登陆注册
20561800000004

第4章

HOW DO YOU BECOME AN IDEAIST?

1.

YOU HELP PEOPLE THINK BETTER OF THEMSELVES

There are three reasons why it's vital for you to help people think better of themselves.

First, what people think about themselves is the single most important factor in their success.

Their personalities, their actions, how they get along with others, how they perform at work, their feelings, their beliefs, their dedication, their aspirations, even their talents and abilities are controlled by their self-images.

People act like the kind of persons they imagine themselves to be.

If they think of themselves as failures, they will probably become failures.

If they think of themselves as successful, they will probably become successful.

More to the point: If they think of themselves as creative, as fonts of ideas, they will probably become creative, they will probably become fonts of ideas.

"They can do it all because they think they can," said Virgil, and this fundamental fact about the triumph of self-image is as true today in business as it was two thousand years ago in Greece.

"Success or failure in business," wrote Walter Dill Scott, "is caused more by mental attitudes than by mental capabilities."

In other words, attitude is more important than facts.

The difference between people who crackle with ideas and those who don't has little to do with some innate ability to come up with ideas. It has to do with the belief that they can come up with ideas.

Those who believe they can, can; those who believe they can't, can't.

It's as simple as that. And it's no longer open to question.

If you doubt it, just ask yourself why so many seemingly gifted people fail, and why so many seemingly impoverished people succeed.

It's not because of who they are. It's because of who they think they are.

Second, what William James called "the greatest discovery of my generation" is also a fact. The discovery?

"Human beings can alter their lives by altering their attitudes."

Or as Jean Paul Sartre put it: "Man is nothing else but what he makes of himself."

This too is no longer open to question.

And yet this is what many leaders refuse to accept. And as long as they refuse to accept it, they will never become ideaists.

They accept that people's self-images drive their lives but — despite all the evidence cited by parents, by clergymen, by doctors, by philosophers, by psychologists, by teachers, by therapists, and by the hundreds of self-improvement books — they reject the notion that those same people can change their self-images.

They accept "As a man thinketh in his heart, so is he." But they seem to think that if a man thinketh differently in his heart he will remain the same man.

He won't. He will be a different man.

Or they seem to think that a man can't think differently in his heart, that the way he thinks today is locked in stone forever.

They are wrong. He can think differently.

Everybody accepts now that the mind can alter how the body works. The evidence that it can and does is simply overwhelming.

Drug addicts take placebos and have no withdrawal symptoms, allergy sufferers sneeze at plastic flowers, unloved children physically stop growing, hypnotized patients undergo surgery without anesthesia, people lower their blood pressures and heart rates by willing it, cancer victims experience spontaneous remissions, hopeless cripples walk away from Lourdes cured — the examples are legion.

But accepting the concept that the mind can alter the body is a huge leap, a major leap, perhaps even a quantum leap.

All I'm asking you to accept is a minor leap — that the mind can alter the mind.

Indeed, if you are to become an ideaist, you must accept that the people you work with can and must change.

Otherwise, you are doomed to lead a stagnant, never-improving company, a company that will probably end up where it began — at the bottom.

Third, because of your position as an ideaist, you can help the people you work with alter their attitudes.

Indeed, that is your primary job —

to help people think better of themselves,

to help them raise their self-images.

And you do it, not by commanding, but by restoring; not by directing, but by unleashing; not by leading, but by ideaizing.

Let me tell you a story:

I once worked at Foote, Cone & Belding in Los Angeles as a copywriter. Working with me was another copywriter named Glenn. He was an older guy who was a sweetheart of a person, and — when he put his mind to it — a brilliant writer. The problem was that Glenn had lost it — he drank a lot and didn't do much. And when he did do something, his ideas for ads were hopelessly old-fashioned, his copy rambling and disjointed.

I left that agency about the time that John O'Toole, the legendary ad man, arrived as creative director. Two years later, John was promoted to creative director of Foote, Cone in Chicago, and I returned and took over his job in Los Angeles — only to learn that Glenn was still there. But, to my surprise, it was the brilliant Glenn, not the lost one. From my first day as creative director, he was great — coming up with good ideas, writing well, not drinking.

I phoned John and asked him what happened.

"Well, I knew Glenn was a fine writer," he said. "He'd just lost his confidence, that's all. So I told him I thought that he was the best writer I knew and asked him if he would please edit the things I wrote. Every ad, every presentation, every memo, every proposal, every letter, I showed to Glenn first and asked for his help in making them better. It only took about a month before he was back to his old self."

