'The Soft Edge: Where Great Companies Find Lasting Success,' by Rich Karlgaard (Wiley)

For Rich Karlgaard, publisher of Forbes and writer of its “Innovation Rules” column, businesses able to create and sustain success do so by balancing attention and development of a strategic base, a hard edge and a soft edge.  Each of those edges is constituted, in turn, by five elements.  Historically, managers have tended to focus on the hard edge as the basis of business success, favoring its more clearly concrete and measurable focus on speed, cost, supply chain, logistics, and capital efficiency in decision-making and the fight for organizational resources.  The soft edge, by contrast, has until recently been viewed, as secondary, fuzzy and, yes, soft, values that are nice to have but not at the core of lasting success.  Karlgaard’s new book, The Soft Edge, seeks to re-set those priorities. 

Most of the book is taken up exploring the five deep values of the soft edge.  Trust between leaders and their teams, and colleagues more generally, is needed to create grit, the ability to sustain interest in and effort toward very long-term goals (as advanced by Angela Duckworth).  Smarts takes the idea of grit and contends that it helps to accelerate and sustain learning, both learning new things and solving novel problems and applying the outcomes of learning.  Teams, marked by chemistry, passion and grit, are where the hard work of combining and building on different perspectives and shared values take place.  Taste is the discernment that guides the design process, a broader sensibility that deploys teamwork to generate abiding experiences for customers.  Story is the source of persuasion in the market but also of purpose and motivation for teams and organizations, even when those stories are increasingly told better by outsiders, like customers, and data.

Of the five values, taste is perhaps the book’s most distinctive contribution for leaders seeking to build brands, organizations, and lasting success.  Karlgaard breaks out that sensibility into function, form and finally meaning, indicating how all three must combine to create “an emotional engagement” or demonstrate “the significance and associations customers experience with a product” or service.  The resulting complex and well-integrated experience flies in the face of classical business ideas like building economies of scale, as he acknowledges, shifting focus from pursuing cost advantage over competition to delivering more substantially to customers.  Summing up this priority, Margit Wennmachers of Andreesen Horowitz is quoted to say, “taste is a matter of really understanding your customer on a very, very fundamental level.”

Using the example of Specialized Bicycle’s data analysis of wind resistance in designing high-performance bicycles, Karlgaard argues how leaders should seek to combine design, creativity and data for memorable experiences today.  One of the commendable features of The Soft Edge is its consistent attention to how the tools of the digital age and the knowledge production and management that makes those tools all the more important have altered the business landscape.  In fact, the book closes with a sustained discussion across the five values of how important is the collaboration of CMOs and CIOs for businesses to be successful amidst the increasing complexity of messaging and marketing platforms shaped by sensors, computers, and analytics.

Specifically how and when to apply the values of the soft edge, particularly in coordination with  each other and the elements of the other edges, is mostly not discussed here.  Nor is there an elaboration of the potentially distinct approaches to developing soft edge values and, again, their balance, with other core elements of lasting value, in different kinds of businesses, particularly creative ones.  Even at its most evocative, as in the closing call for leaders to operate in the “elusive sweet spot between data truth and human truth,” the book also leaves largely open the matter of how to work in that zone effectively.  More than once while reading, I hoped that a Soft Edge “Workbook” might soon appear to help leaders and others to take and implement the wealth of practically helpful thinking here.  (Several related tools, including a free self-assessment of individual leadership needs and opportunities related to the values of the soft edge, are available online at http://bit.ly/TJRWFg).

Yet even without additional guidance for implementation, the model of organizational success in The Soft Edge provides many useful spurs to those striving to improve their businesses.  Producing and sustaining high performance depends of striking the right balance of hard and soft skills in given settings and situations.  Karlgaard’s useful insights and varied business examples offer a valuable resource for leaders committed to thinking deeply about and engaging in their own organizations the too-often-neglected values of the soft edge.

Saying 'Innovation' or 'Creativity' Is Not Enough

“What’s the opposite of innovation?,” the joke begins.  A tart punchline quickly follows: “Innovation consultants.”   

Since I teach, coach and sometimes consult on innovation and creative leadership, that cynical joke gives me pause.  Consultants of all kinds are easy marks, of course, whether they are from well-known global firms or one-person shops.  But it is innovation, as an idea and, increasingly, the basis of a cottage industry for consulting, advising, coaching and even counseling, that is the real target here.

