Think Again: The Power of Knowing What You Don't Know by Adam Grant (best e book reader for android txt) 📗

THE PLIGHT OF THE PEOPLE PLEASER

As long as I can remember, I’ve been determined to keep the peace. Maybe it’s because my group of friends dropped me in middle school. Maybe it’s genetic. Maybe it’s because my parents got divorced. Whatever the cause, in psychology there’s a name for my affliction. It’s called agreeableness, and it’s one of the major personality traits around the world. Agreeable people tend to be nice. Friendly. Polite. Canadian.*

My first impulse is to avoid even the most trivial of conflicts. When I’m riding in an Uber and the air-conditioning is blasting, I struggle to bring myself to ask the driver to turn it down—I just sit there shivering in silence until my teeth start to chatter. When someone steps on my shoe, I’ve actually apologized for inconveniently leaving my foot in his path. When students fill out course evaluations, one of their most common complaints is that I’m “too supportive of stupid comments.”

Disagreeable people tend to be more critical, skeptical, and challenging—and they’re more likely than their peers to become engineers and lawyers. They’re not just comfortable with conflict; it energizes them. If you’re highly disagreeable, you might be happier in an argument than in a friendly conversation. That quality often comes with a bad rap: disagreeable people get stereotyped as curmudgeons who complain about every idea, or Dementors who suck the joy out of every meeting. When I studied Pixar, though, I came away with a dramatically different view.

In 2000, Pixar was on fire. Their teams had used computers to rethink animation in their first blockbuster, Toy Story, and they were fresh off two more smash hits. Yet the company’s founders weren’t content to rest on their laurels. They recruited an outside director named Brad Bird to shake things up. Brad had just released his debut film, which was well reviewed but flopped at the box office, so he was itching to do something big and bold. When he pitched his vision, the technical leadership at Pixar said it was impossible: they would need a decade and $500 million to make it.

Brad wasn’t ready to give up. He sought out the biggest misfits at Pixar for his project—people who were disagreeable, disgruntled, and dissatisfied. Some called them black sheep. Others called them pirates. When Brad rounded them up, he warned them that no one believed they could pull off the project. Just four years later, his team didn’t only succeed in releasing Pixar’s most complex film ever; they actually managed to lower the cost of production per minute. The Incredibles went on to gross upwards of $631 million worldwide and won the Oscar for Best Animated Feature.

Notice what Brad didn’t do. He didn’t stock his team with agreeable people. Agreeable people make for a great support network: they’re excited to encourage us and cheerlead for us. Rethinking depends on a different kind of network: a challenge network, a group of people we trust to point out our blind spots and help us overcome our weaknesses. Their role is to activate rethinking cycles by pushing us to be humble about our expertise, doubt our knowledge, and be curious about new perspectives.

The ideal members of a challenge network are disagreeable, because they’re fearless about questioning the way things have always been done and holding us accountable for thinking again. There’s evidence that disagreeable people speak up more frequently—especially when leaders aren’t receptive—and foster more task conflict. They’re like the doctor in the show House or the boss in the film The Devil Wears Prada. They give the critical feedback we might not want to hear, but need to hear.

Harnessing disagreeable people isn’t always easy. It helps if certain conditions are in place. Studies in oil drilling and tech companies suggest that dissatisfaction promotes creativity only when people feel committed and supported—and that cultural misfits are most likely to add value when they have strong bonds with their colleagues.*

Before Brad Bird arrived, Pixar already had a track record of encouraging talented people to push boundaries. But the studio’s previous films had starred toys, bugs, and monsters, which were relatively simple to animate. Since making a whole film with lifelike human superheroes was beyond the capabilities of computer animation at the time, the technical teams balked at Brad’s vision for The Incredibles. That’s when he created his challenge network. He enlisted his band of pirates to foster task conflict and rethink the process.

Brad gathered the pirates in Pixar’s theater and told them that although a bunch of bean counters and corporate suits might not believe in them, he did. After rallying them he went out of his way to seek out their ideas. “I want people who are disgruntled because they have a better way of doing things and they are having trouble finding an avenue,” Brad told me. “Racing cars that are just spinning their wheels in a garage rather than racing. You open that garage door, and man, those people will take you somewhere.” The pirates rose to the occasion, finding economical alternatives to expensive techniques and easy workarounds for hard problems. When it came time to animate the superhero family, they didn’t toil over the intricate contours of interlocking muscles. Instead they figured out that sliding simple oval shapes against one another could become the building blocks of complex muscles.

When I asked Brad how he recognized the value of pirates, he told me it was because he is one. Growing up, when he went to dinner at friends’ houses, he was taken aback by the polite questions their parents asked about their day at school. Bird family dinners were more like a food fight, where they all vented, debated, and spoke their minds. Brad found the exchanges contentious but fun, and he brought that mentality into his first dream job at Disney. From an early age, he had been mentored and trained by a group of old Disney masters to put quality first,