John had restored. John had unleashed. John had ideaized.

Once you accept that as the ideaist's role, it colors everything you do — who you hire, the kind of environment you create, the directions you give, the way you give directions, how you set up your company, your systems, your procedures, how you deal with people, your training programs, what kind of clients and customers you attract, your goals, what you produce, the kind of service you give, everything.

For your company is only a vehicle for you to achieve your goals.

After all, it cannot have any goals of its own — it is only a reflection of you and the other people who set it up and run it. Its goals are your goals.

And as soon as you accept that your primary goal is to help people think better of themselves — to inspire and unleash and restore — you must accept that the primary goal of your company cannot be to make more money or better products, or to produce better work, or to deliver better service.

Its primary goal must be your primary goal — to help people think better of themselves, and to provide the kind of environment in which inspiring and unleashing and restoring can flourish.

If creating that kind of environment is the primary goal, then the other more traditional goals — like delivering better service, like making more money and better products — will come naturally, for when you achieve this goal, the people you work with will provide more and better service, and will produce more and better ideas and work; and they will do it faster and more efficiently.

But, you ask, specifically what kind of environment do you create?

2.

YOU HELP CREATE AN ENVIRONMENT THAT'S FUN

If you are to make people think better of themselves, the environment must be friendly instead of hostile, open instead of closed, supportive instead of discouraging, relaxed instead of rigid, inclusive instead of divisive — all the things that all the books on leadership and empowerment espouse.

But it must be more than that.

If you want ideas to flourish, it must be fun.

"Make it fun to work at your agency," wrote David Ogilvy. "When people aren't having any fun, they seldom produce good advertising. Kill grimness with laughter. Encourage exuberance."

Mr. Ogilvy did not have to limit his remarks to advertising agencies and advertising. The same could be said about any kind of business producing any kind of product or service. For you know it's true:

People who have fun doing what they're doing, do it better.

"The number one premise in business is that it need not be boring or dull," said Thomas J. Peters. "It ought to be fun. If it's not fun, you're wasting your life."

Note that neither Ogilvy nor Peters had any doubt about which is the more important — good work or fun. The fun comes first.

"If you ask me what is our primary purpose," said Ogilvy, "I would say that it is not to make the maximum profit for our shareholders, but to run our agency in such a way that our employees are happy. Everything follows from that — good work, and good service to clients."

My experience tells me what Ogilvy's experience told him — people do good work because they're happy, because they're having fun, not vice versa.

Granted, they have a sense of accomplishment, and they feel pleased and fulfilled when they do good work; but — at least among the writers and art directors in the advertising agencies I worked in — those feelings do not seem to carry over to the next job, or to the next.

Fun does.

Fun, like enthusiasm, is contagious and has a snowball effect that helps generate good work over and over again throughout the organization.

This was proven to me early in my career.

When I started in advertising, the writers and art directors dressed the way everybody in business dressed — the men wore suits and ties; the women, dresses or suits.

In the late 60's all that changed. People started dressing in sweaters and blue jeans and T-shirts and tennis shoes. I was running a creative department then, and the Los Angeles Times asked me what I thought about people coming to work like that.

"I don't care if they come to work in their pajamas," I said, "as long as they get the work out."

Sure enough, the day after the article (with my quote) appeared, my entire department showed up in pajamas. It was great fun. The office rocked with laughter and joy.

More important, that day and the weeks that followed were some of the most productive times my department ever had. People were having fun, and the work got better.

Note again the cause and effect relationship: The fun came first; the better work, second. Having fun unleashes creativity. It is one of the seeds you plant to get ideas.

Indeed, nothing is more important for an ideaist to do than to create this kind of an environment, an environment where people enjoy coming to work everyday, where there's a feeling of camaraderie and good fellowship, where people attack their work with alacrity and confidence, where they like the people they work with, where they think of themselves as partners instead of employees, where — in short — it's fun to work.

When this happens, the work ceases to be a drag and takes on an effortless, easy-flowing, natural, Zen-like quality that results in more solutions, fresher solutions, better solutions, easier and faster.

The authors of 301 Ways to Have Fun at Work agree. Dave Hemsath and Leslie Yerkes wrote, "We believe that fun at work may be the single most important trait of a highly effective and successful organization; we see a direct link between fun at work and employee creativity, productivity, morale, satisfaction, and retention, as well as customer service and many other factors that determine business success."

