his legs broken as a bomb went off in Afghanistan while he was trying to save several of his buddies.

Illustration by Eric Sailer

Sarge, when he first hears Beetle can’t get going today, assumes that Beetle is just making up some excuse.  Because of this assumption, Sarge believes he is about to engage Beetle in a conflict, but as soon as he sees a medic working on Beetle’s seriously mangled legs, he changes his mind.

Because Sarge no longer thinks Beetle is guilty of shirking his responsibility to get to work, he does not believe that in this situation he has a conflict with Beetle.  Does this mean that Sarge no longer has a problem?  Even if Sarge completely clears Beetle of any wrong doing, the work that he had desired Beetle to do still may need to get done.  In some situations, this is so easily handled that no problem can be identified.

Illustration by Eric Sailer

In the above two boxes, Sarge explains to his general that his outfit will be short-handed until a replacement can be assigned.  Such a familiar routine for an experienced sergeant could not be categorized as a problem.  But let us consider another example.  Suppose the work that Beetle is assigned to do on the day his legs are injured involves repairing some jeeps that the general requires for an urgent mission.  Now when Sarge realizes that Beetle is out of commission, he has to figure out how to still get the work done.  This may be a fairly small problem or a very difficult one involving a great deal of stress.

As these variations on the Beetle Bailey scenario illustrate, even if a conflict suddenly disappears, a problem may still be left in its wake.  The problem may be somewhat smaller than the one contained in the original conflict, about the same, or more serious.  A problem becomes a conflict when Party A perceives that the other party would be guilty of doing something wrong if he or she carries out the incompatible act.

A Conflict, to Exist, Must Refer to Something that will Occur in the Future

Imagine Beetle getting a punch in his skinny nose.

For some, the act of getting punched is enough to declare that a conflict exists.  The punch, they say, is the conflict.  But if that’s so, why not just view the punch as a punch and nothing else?  What does the concept of a conflict add to the punch?  Hmmm.

Consider what would happen if you got punched by Sarge, and a fraction of a second later Sarge suddenly grasps his chest, screams in agony, falls to the floor, turns white, and dies of a heart attack?  Would you believe you have a conflict with Sarge?  Most people, under this set of circumstances, would answer, “NO.”  A proper definition of a conflict must account for this.

In the DIG Conflict Model, the cause of the conflict is not that you were hit, but rather that you perceive the existence of all three conflict conditions.

One of these conflict conditions is—Party A perceives that the other party is likely to act in a manner that is incompatible with the desire.  If you got hit by Sarge and then Sarge suddenly dies, under this set of circumstances why are you unlikely to view yourself as having a conflict with Sarge?  The DIG Conflict Model makes the reason evident.  If Sarge dies, you no longer have any reason to perceive Sarge is likely to hit you again.

Many people intuitively understand this.  That’s why you will often hear people who find themselves in a situation that appears to be developing into a conflict quickly declare that the interfering act was an accident and the behavior won’t happen again.  Such people understand that if they can convince Party A that the interfering act that has already occurred wasn’t intentional and therefore should not be perceived as a signal that it will happen again, no conflict will be perceived.

Summary

When we summarize a conflict, it helps us to think of the word, DIG.  This reminds us to dig for the  desire, the interfering act and the guilt.

All conflicts contain a problem.  But NOT all problems are conflicts.

A conflict, to exist, must refer to something that will happen in the future.

Well, that’s your lesson for today.  Have a splendid week.

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Some people will enjoy reading this blog by beginning with the first post and then moving forward to the next more recent one; then to the next one; and so on. This permits readers to catch up on some ideas that were presented earlier and to move through all of the ideas in a systematic fashion to develop their emotional and social intelligence. To begin at the very first post you can click HERE.

Categories
anger conflict resolution dig for the conflict emotional intelligence negative criticism threats wisdom

CONFLICT: A COMIC STRIP LOVER’S GUIDE

In an early post on this blog I discussed the fact that often the reason why people might call you a name, insult or tease you is that they have a conflict with you (see the posts titled DIG FOR THE CONFLICT, CONFLICTS AND FRUSTRATION, and SUMMARIZE AND DELAY).

