Tom DeMarco, Peter HruschkaTim Lister, Steve McMenamin

James Robertson, Suzanne Robertson

Understanding Patterns ofProject Behavior

Adrenaline JunkiesTemplate Zombiesand

Principals of the Atlantic Systems Guild

DH

“Brilliantly insightful” —Howard Look, VP of Software, Pixar

“Brilliantly insightful. At one moment you’ll think ‘Darn, I do that . . .we’re toast’ followed quickly by the reassurance of ‘I’m not the only one.There’s hope!’” —Howard Look,VP, Software, Pixar Animation Studios

“Who else but these particular authors could mine 150 years of softwareteam experience to capture memorable names for oft-encountered situa-tions? I suspect you will start using these phrases in your work—I alreadyhave.” —Alistair Cockburn, author of Agile Software Development

“The 88 project patterns are grimly familiar to anyone who has workedin project-related organizations. Fortunately, some of the patterns aregood ones, and should be encouraged. Sadly, though, many of theothers are not only depressingly familiar, but astonishingly destructive toproductivity, quality, and the morale of the project team.”

—Ed Yourdon, author of Death March

“Written with a combined sense of humor and deep insight. The bookclearly conveys why projects fail and what can be done about it. It is alldoable practical advice delivered in a very friendly and acceptable way.”

—Warren McFarland, Professor, Harvard Business School

“This is an absolutely must-read book for everyone running an ITorganization. Actually the lessons in this wonderful book are applicableto anyone running any kind of project based organization—just aboutevery organization. The metaphors are funny in that kind of tragic-funny you’ve been there kind of way. You will recognize the commonpathologies of projects everywhere. With a dose of courage and thisbook in hand, you will be able to create a healthy project environmentwhere people can thrive and still deliver consistent results.”

—Lynne Ellyn, Sr.Vice President and CIO, DTE Energy

“People have always tried to understand themselves and each other. Oursurvival has depended on such understanding, as has the quality of thatsurvival, from bare subsistence to deeply fulfilling livelihood. Whatpeople do individually, interpersonally and within their institutionalmatrices forms distinct frameworks of attitude and behavior. Perceivingthe dynamics of these complexes (let’s call them) confers both insight andpower. Three attempts at such understanding leap to mind. The Chinesehad the I Ching, or Book of Changes. Architects have had A Pattern Lan-guage. And medical psychology has had its Diagnostic and Statistical Manualof Mental Disorders. Brilliantly blending elements of all three (not leastfrom that last one), Adrenaline Junkies and Template Zombies maps the pat-terns people create and follow—to their detriment and advantage—inthe projects they engage within organizational contexts. Sharp, funnyand dead-on-target, the book deserves a wide reading.”

—Christopher Locke, coauthor of The Cluetrain Manifesto:The End of Business As Usual

Early Praise for ADRENALINE JUNKIES AND TEMPLATE ZOMBIES

Introduction ..............................................................11 Adrenaline Junkies.....................................................................42 Rattle Yer Dags .........................................................73 Dead Fish.................................................................104 Happy Clappy Meetings .........................................125 Nanny ......................................................................146 Referred Pain ..........................................................177 Mañana ...................................................................208 Eye Contact .............................................................239 Management By Mood Ring..................................26

10 True Believer ...........................................................3011 Lease Your Soul.......................................................3212 System Development Lemming Cycle....................3413 No Bench .................................................................3614 Face Time.................................................................3815 I Gave You a Chisel. Why Aren’t You

Michelangelo? .................................................4116 Dashboards .............................................................4317 Endless Huddle........................................................4718 Young Pups and Old Dogs......................................5019 Film Critics ...............................................................5320 One Throat to Choke..............................................5621 Soviet Style..............................................................5922 Natural Authority ...................................................6223 The Too-Quiet Office ..............................................6424 The White Line........................................................6525 Silence Gives Consent .............................................6826 Straw Man...............................................................7027 Counterfeit Urgency...............................................7328 Time Removes Cards From Your Hand...................7529 Lewis & Clark...........................................................7830 Short Pencil .............................................................81