So too does the philosopher Alan Watts: "Don't make a distinction between work and play," he wrote, "and don't imagine for one minute that you've got to be serious about it."

What follows are some suggestions on how to help the people you work with believe in themselves, and how to create the kind of environment that encourages that kind of belief — suggestions, in short, on how to get them to come up with more and better ideas.

If any of the suggestions don't make sense to you or don't set well with you, disregard them.

Be your own kind of ideaist, not someone else's. Follow your own gut feelings, not someone else's.

Here's why:

First, if you don't feel good doing something — if it isn't easy and natural for you — you probably won't do it well. And if you don't do it well, it probably won't work, no matter how "right" it is.

Second, when you do something someone else's way and you succeed, you never know if you also would have succeeded doing it your way. And if you fail, you never know either. It is a lose-lose situation.

On the other hand, when you do it your way and you succeed or fail, it is a win-win situation, for you know that it was because of you, not someone else, that you succeeded or failed.

同类推荐
  • Letters of T. S. Eliot
  • Stardust

    Stardust

    When her adopted parents die, Jody Hendrick is devastated--both emotionally and financially. Her parents left her destitute, and Jody must find a way to support herself. But good news is on the way--a distant relative has left her half of a luxurious Irish hotel.When Jody meets the owner of the other half, handsome and charming Conor Blake, she's immediately smitten. But soon her stepsister, Rochelle, arrives with the deed to the hotel. Even worse, she has her eye on Conor as well--and will stop at nothing to have him.
  • Gorilla Tactics (Dr. Critchlore's School for M

    Gorilla Tactics (Dr. Critchlore's School for M

    The second book in this hilarious, illustrated series cracks the imaginative world of minions wide open, and we meet the other schools and Evil Overlords that surround Dr. Critchlore's. Runt Higgins needs answers, fast. Someone cursed him to die on his sixteenth birthday, but no one seems to know who cursed him or why. Runt decides he must find the Great Library, where all true knowledge is hidden. Unfortunately, the only people who know the location of the Great Library are a covert network of librarian-spies who'd rather die than give up the Library's secrets. And when one of Runt's professors is attacked, it soon becomes clear that others are also out to find the Library at any cost. Meanwhile, Runt's not the only one whose days are numbered. To save the floundering school from an inevitable sale, Dr. Critchlore takes some desperate measures. His master plan to save the school: a fashion show.
  • The Hunter and Other Stories
  • The Tell-Tale Heart 告密的心/泄密的心(英文版)

    The Tell-Tale Heart 告密的心/泄密的心(英文版)

    The Tell-Tale Heart is a short story by Edgar Allan Poe, A pioneer of the short story genre, whose stories typically captured themes of the macabre and included elements of the mysterious. The story was first published in James Russell Lowell's The Pioneer in January 1843. It follows an unnamed narrator who murders an old man with a "vulture eye". Murder is carefully designed, and the murderer hides the body by cutting it into pieces and hiding it under the floorboards. The narrator denies having any feelings of hatred or resentment for the victim. He also denies that he killed for greed. The specific motivation for murder, the relationship between narrator and old man, and other details are left unclear. It has been speculated that the old man is a father figure, the narrator's landlord, or that the narrator works for the old man as a servant, and that perhaps his "vulture-eye" represents some sort of veiled secret, or power.
热门推荐
  • 意少别闹,偷偷喜欢你

    意少别闹,偷偷喜欢你

    她和他的婚姻不过是一纸协议。“你以为你真的是沈太太?呵呵,你不过是工具而已!”“那就离婚吧!”再见已经是两年后,她成了最美翻译官。“沈意白我们已经离婚了,你不过是我的前夫而已。”“我们可以复婚。”“做梦!”
  • 你在心上,爱情那么长

    你在心上,爱情那么长

    我记得答应秦江灏的求婚那天,屋外下着倾盆大雨,他一身湿的像水鬼一样的跑来我家,直接干脆的说要和我结婚。我觉得他是脑子进水了,但我却脑抽的答应了他。我俩性格其实一直都不和,但偏偏被一纸婚书扣在一起,他有喜欢的人,而我喜欢他,我们明明有名无实,可他却和我做了不该做的事。我怀了我们的孩子,可他还是不爱我,没有感情的婚姻和家庭意味着没有存在的意义。我打掉了我和他的孩子,将离婚协议书摆在他的面前。他却面色狰狞的掐着我的脖子,让我还他的孩子……
  • 华影沉风:腹黑王,我来了