For many of us, as soon as we see that someone has a conflict with us, we get defensive, and perhaps we might shout out something like, “How dare you speak that way to me!” or “You’re a stupid idiot!”

When you become a master at dealing with name calling, insults and teasing, rather than becoming defensive, the first thing you do is to let the person who has a conflict with you know you care that he or she is upset.  Then you artfully summarize the conflict that has led to the disrespectful behavior even when you are being insulted.  You can learn to do this, but it takes some practice.  With the help of our comic strip friends, we can learn this skill while having some fun as we go about doing so.

We’ll begin by reviewing what a conflict is, then discuss the plan to summarize a conflict, and then we’ll practice using this plan by looking at comics that depict a  conflict.

What is a Conflict?

In the above Peanuts comic, despite Peppermint Patty’s delightful attempt to convince the teacher to raise her grade, the teacher won’t bend.  Do you think Peppermint Patty has, at any point in this comic, a conflict with her teacher? How do you define a conflict?

Some of my students respond to these two questions by saying something like,

When people are upset about something they have a conflict.  When they aren’t upset anymore, BINGO, the conflict is resolved.  Peppermint Patty seems to be upset about her grade, especially in the next to last scene.  Therefore she has a conflict with her teacher. 

In the very last scene, Peppermint Patty still doesn’t look happy, but perhaps the teacher’s comment praising her oratory skills has lifted her spirits enough so that she is no longer upset.  If so, does this mean her conflict has been resolved?

I get mixed answers to this question.

Some of my students, when thinking about the meaning of conflict, talk about someone getting in the way of someone else’s desire.  If Peppermint Patty feels her teacher is getting in the way of her desire to get a higher grade, she has a conflict with her teacher.  Saying “getting in the way of someone’s desire” is the same as saying “interfering” with someone’s desire.

Still others emphasize guilt—if Peppermint Patty believes her teacher is guilty of doing something wrong, she has a conflict with her.

When I say I have a conflict I mean that I have a desire, I believe that someone is likely to do something that interferes with my desire, and I believe that someone would be guilty of doing something wrong if the person does interfere with my desire.

When I have a conflict, I think of the word DIG and it reminds me to dig to find what I DESIRE in this situation,

Illustration by Deanna Martinez

what is INTERFERING with my desire,

Illustration by Deanna Martinez

and why I believe someone is GUILTY of doing something wrong.

Illustration by Deanna Martinez

I see conflicts as types of triangles.

PRACTICE

“I’m not kidding around anymore, Mrs. Snyder–you have our book, we have your son!”

Let’s pretend that you are Mrs. Snyder, the mother of this tied up boy, and you get this phone call from this librarian.  Let’s call the librarian, Ms Jones.  You feel that the way Ms Jones is shouting at you is disrespectful.  But instead of shouting back at her, you decide to first let her know in a caring way that you understand that she is upset.  Then you summarize the conflict.  If you will, please utilize the word DIG to remind you of the words, desire, interfering and guilt.   Then come up with a statement that you would say to the librarian that includes a brief description of the conflict to her in two or three sentences.  After you give this a try, compare your statement to mine.

Here’s my statement to the librarian:

I can hear that you are very upset, Ms Jones.  I think I understand your conflict with us.  You desire to get the library’s book back.  Interfering with your desire, my son has not returned the book and you feel that he is guilty of being wrong for not returning it.  Is that correct?

This type of statement takes less then a minute of your time.  It helps both you and the other party in the conflict to clarify what the conflict is all about.  You will find that many times you think you know what the conflict is all about, but it turns out that you missed something very important.  By presenting your summary statement in the form of a question, you give the other party a chance to clarify what all of the issues are.