Isn’t innovation good, though?, we ask.  Doesn’t thinking, designing, building and leading for innovation enable firms of all kinds to create and capture value?  Doesn’t imaginative collaboration, teaming, and organizing lead to breakthroughs that can transform businesses, industries and even markets?  Doesn’t innovation ultimately benefit individuals by encouraging and nurturing self-awareness, empathy, courage, and growth – human values that help contribute to personal fulfillment?

All true.  Yet that very sweep and sprawl of meanings is part of the problem.  Innovation is everywhere, from social and political agendas and corporate mission and vision statements to strategic positioning and brand marketing priorities to team charters and individual performance goals.  Likewise, creativity, often in adjectival form, has become a necessary qualifier for nearly all aspects of management and operations: leadership, strategy, talent management, organizational design, customer or client relationships, collaboration, and teamwork.  Even creative accounting has become a worthy aspiration (just not “too” creative…).

The expanded usage, to be sure, reflects some far-reaching and very real economic and historical shifts that have recently foregrounded aspects of creativity and innovation for individuals, firms and larger economies.  I myself often assert that “creativity is the new normal” to underscore the unprecedented opportunities, even necessities, facing businesses in a world where technology is transforming old and new industries alike.  My question here is whether the words themselves, asked to say so much in their varied and continual usage, increasingly end up saying little or nothing at all. 

There is no shortage of models, frameworks and typologies attempting to break out and define more precise and different meanings.  Classic distinctions of “innovation,” many well-drawn by some of our most astute observers and analysts of business and management, tend to delve deeply into specific areas.  We might think here of Clayton Christensen on disruptive innovation, Gary Hamel on management innovation, and Vijay Govindarajan on reverse innovation.  And so many other qualifiers of the word have become commonplace: incremental, radical, architectural, modular, technological, knowledge, product, process and so on.  Much more typically, though, both “innovation” and “creativity” are used generically by firms themselves, consultancies, the popular and business press, the blogosphere, and even some academic research to burnish a diverse but finally vague range of insights, tools and management practices.

Having an excess of overlapping and alternative tools and models is fine, of course, for leaders on the ground who use them to gain greater insights about, or to address directly, specific situations.  That assumes, however, a thorough familiarity with these different innovative approaches and how (or, more fundamentally, if) to apply them usefully to those specific situations.  Here we might return to the question of innovation consultants.  What is the precise form of expertise they offer?  Launching start-ups based on original ideas, developing new products or services for established firms, redesigning work processes, nurturing creative people or cultures, re-drawing business models?  Maybe all of those.  Or maybe none.  The challenge is finding the right fit of specific capabilities and experience from the growing constellation of offerings made using the same terms.

How did our usage of “innovation” and “creativity” spiral out of control?  From recent history, we might start looking in the 1980s-1990s.  The redefinition of creative work, industries and economies, began then in the UK and was furthered elsewhere by analysts like Richard Florida, who repositioned creativity as a driving force in the (re-)development of cities, societies and economies.  More generally at the same time, though hearkening back to the early 20^th century writings of Joseph Schumpeter, a doctrine of “innovation economics” emerged in the work of a diverse group of theorists and analysts to argue that knowledge, innovation and entrepreneurship are not outliers but essential to economic growth and productivity. 

Yet probably nothing has had as great an impact as the profound developments that have occurred in Silicon Valley (and the larger technology economy to which it has been central).  Combining a mythology of individual ingenuity, a culture of business entrepreneurship, and a demonstrated potential for world-changing invention, Silicon Valley has become a vital source for popular and corporate imaginings of creativity and innovation.  Even as the technologies produced there have transformed lives, societies and economies around the world, the thinking and language of openness, risk-taking, start-ups, and innovation has spread as far.

Amidst the concern that tech firms are in the midst of another financial bubble, with unjustifiably high market valuations potentially ready to burst, I see another Silicon Valley bubble in play.  It involves the inflation of certain ways of thinking and talking about innovation that originated in and around tech firms.  This language bubble, or what we might otherwise see as an internally-referencing echo chamber, grows through a continuing series of blogposts, websites, magazine articles, and books that largely re-package the same practices, policies and behaviors as being conducive to innovation and creativity.