Contents

v

31 Rhythm ....................................................................8332 The Overtime Predictor ..........................................8533 Poker Night .............................................................8834 False Quality Gates .................................................9135 Testing Before Testing ............................................9536 Cider House Rules ...................................................9737 Talk Then Write.....................................................10038 Project Sluts...........................................................10339 Atlas.......................................................................10540 Everyone Wears Clothes for a Reason.................10841 Peer Preview .........................................................11042 Snorkeling and Scuba Diving ...............................11343 It’s Always the Goddamned Interfaces................11644 The Blue Zone .......................................................11845 News Improvement ..............................................12046 Telling the Truth Slowly........................................12347 Practicing Endgame..............................................12648 The Music Makers .................................................12949 Journalists .............................................................13250 The Empty Chair ...................................................13451 My Cousin Vinny ...................................................13652 Feature Soup.........................................................13953 Data Qualty...........................................................14254 Ben ........................................................................14455 Miss Manners ........................................................14656 Undivided Attention ............................................14857 “There’s No Crying in Baseball!” .........................15158 Cool Hand Luke ....................................................15359 Shipping On-Time, Every Time.............................15560 Food++ ..................................................................15761 Orphaned Deliverables.........................................159

Contents

vi

62 Hidden Beauty ......................................................16263 I Don’t Know.........................................................16564 Children of Lake Wobegon..................................16865 Co-Education.........................................................17266 Seelenverwandtschaft ..........................................17567 Phillips Head .........................................................17868 Predicting Innovation...........................................18069 Marilyn Munster ...................................................18370 Brownie in Motion ...............................................18671 Loud and Clear......................................................18872 Safety Valve...........................................................19173 Babel......................................................................19474 Surprise! ................................................................19675 Fridge Door ...........................................................19876 The Sun’ll Come Out Tomorrow ..........................20177 Piling On................................................................20578 Seasons for Change ..............................................20779 Paper Mill ..............................................................21080 Offshore Follies .....................................................21281 War Rooms............................................................21582 What Smell? ..........................................................21783 Lessons Unlearned ................................................21984 Sanctity of the Half-Baked Idea...........................22285 Leakage .................................................................22486 Template Zombies.................................................227

Project-Speak ........................................................229The Cutting Room Floor.......................................232Photo Credits ........................................................234Index......................................................................237About the Guild....................................................239

Contents

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Abstraction is uniquely human. It is something we do every day, everywaking hour. But it wasn’t always so. At some point in our prehistory,there had to be a very first instance of abstraction, a moment when anearly protohuman stared at something vaguely familiar, and then with asudden flash of insight, thought, “Hello! Thingumbob again!” That wasthe first abstraction. From that moment on, everything was different. Manwas loose on the Earth.

Abstraction is pro-foundly human, but patternrecognition is not. It is notunique to humans at all.The mouse has figured outwhen the cat is likely to beasleep, when the humansare sure to be out of thekitchen, and when thecrumbs have been recentlydropped but not yet sweptup. Your family dog knowsall the signals that precedewhat you thought wasgoing to be a totally unex-pected getaway weekend.(Could it have been thesuitcase?) And the neigh-borhood raccoon under-stands that when the tide isout, pickings are bound tobe better on the beach thanin your compost pile. But for all their pattern recognition mastery, whatthe mouse/dog/raccoon cannot do is observe, “Hello! Thingumbobagain!”1 That involves abstraction.

The key difference is how the essence is captured. Patterns areabsorbed and refined over time, stored away in the deep, nonverbalrecesses of your mind, and conveyed to you in the form of hunches.The hunch that a particular ball-carrier is about to dart left, or that your

Introduction

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1The thingumbob quote is adapted from William James, The Principles ofPsychology (New York: Henry Holt and Company, 1890), p. 463.