Now, when the librarian indicates that she has a conflict with you, you may be tempted to bring up a conflict that you have with her.  For example, if you are Mrs. Snyder, you might feel that you have a desire that Ms. Jones speak to you in tones indicating respect.  Interfering with this desire, you feel her shouting is disrespectful.  You feel she is guilty of being disrespectful.  In most situations you would be wise to put this secondary conflict on hold until the first conflict that came up is worked on for a bit, and then some time has passed until the sea of conflict has calmed.  We’ll look at some exceptions to this rule in future posts.

Let’s try another one:

In this comic, if you will, make believe you are Peppermint Patty.  See if you can come up with a statement to Marcie that summarizes Marcie’s conflict with you.  Try to make it consistent with the DIG Conflict Model.  Then compare it to mine.

Here’s the statement I came up with:

Marcie, I can see you are really upset with me.  Let me see if I understand the reason why.  When you lend something to me, you desire that I return it.  I’ve been interfering with your desire when I’ve borrowed quite a few things from you and I haven’t returned them.  You feel that I am guilty of being wrong to keep doing this.  It that right?

To come up with my statement, I first tried to come up with something that showed Marcie that I cared that she was upset.  If this was a real situation, I would make sure that when I said the first sentence in my statement, I looked at least two seconds into Marcie’s eyes in a caring way and I used a tone of voice designed to let her know I am concerned about what is going on.  As I continued to design my statement, I thought to myself that I have to DIG for the conflict.  Then the letters in the word “dig” reminded me to try to find Marcie’s desire, what she thinks I have done to interfere with her desire, and what she thinks I’m guilty of doing wrong.  Notice that I ended my statement with a question that invites Marcie to correct anything I might have said that she thinks is wrong.

Let’s try one more.

Pretend, if you will, that you are Linus.  Keep in mind that when someone is angry with you, as Lucy is, it’s probably not the best time to discuss philosophy.  See if instead of the comments Linus makes in the comic, you can summarize the conflict Lucy has with you by utilizing the DIG Conflict Model.  Then you can compare it to mine.

Here’s my statement to Lucy:

Lucy, I can see you’re upset with me.  Let me make sure I understand why.  You desire that I not tear any covers off of comic magazines.  I interfered with this by tearing the cover off of the magazine in your hand.  You feel I’m guilty of being stupid.  Is that right?

To be effective, I have to make sure that I say the first sentence in this statement while looking squarely into Lucy’s eyes and I use a tone of voice that expresses that I care about the fact that she is upset.  If you are not sure about how to express that tone of voice, consider making an appointment with an acting coach.  Just a single lesson usually is enough to teach you all that is required to master this important skill.

The key words that identify the three conditions of a conflict.

When using DIG to remind you of the three components of a conflict, it’s important to know some related words for “desire,” “interfere,” and “guilt” because when you are involved in a conflict it helps to vary your statements.

  • When individuals have a “desire” that some act will occur, they sometimes say they “want,” “need,” or “have a goal to achieve” it;
  • An act that “interferes” with another act “prevents,” “obstructs,” “gets in the way,” “is incompatible,” “injures,” or in some other way makes it less likely or less effective.
  • Someone who is “guilty,” is often said to be “responsible,” or is to “blame” for the behavior.  Or we feel that the guilty party “should have not done” the behavior, or that the person did something “wrong.”

Keep this in mind when you summarize a conflict.  By doing so, you will come to realize that you don’t always have to use the words “desire,” “interfere,” and “guilt” in your summary statement.  You can just use the word DIG to remind you of what to look for, but you can use other words to describe the three components of a conflict.  In this way, your summary statements can be created in a way that sound better to your ear.

Well, there’s your lesson for today.  I understand that there is more to resolving a conflict than the art of showing caring and summarizing the conflict.  We’ll get to all of the crucial skills necessary to resolve conflicts in future blog posts.

In time you will find that the skill of summarizing a conflict is enormously helpful.  If you continue to follow this blog, you’ll meet up with some more practice sessions.  Eventually you will find that you can summarize a conflict as smoothly as you can name the people in your home.  And when you get that smooth at doing so, you’ll find that people in your community will come to have a higher respect for you. 