What would Google do?, we ask.  A loose grouping of ideas and beliefs and leading practices have come increasingly to represent current thinking about how all organizations, regardless of industry or market, can best cultivate innovative and creative work.  Much of this is enormously positive, both fulfilling for people and productive for organizations.  In the process, the larger popular and practical discourse around Silicon Valley-style innovation has grown and grown.  One consequence is what Bill O’Connor, of Autodesk, calls “innovation pornography,” in which too many people become voyeurs, rapturously watching others innovate without doing so themselves.  Another is the myth that creativity and original thinking can solve any problem or develop an idea the world will eventually embrace. 

While I do believe fully in that problem-solving and even society-transforming potential, my point is that the generic superpower of creativity or innovation will not be the force to do so.  Rather, it is by understanding how creativity and innovation, even with all their inherent messiness, disorder, and indirectness, need specific situations and contexts in order to flourish and effect meaningful change.  Innovation and creativity, writ large and generic, are not strategic silver bullets.

A challenge I regularly pose to executives is to ask themselves “the follow-up question” about key words they use to characterize themselves or their firms.  So once they’ve identified their core values, for example, they need to probe more deeply what those values mean to them and the situations in which they’re working.  Trust, growth, inspiration, and purpose are all admirable values.  Yet they can mean very different things to different people and in different leadership situations.  What do those words mean to you, I ask, and why are they so important?  Innovation and creativity, I contend, warrant the same depth of reflection and elaboration.

To begin, you might ask yourself such questions as:

·      What are your benchmarks or examples when you speak of innovation? How relevant are they to your existing situation – and your people, culture, industry, market(s), and customers?  Even the most inspiring general cases of innovation – think of Edison’s light bulb, the Manhattan Project, or the pirates at Apple who developed the Macintosh – may have no relevance to the innovation that’s right for you, now.  Choose your examples, the stars that guide you, wisely and appropriately.

·      Going further, which examples of successful innovation and creative work outside of Silicon Valley (especially the usual suspects like Apple, Google, and Facebook) do you reference and seek to emulate?  While there’s much to admire, learn and adopt from the tech firms that have over the last two decades been so successful, their policies and practices may not be directly helpful to firms of various sizes across industries and at different stages of growth.  Instructive examples are everywhere.  To wit, I recently worked with the leader of a tech start-up whose breakthrough thinking emerged, counter-intuitively, from the practices of a century-old manufacturing firm.

·      And if you’re in an established firm, how many of your benchmarks come from start-ups?  Yes, you can and should likewise learn and draw from the approaches and actions of entrepreneurial start-ups, and elements of models like Eric Ries’ Lean Start-Up, but only if they’re applicable to and align with your own specific goals.

·      Is your entire organization, from people and performance metrics to strategic goals and resource allocation, guided by the same fuller understanding of innovation – that is, what you’re pursuing together, how, and why?  Managing the language of innovation requires both thoughtful consideration and development across organizations and ongoing effective communication.  The only leadership work harder than creating a collective vision for organizational innovation is sustaining the shared understanding and motivation that will enable its successful execution. 

·      Once you’ve developed your own fuller understanding of what you mean when you say innovation, ask if this is the innovation you and your team unit or firm really need.  All leaders need to forge the future and all organizations need to change.  The question is how best to do so.  Aligning specific kinds of innovation with individual organizational needs, capabilities and situations requires careful effort but is crucial.

This isn’t just an academic exercise.  Thoughtful leaders have long recognized the value of auditing their current innovation or creativity activities, needs and capabilities.  As time has passed and both words have been used more and more, it also seems increasingly useful to conduct an innovation and creativity language audit.  What do you mean when you say that innovation is a core value or a strategic priority?  What does specifying creative talent development mean for the shape and orientation of a HR processes or organizational learning?  More generally, how does innovation or creativity practically differentiate decisions, behaviors and results?

More than five decades ago, Theodore Levitt wrote “Creativity Is Not Enough,” one of the most famous articles in the history of marketing management.  Today, the words of his title arguably resonate in distinct ways.  The ubiquity of “innovation” and “creativity” in the language of business and management is threatening to empty them of meaning.  Increasingly, neither is sufficient to convey the vision, inspiration, newness, value, and strategy that drive a given leader, unit or firm.  

How do we change that?  One use at a time.  By doing the hard work of understanding and clarifying the newness, utility, value and change that we really envision and seek in specific situations.  Each of us needs to help take back the power of the words.  Next time you say or write “innovation” or “creativity,” pause.  How would you qualify those key words?  Or how else, beyond using placeholders, would you make your point?   Most simply, what do you really mean when you say and act on “innovation” or creativity” – and are you making that important meaning clear to others?