    华影沉风:腹黑王,我来了

    她,异色双瞳、两袖清风,被世人所唾弃的“怪物”郡主,却是21世纪顶级“暗杀凌王”,脚踏血骨、逆风而来、风云巨变,以王者之姿立于苍穹之巅。他,孤傲清冷,雍华高贵,位居九天之上,坐拥天下。灼灼桃花树下,白衣公子翩翩,慵懒一笑,紫眸妖气四溢。黑衣少女抱剑挑眉,勾起嘴角:“我说过,我一定会找到你的。”
  • 追妻无门:女boss不好惹

    追妻无门:女boss不好惹

    青涩蜕变,如今她是能独当一面的女boss,爱了冷泽聿七年,也同样花了七年时间去忘记他。以为是陌路,他突然向他表白,扬言要娶她,她只当他是脑子抽风,他的殷勤她也全都无视。他帮她查她父母的死因,赶走身边情敌,解释当初拒绝她的告别,和故意对她冷漠都是无奈之举。突然爆出她父母的死居然和冷家有丝毫联系,还莫名跳出个公爵未婚夫,扬言要与她履行婚约。峰回路转,破镜还能重圆吗? PS:我又开新文了,每逢假期必书荒,新文《有你的世界遇到爱》,喜欢我的文的朋友可以来看看,这是重生类现言,对这个题材感兴趣的一定要收藏起来。
  • 半夜妃翻墙:王爷,追!

    半夜妃翻墙:王爷,追!

    她,医界一枝花,春风得意时,却狗血穿越!白天,她手撕盛世白莲花,完虐大胸心机婊,夺双宝,驯神兽,风华绝代,英姿飒爽;晚上......身体却不受控制地去爬墙!?往哪儿爬?北唐国最无法无天的混蛋王爷家的宅子!某男墙下站着,邪魅一笑,妖孽无双:“你就那么迫不及待进王府?那好,我给你一个理由!”说完,把她往床上扔,“这下,名正言顺,我的人!”苍天为证,她是无意识去翻墙的,白天她是她,夜晚却被人控制心智,貌似原主还在,女主是精分,这个穿越系统有bug!
  • 有剑无敌

    有剑无敌

    我从凡间来,一剑破青天。小心谨慎,努力奋斗多年,让叶晨成为周围人羡慕的富一代,却被人盯上,转眼一切成空,家破人亡,苟活多年和对方同归于尽。另一个世界,一个冻毙的小乞丐突然睁开双眼,打量着这陌生的世界
  • 商务英语公文900句典

    商务英语公文900句典

    本书分为贸易流程函、商务通用公文和商务社会活动函三大部分。每一章的背景介绍以中英文对照的方式让读者对商务活动中各环节的商务英语信函及信函式公文有清晰的理解。文中提供大量的典型范例,能快速提高读者对商务信函用语的熟悉程度,方便记忆,易于读者掌握运用。
  • 织锦记

    织锦记

    明朝万历年间,江南丝织重地苏州吴江县,一位富户人家的年轻小姐的传奇际遇:外慈心狠的嫡母,寡情薄义的父亲.美艳狠毒的庶姐姐,乖巧颇有心计的庶妹,嘴甜心苦的姨娘,攀附高枝的丫鬟,大宅院里险象环生,一片繁华下步步皆是陷阱!
  • 鬼神天命志

    鬼神天命志

    夫智者,知鬼神之机,行逆天之事。鬼才郭奉孝自沧北而出,风华绝代,惊世无双。这是最坏的时代,弱肉强食,一功将成万古枯;这是最好的时代,运用勇气与智慧,便可掌握自己的命运。走出属于自己独一无二的“道”,是为天命!
  • 精神返乡与回不去的“梁庄”

    精神返乡与回不去的“梁庄”

    张跣(中国青年政治学院中文系主任):“梁庄系列”作品包括《中国在梁庄》和《出梁庄记》,这两部作品在全国获得了很大的影响,梁鸿教授也因为这两部作品得到了很多的大奖,为中国青年政治学院争得很多荣誉。所以组织这次会议就是要研讨“梁庄系列”的艺术和社会价值,研讨当代乡土文学的发展问题。这次研讨会由中国青年政治学院、人民文学杂志社与南方文坛杂志社联合举办。首先让我们以热烈的掌声请中青院党委副书记常务副校长王新清致辞。