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Some people will enjoy reading this blog by beginning with the first post and then moving forward to the next more recent one; then to the next one; and so on. This permits readers to catch up on some ideas that were presented earlier and to move through all of the ideas in a systematic fashion to develop their emotional and social intelligence. To begin at the very first post you can click HERE.

Categories
anger conflict resolution criticism dig for the conflict stress wisdom

ANGER: A COMIC STRIP LOVER’S GUIDE

If you have been following this blog you know that I have discussed anger on several occasions (See, for example, BEING A WISE FRIEND TO YOUR ANGRY SELF, PART 1 and BEING A WISE FRIEND TO YOUR ANGRY SELF, PART 2).  During these discussions, I mentioned that how you handle anger has a big influence on how much people like and respect you.  Today we delve into the nature of anger a little more with the help of some of our favorite comic strip buddies.

Getting Familiar with Anger

 

Most of us have a pretty good idea about what it means to be angry.  In the above comic, when Charlie Brown is shouting at Lucy and wildly waving his hands above his head, we’re pretty sure he is in the midst of an angry fit.

Although you already know, in some general way, what it means to be angry, if I was to ask you to quickly create a list of the various expressions and experiences that go along with anger, you might have to pause for a few seconds and your list might end up leaving out several important ones.  Moreover, some readers might have a somewhat different idea of what anger means than I do.  This might lead them to become confused about some of my statements.  And so, because we will be discussing situations that involve anger, it will be a valuable use of our time to take a quick look at anger as revealed in comics and for me to make some comments along the way.

Shouting and Glares

Consider this Luann comic.

Here, we see blond-haired Tiffany planning to put on a beauty pageant contest that she desires to win.  Suddenly, Tiffany experiences a conflict with Crystal.  What I mean by this is, Tiffany seems to desire to enjoy her thoughts about the glory of winning her pageant.  Interfering with this, Crystal throws out statements suggesting Tiffany might not win.  Judging from Tiffany’s angry reaction, I’m guessing she thinks Crystal is guilty of doing something wrong.  I’m hoping that you notice that the first letter of “desire,”  “interfering”,  and “guilt” spell out the word DIG.  It can remind you how to summarize a conflict. (To learn more about what it means to have a conflict, see my post, DIG for the Conflict).

In a sense, Tiffany set sail on the great Sea of Conflict just about when Crystal asks, “And if they don’t pick you?”

When Tiffany begins to glare at Crystal and shout, she has probably sailed into a region of conflict known as anger.  Assuming that someone isn’t pretending to be angry, the actions of glaring and shouting are pretty clear signs that indicate someone is angry.

Quiet Anger

Even when someone is not shouting, anger may be present.

In the above exchange between Luann and Tiffany, when they are whispering it is obvious that they are angry with each other.  The glaring and insult darts that they are throwing at each other provide us adequate signs that they are angry at each other.

Other Expressions of Anger

During conflicts, besides glaring, insults, and shouting there are a few other signs that indicate we are in the region of anger.  Consider the following Blondie comic.

Here, we see not only shouting, insults and glaring as signs of anger, but also pointing while waving a finger, insults and name calling.  I notice in the last panel that Blondie is giving Dagwood a little love.  I wonder if that will ease his anger.

See if you can see some additional anger signs in the following Retail comic.

Val, the woman with black hair, begins her expression of anger by placing her hands on her hips and widening her eyes.  She then crosses her arms in front of her, lowers her eyebrows, and threatens Courtney.

Below, we see Marcie express her anger a little differently.

In addition to shouting, Marcie throws up her hands and then begins to throw objects at Peppermint Patty.

Can you describe the turtle’s expression of anger in this next one?

As I see it, in this Sherman’s Lagoon comic when the turtle yells “THAT’S THE DUMBEST THING I’VE EVER HEARD!” he expresses his anger by insulting Sherman.  He also expresses his anger by banging his fist on the table.

In the comic below, how does the woman in orange express her anger?

The woman is shouting while leaning forward in a threatening manner and baring her teeth.

Next, we have a Piranha Club comic.

