Stories are crucial tools in every leader’s kitbag. Business Reporter's resident U.S. 'blogger warns that ‘effective leaders convey ideas and intent to their people through well-crafted and believable anecdotes.
Most of the dystopian fiction that I’ve read recently – especially in the ‘young adult’ subcategory of fiction – tends to miss the dark forest for the oppressive trees. My go-to example of this comes from Suzanne Collins’ best-seller
The Hunger Games. To be clear: I’m
not out to criticize Ms. Collins’ book; she wrote a darned fine book that entertained its intended teen readers and their parents alike. Her combination of reality television, Greek myth, and Roman gladiator games was well-written and fun. Buy it. Enjoy. No firebombs through the letter-slot, please (metaphorical or otherwise).
No, my point of contention comes from Collins’ portrayal of some of the
characters and how they’re portrayed. I’ve no objection to the idea of a totalitarian central government keeping its poorest citizens cowed through poverty, resource deprivation and threats of violence; I think that was nicely prophetic. Rather, I dislike the way that Collins used stock tropes for the baddies who
weren’t primary (named) antagonists.
Go re-watch a scene or three of the official
on YouTube and pay attention to the Generic
Star Wars Stormtrooper™ character model. I counted 14 shots in the trailer where generic-looking men in identical spotless white uniforms stood around, motionless and menacing, between the protagonists and the main villain(s). In the scene immediately after the one-minute mark I counted
twelve of these guys in one scene. Sure, you could tell that they were played by different extras, but they had less than one-tenth of a personality between them. They were symbols of power, not
people.
I get
why she (and, later, director and screenplay co-writer Gary Ross) did this. They had more than enough characters to explore already. They didn’t have time to spare to dwell on the tertiary background characters. Rather than show us the soldiers as individuals with complex motivations and a range of moral revulsion for the system they represented, we got another Lucas-style
‘clone army’ of identical mooks. Design one action figure then cut-and-paste as needed. The trouble is, the legion of generic thugs populating the background and representing the implied or expressed
undermines the overall story’s verisimilitude.
Fahrenheit 451, or Armitage from William Gibson’s Neuromancer. These characters stick with us because while their points-of-view differ from their story’s protagonist’s POV, these differences aren’t really black-and-white, good-versus-evil differences. They’re more nuanced. These characters seem like real people, driven by experiences and ignorance. Characters that made bad decisions that we might make under similar circumstances.
So … pause for a moment. Why bring up all this dystopian literature bickering in a business-themed article? Sure, popular literature is profitable and sure, publishing is an interesting industry, but that’s not why I wanted to start here. Rather, there’s a lot that we can (and should) learn from a good dystopian tale that will benefit us at work.
Why? Because we’re all in the storytelling business. By that, I don’t just mean fiction writers (like Collins, Bradbury, and Gibson) or non-fiction business writers (like me); I mean everyone holding a leadership role in business. We’re all storytellers, like it or not. In order to motivate, inspire, direct, and coach people, we have to explain to our people what it is that we want them to achieve in terms they’ll understand. The best way to do that is to relate examples through memorable that resonate with the people we’re speaking with. Stories that convey our vision and concerns. Stories that can be passed from person to person with a minimum of distortion. Stories that ‘stick.’

![/><em>By focusing exclusively the skier’s tale, the audience missed out on the exhilarating backstory of Red Flag #117.</em></p>
That’s why I urge leaders to thoughtfully consider the characters they relate or construct [1] for their cautionary stories. If the purpose of a story is to convey an important idea, a flimsy supporting character will undermine the effectiveness of the story just as soon as the listener recognizes the presence of a one-dimensional stand-in.
Instead, anonymize your characters to protect the innocent, but describe them such that they feel ‘real’ to the listener. I promise … it’ll make all the difference between this:
‘I caught a new hire working down in finance using someone else’s two-factor authentication key. I asked why she’d done it. She admitted that didn’t have her own account, and said that her supervisor had logged on for her and told her to do work. That violates our security regulations. Don’t’ let anyone get away with doing that.’
And this:
‘I dropped by the finance and met the new clerk. Have you met her? Young, blond lady with the pony tail? Right – her. When I came up to the counter she was rocketing through a stack of expense reports. Super cheerful and helpful. I noticed as I was leaving that she had her supervisor’s 2FA key slotted and I asked her where her own was. Without a trace of self-awareness, she boasted that her boss had logged her in. I explained that using someone else’s key card was a fireable offense, but assured her that it wasn’t her fault. We went and chatted with her boss – who was scrambling to find some missing records – and had an impromptu re-training session on user credentials. Kelly’s going to get her own account and Kelly’s boss was mortified. She didn’t realize how big a deal card security is and they both promised to not do it again.’
See the difference? In the first version, there aren’t any realistic characters. The ‘new hire’ and the ‘supervisor’ could be anyone. They’re one-dimensional. Their motivations and circumstances don’t factor into the story. It’s an accurate rendition, but a cold one that people may have trouble identifying with. The second version takes longer to tell, but it paints a more vivid picture. The ‘new hire’ is a person with a name and a personality. Even the ‘supervisor’ character seems more vivid. We know <em>why</em> things happened, not just <em>what</em> happened. That will help the audience recognize similar scenes in the future and maybe inspire some empathy for people who made an honest mistake.
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‘Bob.’

POC is Keil Hubert,
keil.hubert@gmail.com
Follow him on Twitter at
@keilhubert.
You can buy his books on
IT leadership,
IT interviewing,
horrible bosses and
understanding workplace culture at the Amazon Kindle Store.
Keil Hubert is the head of Security Training and Awareness for OCC, the world’s largest equity derivatives clearing organization, headquartered in Chicago, Illinois. Prior to joining OCC, Keil has been a U.S. Army medical IT officer, a U.S.A.F. Cyberspace Operations officer, a small businessman, an author, and several different variations of commercial sector IT consultant.
Keil deconstructed a cybersecurity breach in his presentation at TEISS 2014, and has served as
Business Reporter’s resident U.S. ‘blogger since 2012. His books on applied leadership, business culture, and talent management are available
on Amazon.com. Keil is based out of Dallas, Texas.