Tuesday, February 9, 2016

an accessory to fraud

The classic error that outsiders make in Afghanistan is to single out a proxy in whom to repose trust and through whom to interact with most other locals. Over the years of intrusions by outside powers, some Afghans have grown adept at capturing this privileged position and exploiting it to advance and enrich themselves, while dis-empowering (and thus incensing) their neighbors….

In my case I Kandahar, the self-interested intermediary was a balding, dour-faced Karzai retainer named Abdullah, who called himself an engineer, and who President Karzai’s younger half-brother, the late Ahmed Wali, recommended to me in the following terms: “If I put a million dollars in a storeroom and have Abdullah the key, and I came back in ten years, I’d find every penny of that money still locked inside.” I hired the man.

In late 2002 I departed Kandahar for an extended flurry of talks and meetings in the United States. Before leaving Abdullah in charge of the NGO, I walked him through my system for keeping track of petty cash expenditures: marking each outlay on the back of the envelope in which I carried the money, along with the date and the purpose. For an engineer, he seemed to have trouble catching on.

I returned, after several weeks, to find not a single new mark on the back of that now-empty envelope. Not one receipt, not a record of a single purchase, did Abdullah turn over. We were building schoolrooms. He had made deliveries of bricks and sand and gypsum, had paid weekly cash wages, bought the food our cook prepared for our employees…

Swallowing my panic, I demanded receipts. Abdullah went scurrying around to gather some. Sweating, I pieced together forensics that could tell a semi-coherent tale.

Years later another employee recounted Abdullah’s derisive comments about “Western accounting” and “Afghan accounting” – in which I was obviously unversed. I heard painful stories of suppliers who had never been paid. I reconsidered the probable reasons we’d been forced to leave a school building unfinished for lack of funds.

I had, in other words, been an accessory to fraud….

One way Abdullah kept me in thrall was by cultivating fear: by convincing me that Kandaharis were unabashed murderers and thieves. Himself a transplant from near Kabul, he professed a pious horror of the people among whom he was living. They would, he insisted, dismember me in a second were it not for his watchful protection.

A further technique was to keep me from interacting with anyone else face to face, without his presence in the room. Abdullah could get temperamental. Once when I decided to eat lunch with the rest of the staff, instead of separately with him, he threw a violent tantrum, refusing to speak to me for three days. I put it down to jealousy or made excuses for his psychological fragility. How rational would I be after more than two decades of war? Besides, I needed Abdullah. He got things done. What if he were to quit? What would I do?


Monday, February 8, 2016

focus on dreams instead of failings

“If everything worked out perfectly in your life, what would you be doing in ten years?”

Such a question opens us up to fresh possibilities, to reflect on what matters most to us, and even what deep values might guide us through life. This approach gives managers a tool for coaching their teams to get better results.

Contrast that mind-opening query with a conversation about what’s wrong with you, and what you need to do to fix yourself.  That line of thinking shuts us down, puts us on the defensive, and narrows our possibilities to rescue operations. Managers should keep this in mind, particularly during performance reviews.

That question about your perfect life in ten years comes from Richard Boyatzis, a professor at the Weatherhead School of Management at Case Western, and an old friend and colleague.  His recent research on the best approach to coaching has used brain imaging to analyze how coaching affects the brain differently when you focus on dreams instead of failings. These findings have great implications for how to best help someone – or yourself — improve.

As I quoted Boyatzis in my book Focus: The Hidden Driver of Excellence,  “Talking about your positive goals and dreams activates brain centers that open you up to new possibilities. But if you change the conversation to what you should do to fix yourself, it closes you down.”


Sunday, February 7, 2016

an understanding heart

In Gibeon the Lord appeared to Solomon in a dream by night: and God said, Ask what I shall give thee. And Solomon said, Thou hast shewed unto thy servant David my father great mercy, according as he walked before thee in truth, and in righteousness, and in uprightness of heart with thee; and thou hast kept for him this great kindness, that thou hast given him a son to sit on his throne, as it is this day. And now, O Lord my God, thou hast made thy servant king instead of David my father: and I am but a little child: I know not how to go out or come in. And thy servant is in the midst of thy people which thou hast chosen, a great people, that cannot be numbered nor counted for multitude. Give therefore thy servant an understanding heart to judge thy people, that I may discern between good and bad: for who is able to judge this thy so great a people? And the speech pleased the Lord, that Solomon had asked this thing.

Old Testament, 1 Kings 3:5-10
As quoted in "Finish With Your Torch Still Lit." by Dieter F. Uchtdorf, Ensign. October 2015.

Saturday, February 6, 2016

thoughts for managing a creative culture

John Lasseter and Ed Catmull, VES Awards. 2/28/2010
Here are some of the principles we’ve developed over the years to enable and protect a healthy creative culture. I know that when you distill a complex idea into a T-shirt slogan, you risk giving the illusion of understanding – and, in the process, of sapping the idea of its power. An adage worth repeating is also halfway to being irrelevant. You end up with something that is easy to say but not connected to behavior. But while I have been dismissive of reductive truths throughout this book, I do have a point of view, and I thought it might be helpful to share some of the principles that I hold most dear here with you. The trick is to think of each statement as a starting point, as a prompt toward deeper inquiry, and not as a conclusion.

  • Give good idea to a mediocre team, and they will screw it up. Give a mediocre idea to a great team, and they will either fix it or come up with something better. If you get the right team right, chances are that they’ll get the ideas right.
  • When looking to hire people, give their potential to grow more weight

Friday, February 5, 2016

between the known and the unknown

Invention… is an active process that results from the decisions we make; to change the world, we must bring new things into being. But how do we go about creating the unmade future? I believe that all we can do is foster the optimal conditions in which it – whatever “it” is – can emerge and flourish. This is where real confidence comes in. Not the confidence that we know exactly what to do at all times but the confidence that, together, we will figure it out. 

That uncertainty can make us uncomfortable. We humans like to know where we are headed, but creativity demands that we travel paths that lead to who-knows-where. That requires us to step up to the boundary of what we know and what we don’t know. While we all have the potential to be creative, some people hang back, while others forge ahead. What are the tools they use that lead them toward the new? Those with superior talent and the ability to marshal the energies of others have learned from experience that there is a sweet spot between the known and the unknown where originality happens; the key is to be able to linger there without panicking. And that, according to the people who make films at Pixar and Disney Animation, means developing a mental model that sustains you. It might sound silly or woo-woo, this kind of visualization, but I believe it’s crucial. Sometimes – especially at the beginning of a daunting project – our mental models are all we’ve got. 

For example, one of our producers, John Walker, stays calm by imagining his very taxing job as holding a giant upside-down pyramid in his palm by its pointy tip. “I’m always looking up, trying to balance it,” he says. “Are there too many people on this side or that side? In my job, I do two things, fundamentally: artist management and cost control. Both depend on hundreds of interactions that are happening above me, up in the fat end of the pyramid. And I have to be okay with the fact that I don’t understand a freaking thing that’s going on half the time – and that that is the magic. The trick, always, is keeping the pyramid in balance.”