Notice that the woman goes beyond threats to express her anger, using direct physical violence.

In our next example, again someone goes beyond a threat to express anger.

Lucy expresses her anger by waving her fist, and then she ends up throwing a snowball at poor ol’ Charlie Brown.

Next, Helga doesn’t display any of the signs we already mentioned, and yet we and her husband still recognize that she is angry.

As this comic illustrates, withdrawing love may be a sign of anger.

Overt and Covert Anger

Overt anger refers to anger that is expressed in ways that we can clearly see, hear, or—as in the example of the woman slugging a guy—feel.

Other overt cues that may be interpreted as anger are frowning, blushing in the face or neck, not smiling, agitated rigid movements, apparent tension in the body, heavy walking, grinding one’s teeth, and a protruding neck vein.

In addition to overt anger, sometimes people attempt to hide their anger.

When people are angry inside but don’t show us outwardly that they are angry, we may say that they are experiencing covert anger.

When we attempt to determine if someone is angry, we may only be partially successful.  Because of the subtlety and variety of the clues that may suggest someone is covertly angry, we will at times guess wrongly.

In an effort to avoid offending some of their readers, there are several overt expressions of anger that we don’t observe in newspaper comics.  Crying out, “Jesus Christ!” and “God almighty!” are examples of religious-themed anger responses.  Shouting out curses are very popular in some circles.  Sometimes people, knowing these expressions of anger will get them in trouble, find themselves saying these words silently to themselves.

Often people show some aspects of their anger overtly while experiencing a commotion of other aspects of their anger inside of themselves that they do not wish to share with others.  They may find themselves silently cursing while imagining attacking the perceived cause of their anger.  They may feel hot, nervous, a tightness in their forehead, or a pounding in their blood vessels and heart.  Covert anger refers to all of the thoughts and body reactions of anger that others can’t observe.  Both overt and covert anger go along with the entire experience of anger.

Not All Expressions of Anger are Real Anger

On occasion, people will act angry when they are not.  This may be done, for example, because they think such actions will scare someone into fulfilling their desires.  At other times, they may desire to appear manly and believe displaying anger is manly.  And sometimes their friends are acting angry about something and in an effort to support their friends they may pretend that they are also angry.

Not All Conflicts Contain Anger

When we are in a conflict with someone, we are not always angry at the person whom we believe is guilty of doing something wrong.

In this Garfield comic, Jon may very well have a conflict with Liz that can be described as follows—Jon desires that Liz develop a better sense of humor and that she not twitch her nose when she is angry, but interfering with this, her actions have been suggesting to him that she will not be changing these attributes in the foreseeable future.  If asked, Jon might admit that Liz is guilty of being less than a perfect companion.  Nevertheless, Jon appears so in love with Liz that if we were to ask him if he is angry with her it’s not hard to imagine him saying, “Are you kidding!?  I’m not angry at her, I’m crazy about her!”

When we are engaged in a conflict, instead of feeling angry, we may feel fear, hope, loving kindness, sadness, humorous, and a sense of challenge.

Sometimes a Conflict begins in Anger and then it Fades Away Into the Distance

Oftentimes, when a conflict first begins, a person initially becomes angry.  As time goes by, people often find that they can sail away from anger to other less hostile regions on the great Sea of Conflict.

Illustration by Eric Sailer

Summary

This blog post was designed to introduce you to some basic ideas about anger.  We focused on the various expressions and experiences of anger.  In future blog posts, we will go over such topics as how anger is related to other emotions, what we mean by emotions, what are the functions of the various emotions, and how we can learn to use our emotions wisely.  Although these topics can be very serious, with the help of our comic strip buddies, we can have some fun along the way.

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Some people will enjoy reading this blog by beginning with the first post and then moving forward to the next more recent one; then to the next one; and so on. This permits readers to catch up on some ideas that were presented earlier and to move through all of the ideas in a systematic fashion to develop their emotional intelligence. To begin at the very first post you can click HERE.

