One dichotomy I've seen in the management world is "science" vs. "art." The science camp, which I and numerous authors have roundly criticized, look for the magic formula: do these things, turn the crank, and get perfect management. At this point, we've had over a hundred years of idiocy passing as science, peppered with the occasional insight based on true science; insights which are generally ignored. This produces the "art" camp as a reaction, asserting that each case is different so no formula is possible.
As someone who has dabbled in art and creativity most of my life, I am drawn to seeing management as art. And yet I've had at least two experiences which have shown me that, even when art is involved, it
is possible to figure out rules or guidelines that make things work better.
Experience 1: Coauthoring
My first experience is coauthoring books. I've had two or three books (depending on how you count) published with coauthors, and a significantly larger number of projects that failed for various reasons. The failures tended to be messier, more dramatic and more unpleasant towards the beginning of my writing career. Some failures are simply because the coauthor had some kind of life change. The worst ones came through what I'll call "artistic disagreements" -- disconnections in vision about what we were doing or how we were going about it.
My father -- a sole proprietor who was always the boss -- argued on several occasions that I just shouldn't work with anyone, that it was too much trouble. In the worst of times, this idea sounded pretty good. However, the benefits and leverage of working with others continued to attract me, and it also felt like a puzzle that itched to be solved.
The solution came from Gerald Weinberg, who has successfully coauthored some 50 books and thus navigated these treacherous waters enough times to figure it out. His formula boils down to three points:
1. No Contract Before the Book is Done. The agreement must be between the two of you, and you must both know that either one can walk away. For some reason, when a third-party publisher contract is added to the picture (along with publisher schedules and expectations), it destroys the delicate balance between the authors and often causes strife. If it's just a book that we are working on together, and there's nothing forcing us to finish it, then we do it because we want to.
2. Everyone Works on Each Chapter. The work is not divided. This prevents accidentally overloading one author with too much, and it ensures that the writing style remains consistent.
3. If it Stops Working, We Walk Away. Note that points one and two have the effect of encouraging the participants to put down the project, using the "fail early" philosophy (another example: After the one-month training period, Zappos offers employees a 2K$ bonus to quit). For example, "Everybody works on each chapter" forces you to interact, and if it's not working for someone you find out early. When Weinberg says "walk away," he means that the project is put in the dumpster and nobody gets anything from it.
Of course, this formula isn't perfect and we might discover a new point to add in the future. But in my experience it's very effective and tends to avert many of the problems involved in coauthoring. The remainder can be relegated to "art."
That's an important thing to note, that when things get messy the solution is typically a combination of science (producing rules) and art (knowing when to fudge the rules and adapt a new solution).
Experience 2: Theatre
I currently have the lead in the
Crested Butte Mountain Theatre production of
Moon Over Buffalo (which explains why I haven't been posting much lately). This is my ninth or tenth production, and in the early ones I was noticing how much a play is like a computer program; lately I've been seeing the similarities to business -- theatre groups are even referred to as "companies."
So I've done this enough times to learn the process, and to see what works and what doesn't enough to form guidelines. I'll also note similarities to business.
1. The Team. You've got to have a team that's good enough; this typically means a certain number of experienced actors that know the drill and can carry and coach the inexperienced actors. Most of the guidelines for team management apply here, including the possibilities of getting a member who can poison the process or one that is a bad fit (typically, someone uninspired).
There seems to be an ongoing argument regarding startup teams; some say that the team doesn't have to gel and work well together. I believe the team is critical, especially since (in a startup) it's likely that you'll need to change what you're creating, and a gelled team will make that transition much more successfully than a team with strife. In the less-difficult environment of a stable company, a team still faces numerous challenges and will survive them far better if people enjoy being part of the team.
2. The Play. You've got to create a decent product. A great team can only do so much to compensate for a badly-written play -- however, a great team will not want to participate in such a play. Indeed, just as in
Experience 1 above, these factors are synergistic and don't stand alone.
3. The Schedule. A great team and a great play can't be produced properly if you don't allow enough time. There are certain immutables: memorization seems to depend mostly on sleep cycles, for example. It's hard to really emote until you have internalized your lines and blocking (how you move around on the stage). As much as a manager might want to accelerate the schedule, certain things take time to do right. The "
Iron Triangle" (features, schedule, cost) is really more of a "plasticene triangle built over iron;" you can sometimes modify one aspect to change another, but there are also hard limits -- throwing more money at a project, for example, can only speed it up so much.
These "formulas" are actually very strong guidelines that require a mix of art when they don't quite fit. They weren't easy to discover, and at times it can seem impossible to discover them; mostly because they are not quite science, but rather a kind of squishy science. Management clearly suffers from being a squishy science: it allows hundreds of charlatans to make things up (and cause tremendous suffering in the process) and it makes it a daunting task for someone like myself who tries to sort it out. I have to keep reminding myself that it's not supposed to be easy, that this is "my personal Everest."