'Creativity Inc.: Overcoming the Unseen Forces that Stand in the Way of True Inspiration', by Ed Catmull, with Amy Wallace (Random House)

At first glance, the new book about Pixar, Creativity, Inc., seems like a deluxe version of the account of creative enterprise and management with which we have become increasingly familiar.  With war stories of perseverance and eventual success in the market, hard-won advice on how to overcome obstacles to creativity (as promised in the subtitle), and a concluding set of leadership principles, my first impression was that this would be an entertaining if inspiring victory lap for a storied creative organization.  

Pixar President Ed Catmull, with Amy Wallace, has produced something much, much more.  It’s one of the half-dozen best books that have been written about creative business and creative leadership.  Ever.

The “Thoughts for Managing a Creative Culture,” which close the volume, themselves offer a master class in creative leadership.  From managing fear and failure in an organization to protecting new ideas and imposing productive limits, these are 33 gems.  Yet with characteristic sagacity, Catmull makes clear how these principles should be viewed as starting points rather than ends to be achieved.  Indeed, the book’s last words are to avoid confusing the process with the goal and always to remember that that goal is “making the product great.” 

Particularly impressive here is an insistence on linking ideas about creative work to behaviors (even ones that ultimately fail).  Many of the ideas here, from fearless ideation and collaboration to tireless communication, are not surprising.  However, they are made compelling through tales of their implementation.  The tenet of intensive, democratic collaboration appears here as the belief in anyone being able to talk to anyone else at Pixar about their work, for example, and Catmull conveys it in his memorable recounting of how Toy Story taught him the value of bringing together product managers with artists and technicians.

That specific lesson and value also highlights a feature of Creativity, Inc. that is unusual in today’s surplus of writing on creativity and innovation across industries and markets.  With product managers, computer engineers and programmers, filmmakers and artists, Pixar has been blessed but also burdened with the necessary coordination of distinct creative cultures.  Catmull’s open and supportive leadership, evidenced throughout the book, has surely been a crucial factor in the success of this ongoing collaboration of different kinds of workers.  But his account, which consistently celebrates Steve Jobs and John Lasseter (among others), underscores how leadership among partners with complementary if distinct capabilities and even creative backgrounds can add value to a creative organization.

The overall arc of the book, tracing the development of Pixar through nearly four decades, foregrounds a daunting challenge for all leaders: how to sustain creative vitality and excellence over time.  Catmull separates his book into four parts: “Getting Started,” “Protecting the New,” “Building and Sustaining,” and “Testing What We Know.”  The third section begins with a thoughtful summary of several “models” employed by people at Pixar as their bases for successful creative work.  The section then concludes with his recollection of the first days after the 2005 merger with Disney and how Pixar’s creative culture evolved.  Drawing together the personal and organizational aspects of creative work in this way is itself instructive; describing how he led this evolution over years yields even more valuable insights.

Reading Creativity, Inc., one can easily appreciate Catmull’s gifts as a leader whose style – deft, open, humble, caring, trusting, purposeful – has built, shaped and sustained an exceptional creative culture.  At the same time, his account of Pixar’s ongoing success demonstrates the importance of having brought creative analysis and implementation to the dynamic complexity, of shifting markets and changing technologies, facing all organizations today.  That combination of effectively bringing creativity to his leadership challenges and leadership to his firm’s creative work is rare.  So is Catmull and Wallace’s exceptional new book.

The Rise of the Creative Leader

To speak of a creative leader, or manager, is for some a paradox: creativity is chaotic and unrestrained while leadership is orderly and controlling, and setting the two together makes for an uneasy, potentially volatile combination.

It was not always thus. A century ago, as businessmen entered the twentieth century seeking to differentiate themselves by building modern enterprises, the most respected outcomes of creative thinking and problem-solving took the form of order and process. The giants of the age were Henry Ford, whose automobile assembly line had revolutionized manufacturing production by changing and regimenting human behaviors, and Thomas Edison, a tireless inventor who sought constantly to make his process of experimentation and invention more systematic.