Categories
anger conflict resolution criticism dig for the conflict emotional intelligence stress

DIG for the Conflict

To become a master at dealing with disrespectful acts, an important skill to learn is to identify the reason you are being treated this way.  In future blogs, I will discuss a total of eight reasons.  Today we’ll focus just on one of them.

Oftentimes the reason for the insulting behavior is that the insulter has a conflict with you. If you can quickly identify the conflict in very simple, clear terms, you will help both you and the other party to resolve the underlying cause for the disrespectful behavior.  Therefore, today’s blog post begins to teach you how to do this.  First, I’ll clarify what we mean when we use the word “conflict.”  Then I’ll teach you a simple strategy to summarize a conflict as you deal with disrespectful behavior.

WHAT IS A CONFLICT

dig2When I look to see if someone has a conflict, I think of the word DIG and it reminds me to dig to find what the person DESIRES in this situation, what is INTERFERING with the person’s desire, and whether or not the person believes someone is GUILTY of doing something wrong.

USING DIG TO HELP YOU DEAL WITH DISRESPECTFUL BEHAVIOR

Suppose I suggest to Judy that she should consider quitting her highly stressful job, and she responds as follows:

Illustration by Eric Sailer

Feeling that the way Judy yelled at me is insulting, I could yell back at her that she is stupid.  Would that help to resolve the conflict or make it more intense?

Consider another approach.  I respond to Judy in a very concerned way, saying “Wow, you really got upset about what I said.  Are you OK?”

digThen, I listened in a caring manner to Judy’s reply, and summarize what she has said, thus reassuring her that I had listened. I then look to see if she has a conflict with me. I do this by remembering the word “DIG.” That reminds me to look for Judy’s DESIRE, what she might think I did to INTERFERE with her desire, and what she thinks I am GUILTY of doing wrong.

Now, from Judy’s reply to me, I might not know for sure what the desire, the interfering act, or the guilt is in the conflict. So, I would ask her some questions to clarify what she wants/desires me to do differently in the future. I might ask, for example, “Judy, from what you said, I think you desire from me that I don’t give you my opinion unless you ask for it. Is that right?”

Let’s say she responds, “No, that’s not it. I think your idea that I should quit my job makes no sense. How will I pay my bills?”

Now, I have a clearer idea about her concern. However, I might not be sure why my giving her my opinion about her quitting her job would interfere with whatever she wants to do, so I could ask her in a caring manner a question or two to clarify this.

Finally, because Judy became angry with my suggestion, it seems that she thinks I am guilty of doing something wrong. So I might gently ask her about this, with the goal of avoiding, if at all possible, doing again what she thinks I was guilty of doing.

Now, it is certainly possible to have a desire-interference problem in which neither party is viewed as guilty for doing anything wrong. For example, let us suppose that after working for a few years I desire to become a nurse. I realize interfering with fulfilling my desire is, I don’t have the credentials to become a nurse. I don’t blame myself for this, but I still have to figure out how to earn the necessary credentials.

This is just a brief introduction to the DIG approach. We’ll be going over some more specifics of how to use the DIG model in future posts. For example, some of the questioning that we use to clarify what are the desire, the interference, and the guilt components of the conflict might be better persued when the angry person has had some time to calm down. But for now, I’ll just point out that when you get skilled at this model, you would show a genuine interest in people who become upset with you and that you care enough about them to try to clarify what the issues are.

There is far more to resolving a conflict than clearly identifying the conflict. In future posts, step by step, we will be learning techniques for doing so. But showing an interest in why someone is upset and clarifying the nature of the conflict are important first steps.


Assignment: Write one or two paragraphs that describes a conflict that you had with someone. In your description, identify each of the elements of the DIG Conflict Model, that is, the desire, the interfering act, and the perceived guilt.
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Some people will enjoy reading this blog by beginning with the first post and then moving forward to the next more recent one; then to the next one; and so on. This permits readers to catch up on some ideas that were presented earlier and to move through all of the ideas in a systematic fashion to develop their emotional and social intelligence. To begin at the very first post you can click HERE.