This edition first published 2012
2012 John Wiley & Sons, Ltd.
Registered office
John Wiley & Sons Ltd, The Atrium, Southern Gate, Chichester, West Sussex, PO19 8SQ, United Kingdom
For details of our global editorial offices, for customer services and for information about how to apply for permission to reuse the copyright material in this book please see our website at www.wiley.com.
The right of the author to be identified as the author of this work has been asserted in accordance with the Copyright, Designs and Patents Act 1988.
All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, except as permitted by the UK Copyright, Designs and Patents Act 1988, without the prior permission of the publisher.
Wiley also publishes its books in a variety of electronic formats. Some content that appears in print may not be available in electronic books.
Designations used by companies to distinguish their products are often claimed as trademarks. All brand names and product names used in this book are trade names, service marks, trademarks or registered trademarks of their respective owners. The publisher is not associated with any product or vendor mentioned in this book. This publication is designed to provide accurate and authoritative information in regard to the subject matter covered. It is sold on the understanding that the publisher is not engaged in rendering professional services. If professional advice or other expert assistance is required, the services of a competent professional should be sought.
Wiley and the Wiley Publishing logo are trademarks or registered trademarks of John Wiley and Sons, Inc. and/ or its affiliates in the United States and/or other countries, and may not be used without written permission. iPhone, iPad and iPod are trademarks of Apple Computer, Inc. All other trademarks are the property of their respective owners. Wiley Publishing, Inc. is not associated with any product or vendor mentioned in the book. This book is not endorsed by Apple Computer, Inc.
Every effort has been made to contact the copyright owners of third party material contained in this book. If there are any inadvertent errors or omissions we apologise to those concerned, and ask that you contact the publisher so that any corrections can be made in any reprints or future editions.
A catalogue record for this book is available from the British Library.
ISBN 978-1-119-99924-9
Set in 10/12 point Utopia by WordMongers Ltd, Treen, Penzance, Cornwall
Thank you for everything to Taissia, Grisha and Antonska
Publisher's acknowledgements
Some of the people who helped to bring this book to market include the following:
Editorial and Production
VP Consumer and Technology Publishing Director: Michelle Leete
Associate Director-Book Content Management: Martin Tribe
Associate Publisher: Chris Webb
Executive Commissioning Editor: Birgit Gruber
Assistant Editor: Ellie Scott
Copy Editor: Steve Rickaby, WordMongers Ltd
Editorial Manager: Jodi Jensen
Senior Project Editor: Sara Shlaer
Editorial Assistant: Leslie Saxman
Marketing
Associate Marketing Director: Louise Breinholt
Senior Marketing Executive: Kate Parrett
Composition Services
Steve Rickaby, WordMongers Ltd
Foreword
I love books. I believe that all patterns fans love books. I remember in the early evangelical days of patterns introduction, arriving at a corporate site to talk about design patterns, hauling in my usual stack of patterns books: the Gang of Four (of course), the first of the PoSA series, several by Christopher Alexander and a PLoPD book or two. It was a lot of work, especially in the summer in Phoenix when the temperatures could be above 110 F. But it was worth it. Participants would immediately gather round, pick up, leaf through and start to read those books. It's often been said about Alexander's A Pattern Language that you start thumbing through, and then it happens the book draws you in and soon youre reading and reading and reading.
Good pattern books are all like that. Actually all good books are like that. It's one reason why I miss bookstores. You can't, even when selections are available online, browse books in the same way. I think you'll find Allan Kelly's book is the same. You'll pick it up. You'll see a particular pattern that catches your eye because it calls up a problem you've had or are having, and pretty soon you, too, will be reading and learning. One participant at a long-ago patterns talk, when asked about the attraction of books, said, Some of my happiest memories are about books.
I think that books have this power for us because they are proxies for the longest-lived form of learning listening to others tell a story. Allan mentions Steve's Denning's work on corporate storytelling how a good story is the most effective way to persuade others to hear your compelling idea. Readers will like the format for Allan's patterns, because each one opens with a short story.
Mary Lynn Manns and I decided to adopt that format for the patterns in Fearless Change after feedback from our reviewers. We had not taken the time to find good images for the patterns, believing that we could do that at a later date. We did, however, include a lot of known uses stories from contributors all over the world who had used the patterns. Our reviewers noted that these stories, especially the more powerful ones, seemed to embody the message of the pattern they were almost a stand-alone explanation. The suggestion was that we move an archetypal story to the opening of the pattern as a replacement for the image. Readers could then create their own images, in the same way that radio listeners used to. I remember many happy hours after school listening with my brothers to The Lone Ranger on the radio, and was almost disappointed the first time I saw an episode on television it seemed to be missing all the detail from my eight-year-old imagination.
Good stories reflect the author's expertise. It's why we want to hear good storytellers. We're all looking for answers. We want some suggestions for new directions, experiments we might try in our organisations and in our lives. You will definitely find that in Allan's book. The expertise shines through in the stories, in the understanding of the challenges we face and in the powerful solutions. This is one reason why patterns books take a long time to produce. It's not a simple matter of documenting the idea we had in the shower this morning. Patterns capture expertise, that of the author and of those who contribute known uses, examples or stories of their experiences using the pattern. It takes considerable effort to gather all that valuable material.
I can recall the first time someone asked me a very important question about books: can you think of at least one book that changed your life? I struggled with this question when I heard it, but then the obvious answer appeared. The book with the most impact on my life was one I had written: Fearless Change . Over the ten years it took to produce that book, I changed from a techie, a software designer, to someone intensely interested in the people side of development, especially the psychology of human interaction. The amount of research from the cognitive scientists that appears almost daily is overwhelming. It all has to do with us as humans, and has enormous impact on our software development and business process. It wasn't an overnight change, since the book took ten years to create, but it turned my life and career upside down. My personal mission statement is to translate as much of the research in this area to those in software development who are willing to listen.