The evolution since has been fitful, swinging between the exigencies of commerce, with its demands for planning and predictability, and the realities of art, or creative production, with its requisite freedom and openness to exploration. The 1960s were particularly compelling years for this antithesis. The Romantic legacy of creativity as authentic self-expression, being true to oneself and one’s vision of the world, contrasted sharply with the rigidity of social conventions and corporate constraints. Opening a fictional window on this golden age of American advertising, the AMC television drama Mad Men has shown how that contrast led to the setting apart of creativity in its own departments, appreciated but anomalous, a necessary function of business to be tolerated and closely supervised.

Rightly admired for its historical accuracy, the series’ repeated celebration of the effectiveness of creative advertising also casts light on the apparently contradictory nature of real-life business creativity during the era. Business does not succeed in spite of creativity and free-spirited creative individuals but rather thrives because of their imaginative work. As a result, it would seem, successful leaders of creative enterprises may be less chaperones and disciplinarians than coaches and co-conspirators in their shared endeavors. Looking back at actual advertising agencies of the time, like Doyle Dane Bernbach (DDB) in the US with its pioneering teams combining art directors and copywriters, reveals the reality of such a shared sense of creative possibility.

The last two decades have seen nearly all businesses embrace innovation and creativity as central missions, at least at a high level, with leaders expected to serve as imaginative guides. Designated ‘creatives’ still do essential work in brand communications (or marketing services) industries like advertising and beyond, say, in the design areas of manufacturing firms. But more and more, creative production and excellence have become collective affairs with attention to the effectiveness of collaboration throughout businesses. For many, an equally dramatic realization has been that the most far-reaching instances of creativity involve organizational or process innovations rather than more obvious new product or service offerings. Hearkening back to Ford’s assembly line or DDB’s restructuring of traditional agency teams, these changes attest to the value and reach of leaders capable of the implementation of original thinking.

Technology-driven industries have been especially important to shaping this recent change in thinking about business creativity and many leadership icons of our time – Steve Jobs, Jeff Bezos, Jack Ma – have worked there. Yet creative leadership today is not simply about technological wizardry. At Apple, Jobs’ creative genius was to envision and market new horizons for emerging technologies and existing industries alike (going back to the company’s beginning, his skills were complemented by co-founder Steve Wozniak’s technical abilities in programming). The reverberations of new media and technology firms have been profound: the emergent approach to creative leadership often combines the Silicon Valley start-up ethos, traditional creative industry openness to expressiveness and exploration, design thinking, and the sheer need of all businesses to become more innovative to remain competitive and serve customers better.

The terms, leadership and management, of course are not entirely interchangeable. There are many distinctions drawn between the two, both functional (e.g., the manager administers what is; the leader innovates what will be) and cultural (Americans like to speak of leadership, Brits and other prefer management). One of the best-known is that managers focus on systems and structures while leaders focus on people. That particular distinction made good sense in the industrial era, when both managers and leaders were crucial, respectively, to organizing work and workers efficiently and to ensuring that the firm was effective, that is, competitive in the marketplace. However, in the 1990s, legendary management consultant and educator Peter Drucker recognized that such lines were increasingly blurring and less helpful in the information economy, in which the overriding task is to “make productive the specific strengths and knowledge of every individual.” Today, we might fairly extend Drucker’s insight to our own economy in which creativity is the new normal for businesses.

Understandings of creative productions and industries themselves have likewise changed dramatically during this time. The groundbreaking classification and mapping of the creative industries by the UK Department of Culture, Media and Sport first launched in 1997 has ushered in far-reaching reassessments of the status of creative activities, work and organizations around the world. While having the result of raising the profile of creative activities, such attention has been criticized by some for reducing the value of those activities to the purely economic. Richard Florida’s influential The Rise of the Creative Class (2002) claimed with comparable reach that the presence and work of creative talent could foster openness and ultimately attract business and capital to post-industrial cities. Even as the stakes of leadership in such scenarios grow far beyond individual firms or agencies, the core relationships between individuals with creative skills and talents and those seeking to marshal and direct them and their activities appear to become less oppositional and more fluid.

If creative leadership can no longer be readily understood through the tension between order and chaos, commerce and self-expression, what should be our orientation for its future? Returning to the words “creative” and “leadership” themselves, freighted as they are with history, offers some guidance. Together, they suggest bringing novel thinking to complex leadership challenges and at the same time deploying strategic prioritizing and decision-making to creative opportunities. Rather than antitheses, the words can convey a necessary balance and even symbiosis that support a sustainably successful creative business. No creative leader could ask for more.