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spouse is ready to explode in anger, is the result of recognized patternsfrom the past. So is the hunch that this week’s project status meeting isgoing to be contentious. The unarticulated pattern may be useful toyou—it clearly has survival value—but its value can increase markedlywhen you mull it over and begin to develop from it some declarableobservations.

For example, ask yourself this question: What did the few con-tentious meetings over the past year all have in common? Well, they weremost often the ones that the boss’s boss attended, usually near the end of aquarter. In the worst meetings, the team reported a slip in the schedule. Youform this into a statement of the pattern: “My boss tends to beextremely cranky about slip reported at a meeting, especially near theend of the quarter, when his own boss is in attendance.”

The recognized signals that led to this observation are stillburied in your unconscious, still able to provide you with occasionalhunches. But now, in a momentary connection between the right brainhunch and the left brain articulation capability, you’ve isolated theessence and turned it into words. You can write it down, formulate teststo check its validity, share it with others, and merge your observationswith those of your coworkers.

Most people who do project work are pretty good at patternrecognition and derived hunches (“I sense that this project is headed fordisaster”), but not so good at abstracting their patterns into a moreusable form. Thus this book. We six authors have put our headstogether to articulate the patterns we’ve been absorbing during ourcombined one hundred and fifty years of experience.

The form of a book imposes a certain ordering of presentation,since each page must necessarily come either before or after any other.But the patterns themselves have no natural sequence. We’ve orderedthem to suit our own tastes, striving only for the most enjoyable readingexperience from the first page to the last.

Whether you read them straight through or nonsequentially,bear in mind this cautionary note: We make no claim to the universalityof our observed patterns. They certainly don’t apply everywhere. Agiven pattern may fit your organization or not. If it does, we hope ithelps transform what before had only been a hunch into an observationyou can express, test, and refine with your team.

Introduction

2

In writing this book, we have been constantly aware of our debtto the architect and philosopher Christopher Alexander and hisadmirable book A Pattern Language.2 In this seminal work, Alexanderand his coauthors articulated a few hundred patterns about architecture.The book helps us better understand the buildings we occupy—and theones we’d like to—and it also shows us the way that thoughtfully articu-lated abstractions can elucidate any subject.

Introduction

3

2See C. Alexander et al., A Pattern Language: Towns, Buildings, Con-struction (New York: Oxford University Press, 1977).

The goals of many IT projects can be summarized simply: We need this set offunctionality, with this accuracy, with reasonable robustness, by this calendar

date. The team is assembled,and the statements of goalsand constraints are workedinto detailed requirementsand designs; and they’republished.

The big secret isthat nobody on the projectbelieves that the projectcan be an outright success.Usually, the deadline is notattainable with the othergoals unchanged. Mysteri-ously, no one declares thatthere is a big, stinking,dead fish of failure alreadysmelling up the project.

As the Greek trag-edy plays out, the projectwill slog on. Then, typicallya few weeks before expec-

ted delivery, each project member, project manager, manager of a projectmanager, and anybody standing remotely near the project, will either:

1. declare shock, dismay, and amazement that the project isnowhere near where it needs to be for the upcoming release

Or,2. lay low and say absolutely nothing about anything unless asked

Why do so many people in so many organizations spray reality deodor-ant rather than simply state, “No way this project is happening the waywe want. The dead fish is here.”

3 Dead FishFrom Day One, the project has no chance of meeting itsgoals; most people on the project know this and saynothing.

10

Many organizations are so driven for success that anyoneexpressing doubt gets no reward whatsoever for speaking his heartfeltopinion. In fact, if someone identifies the dead fish in the early stages ofa project, upper management’s first response is likely to be

“Prove it. Show us that the probability of success is 0 percent.Draw no conclusions from the other dried-out fish carcasses lyingaround from previous projects; your project is different. Prove tous with irrefutable mathematics that failure is inevitable.”