This piece was originally written for House Magazine and also appears as a "Berlin Brief" on the Berlin School of Creative Leadership website.

Recommended Readings for Creative Leaders for the First Half of 2014

The new year has seen the publication of another crop of probing and provocative titles on economics, business and society.  Driving the most sustained public discussions thus far have been works on the inequalities driven by and increasingly defining the current economic system.  Thomas Piketty’s Capital in the Twenty-First Century (Belknap Press) is the magnum opus here, focusing on economics, with Matt Taibbi’s The Divide: American Injustice in the Age of the Wealth Gap (Spiegel & Grau) looking also at the social ramifications of inequality in the United States.  Michael Lewis’s Flash Boys: A Wall Street Revolt (Norton) arguably looks at one source of this growing disparity by examining the seeming advantage of professional, high-frequency traders over the rest of the public in financial markets.   

On the specific topics of creativity, leadership, and organizational and business success, 2014 has also already yielded some helpful titles.  Some of these are narrowly cast, for example, Ben Horowitz’ The Hard Thing about Hard Things: Building a Business When There are No Easy Answers (Harper Collins), which offers sage if targeted advice on starting a business, or Nick Udall’s “creative rollercoaster” model presented in Riding the Creative Rollercoaster: How Leaders Evoke Creativity, Productivity and Innovation (Kogan Page).  Others speak more generally to leaders across creative businesses and industries.  Following my listing last fall of useful books (http://onforb.es/19CsYft), here is another baker’s dozen of recommended reads from the start of this year that speak to the work and lives of creative leaders.  Once again, they comprise a diverse list, written by industry voices, journalist or academics and providing a wealth of insights, models and concrete advice.

(1) Julian Barling, The Science of Leadership: Lessons from Research for Organizational Leaders (Oxford University Press)

Barling, an organizational behavior professor at Canada’s Queen’s University, explores some central debates about leadership – whether leaders are born or made, the relevance of gender, the import of followership – by reference to mostly psychological research conducted over the past two decades. The result is an accessible and frequently illuminating tour of the evidence shaping and underlying popular if often superficial debates. Perhaps most directly relevant to many readers will be the question (and layered answer) about the effectiveness of leadership development programs.

(2) Warren Berger, A More Beautiful Question (Bloomsbury)

What if companies had mission questions rather than mission statements? Looking closely at some of our most creative organizations, including Google, IDEO and Netflix, journalist Berger (who wrote the excellent Glimmer on design thinking) describes the importance of generating a culture of inquiry and learning. The result is potentially paradigm-shifting: rather than assuming great leaders, creatives, innovators, and entrepreneurs possess the distinctive ability to provide clear answers, the book proposes that asking the right questions might be a more fundamental skill.

(3) Adam Bryant, Quick and Nimble: Lessons from Leading CEOs on How to Create a Culture of Innovation (Times Books)

Offering consistently insightful glimpses of today’s leadership challenges and innovations, the New York Times ‘Corner Office’ column of interviews with executives appears twice weekly. In the second book drawing from his work on the column, Adam Bryant highlights lessons in innovation, change and, especially, building creative cultures. The result is a crisp summary of current leadership practice illustrated with helpful real-life examples of effective teams, increased respect, better conversations, and ongoing learning by leaders and organizations alike.

(4) Erik Brynjolfsson and Andrew McAfee, The Second Machine Age: Work, Progress, and Prosperity in a Time of Brilliant Technologies (Norton)

How are digital technologies – from hardware and software to networks and data sets – fueling exponential growth and profound social and economic change? Two leading thinkers from MIT explore the forces reinventing fields as diverse as medicine, retail, and transportation and having far-ranging implications for creative collaboration, business leadership and policy-making alike. Maybe most importantly, these dramatic changes will enable and necessitate a revamping of our educational system in ways that both leverage new technologies and prepare people for the transformed economy. 

(5) Ed Catmull and Amy Wallace, Creativity, Inc.: Overcoming the Unseen Forces that Stand in the Way of True Inspiration (Random House)

Catmull, co-founder and President of Pixar Animation Studios, one of the world’s most admired creative businesses, shares insights and proven techniques for harnessing talent, forming teams and structuring organizations, and producing fresh and original work. Mining his company’s illustrious production history for instructive episodes and helpful examples, he and Wallace devote special attention to the challenges of building and sustaining a creative culture.  Their closing list of principles alone constitute an essential master class in creative leadership.

(6) Lynda Gratton, The Key: How Corporations Succeed by Solving the World’s Toughest Problem (McGraw-Hill)

Professor of management practice at the London Business School and founder of the Hot Spots Movement, Gratton has produced a fresh model for scaling impact and innovating for good. ‘The Key’ is to coordinate the latest approaches to organizational design and talent development with purpose-driven support for broader communities. The outcome, she argues, is business organizations capable of confronting and solving global problems like rampant unemployment and climate change.

(7) Arianna Huffington, Thrive: The Third Metric to Redefining Success and Creating a Life of Well-being, Wisdom, and Wonder (Harmony)

Exhausted and sleep-deprived, Arianna Huffington fell and injured herself in 2007.  Amidst a battery of medical tests and soul-searching, she came to realize that there was more to success than money and power and that she – and we – needed a third metric for celebrating our lives, maintaining our sense of wonder, prioritizing our relationships, and remaining compassionate and generous. Combining personal details of her own journey with the latest psychological and sleep research, Huffington has produced a manifesto for redefining well-being, work and success.

(8) Keith Reinhard, Any Wednesday (Any Wednesday)

An original Mad Man, Reinhard was an advertising creative legend before orchestrating the merger that formed Omnicom and becoming the CEO of DDB Worldwide. For more than two decades, he penned brief weekly memos filled with wit, wisdom and advice to all his employees. This collection of 104 of those pieces both shares some of his favorite insights for inspiring creative excellence and demonstrates one way he put consistent creative leadership into accessible and effective practice.

(9) Simon Sinek, Leaders Eat Last: Why Some Teams Pull Together and Others Don’t (Portfolio)

Sinek is the perceptive, best-selling author of Start with Why (your company exists and should be meaningful to your customers and society…).  Here, he turns to the crucial questions of how leaders can foster and support safety, trust and cooperation inside that organization as well as greater kinship with customers. While citing evolutionary biology and brain chemistry research, the book ultimately argues for the fundamental leadership values of hard work, empathy and sacrifice as bases for providing a safe environment for people to grow and succeed.

(10) Biz Stone, Things a Little Bird Told Me: Confessions of the Creative Mind (Hachette)

The co-founder of Twitter offers a creative memoir of his career in Silicon Valley (thus far), starting at Google, helping to pioneer both blogging and podcasting, and then launching the social media platform.  In the process, he explores the nature and potential of ingenuity and imagination, reflecting through his personal experience on vulnerability, failure, empathy, ambition, collaboration, and creative culture.  The result is an enjoyable and inspiring read that both reveals Stone as a genuine creative leader and summarizes many of the key lessons of building successful business enterprises today.

(11) Douglas Stone and Sheila Heen, Thanks for the Feedback: The Science and Art of Receiving Feedback Well (Viking)

The authors of the invaluable Difficult Conversations take on an equally challenging aspect of work and life in this new volume: how (well) do we receive feedback? Extending some of the principles of their earlier work to being less defensive and building richer relationships to engaging the feedback of others, Stone and Heen also show how to gather and process honest insights about oneself.  The result is a book that very practically enables the development of greater self-awareness and deeper learning so helpful to becoming more effective leaders.

(12) Robert Sutton and Hayagreeva Rao, Scaling Up Excellence: Getting to More Without Settling for Less (Crown Business)

This is a major work based on a decade’s research by two Stanford professors on the pervasive challenge of spreading and multiplying success in organizations. Looking across industries, and from small start-ups hoping to grow to mature large firms seeking to avoid stagnation, Sutton and Rao offer insights and proven practices for ‘scaling up’ farther, faster, and more effectively. In the process, they provide actionable advice on such vexing issues as balancing individual and organizational needs, replicating successful mindsets, and eliminating destructive behaviors.

(13) Barry Wacksman and Chris Stutzman, Connected by Design: Seven Principles of Business Transformation (Jossey-Bass)

R/GA is one of the world’s most consistently successful creative digital agencies. Wacksman, its Chief Growth Officer, describes how the agency has been a pioneer in helping develop new business models featuring highly interactive eco-systems of interrelated products, digital services, brand loyalty and continuous customer engagement. He then goes on to identify how such ‘functional integration,’ achieved by valued firms like Apple, Nike, Amazon, and Activision, can be understood according to principles ranging from ‘Utility is Relevance’ to ‘Lead like the world depends on it.’