Anything short of a masterful proof gets lambasted as whining or anattempt to get out of some good-old, honest hard work:

“Are you a weenie or a layabout? Take your pick, but we doubtyou’ll be a part of this fine organization for long.”

In such an environment, it is safer to “try hard” and not make it than todeclare goals unattainable as defined. Granted, sometimes it is necessaryto take on a very challenging project and give it a real try before con-ceding anything. Absolutely—but the difference is that on hard projectswith real deadlines, nobody waits until the last minute to declare anemergency. If your project is building software for a communicationssatellite that is set to launch in 18 months—and you know that if youmiss the launch date, the next opportunity is 16 months after that—thenyou and everyone else will be sniffing the air every day, for that aquaticscent. One whiff of that aquatic scent and you will spring into action,knowing too well that on a dead-fish project, action waits until mostoptions are lost.

Clearly, the dead fish is not only destructive to organizations, itis demoralizing to the dead-fish project teams and their managers. Nomatter what the organizational culture, nobody is ever comfortablesitting on a stinking dead fish for long. The costs of keeping a dead fishsecret are huge.

Just for Monty Python fans:“This project’s not dead; it’s pining for the fjords!”“It’s not dead, it’s just molting!”“This is a dead project. It has joined the project choirinvisible!”“And now for some pattern completely different. . . .”

Dead Fish

11

You are in the final weeks before releasing your new system into pro-duction. Integration testing has been in full swing for some time, andthe developers are fixing bugs as they come in. Release managers aregoing though their checklists of pre-ship activities to ensure thatnothing has been overlooked. Then, at a readiness review, a new voice isheard. This is typically someone who has been associated with theproject since its inception, but who has had little to say until now. We’llcall him Herb.

Herb is not all that pleased with the state of things. Herb feelsthat the product about to be shipped has missed a few key features. Andthe design reviews were not all they could have been. And the inte-gration testing should have been far more rigorous. Given all of theproblems he sees, Herb feels that shipping the system now may poseserious risks. He has enumerated the risks in an impressive PowerPointdeck that he has e-mailed to the world.

19 Film Critics

Film critics are team members or corporate spectatorswho have determined that the value they add to theproject lies in pointing out what has gone wrong or isgoing wrong, but who take no personal accountabilityto ensure that things go right.

53

You consider Herb’s points, and you have to agree that some ofthem are valid. But your overall reaction is,“Why are you telling us thisnow? Where were you when we had time to address these issues?”Herb waves off your questions, offering no constructive suggestions forcorrecting what he sees as deficiencies, but reiterating his concernsabout the way things have been handled.

Herb is a film critic.Sometimes, on projects, film critics have real jobs and their crit-

icism is more or less a hobby. Other times, they are actually chartered tobe film critics by a manager who values this behavior. Either way, allfilm critics share one trait: They believe that they can be successful even if theproject they’re on is a failure. They have, in effect, silently seceded from theproject team.

Not all project critics are film critics. A lot of the difference isin the timing. People who feel accountable for the success of theproject tend to speak up right away when they see that something isgoing wrong or could be done better. They come forward and say whatthey think, to whomever they believe can make a difference. They doso as soon as they can, because they know that time is always short andthat corrective actions should be taken sooner rather than later. Thesepeople are not film critics; they are your fellow filmmakers. They knowthat they cannot succeed if the project fails, so they are taking mattersinto their own hands, every day, to increase the probability of your col-lective success. You may agree or disagree with their criticism, but youcan see that they are working on the same film you are.

Pursuing the analogy between projects and films, we note thatfilm critics don’t tend to weigh in until the film is complete, or so nearto completion that there isn’t enough time left to take corrective action.It’s not that they actually want the project to fail; it’s more that they havecome to believe that their own success is independent of the project’ssuccess and has more to do with being seen as a keen observer of theobvious and an accurate predictor of the inevitable. They don’t neces-sarily realize it consciously, but they no longer care whether the projectsucceeds or not, as long as they are seen as having been right.

Why are some projects infested with film critics while othershave few or none? There is only one reason: Some management cul-tures emphasize doing things right, while others emphasize not doinganything wrong. When managers are most concerned about not

Film Critics

54

making mistakes, or at least not being seen as having made mistakes,they send obvious signals, both explicit and tacit, that catching peoplemaking mistakes is just as valuable to the organization as doing thingsright. Those people in the organization who have natural film-critictendencies rise to these signals and engage in freelance film criticism ontheir current project to see how it will be received. If it is tolerated, oreven rewarded, then film critics will multiply and accountability willdiminish. Keep in mind that it is far easier to be a film critic than it isto be a filmmaker, that is, to be an accountable leader or team member.If the organization demonstrates that it values film critics, it shall havethem.

Film criticism can exist at all levels in an organization, and iteven can be institutionalized in a number of ways. The most commoncase is the unofficial film critic. This person already has a role on theproject, though typically a peripheral one. Many film critics are in staffsupport roles, and from there, they can criticize multiple projects. In anespecially diseased management culture, senior leaders may even charteran entire organization to act as a watchdog on teams building systems.

On project teams, film criticism is one example of a moregeneral destructive pattern that we call goal detachment. Notice whatenabled the film critic: the belief that there were multiple ways tosucceed on this project. The project itself could succeed, of course. Butthe film critic (or the leader who chartered the critic) allowed that goalto be replaced by a related but independent goal: to accurately identifywhat’s going wrong on the project. It’s not that identifying deficienciesis a bad thing; it obviously is not. Goal detachment is destructivebecause people pursuing detached goals are only coincidentally workingtoward the success of the project; their efforts are just as likely to beinconsequential or even counterproductive.

Film Critics

55

Some of us produce work that is intended for other eyes. If you’re thebody designer of a new car style, for example, then a large part of thesuccess of your work depends on the extent to which it is appreciatedby others. If what they see pleases them, you will know it and derivepleasure and esteem from their response. If you’re good, this derivedpleasure is a large part of your total remuneration package; deprivingyou of it would be like neglecting to pay your salary, practically a breachof your employment agreement.

Now imagine instead that you are designing the self-test mech-anism for airbags on the same vehicle. Almost no one will see the result ofyour work or even be more than marginally aware that it is there at all. So,one might suppose that success or failure of this work—and any attendantsatisfaction that brings—should depend entirely on whether or not itachieves its assigned functionality, with no provision at all for aesthetics.

What an error! Design is an inherently creative process in thatit produces something where before there had been nothing at all. The

62 Hidden Beauty

Some aspect of the project’s work moves beyond ade-quate, beyond even elegant . . . and reaches for thesublime.

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act of creation can take you in many different directions, all perhapsfunctionally identical, but differing in ways that can only be termed aes-thetic. Some designs are, quite simply, beautiful. Their beauty is not anadded attribute, not a “decoration,” but a side effect of achieving func-tionality in a way that is at once natural and yet surprising. This can bejust as true of those parts of the whole that are largely or totally hiddenas it is of those that are visible to all.

Since the inventor of Ethernet, Bob Metcalfe, is a friend, Ithought I might look into the details of the Ethernet protocolto see how it was designed. I opened the spec to be informed,not charmed, but to my surprise, I found that the protocol wasa thing of substantial beauty. It was spare where it needed tobe spare, elegant in concept, and its recovery mechanism for lostpackets was a simple derivative of the way the packets wereoriginally transmitted. Its concept of collisions and the way itdeals with them was unexpected, at least to me, but amazinglysimple. Call me a weenie, but the Ethernet spec brought alump to my throat. —TDM

There is an aesthetic element to all design. The question is, Is this aes-thetic element your friend or your enemy? If you’re a manager, particu-larly a younger manager, you might be worried that any aesthetic com-ponent of the designer’s work could be a waste, little more than thegold-plating that we’re all taught must be avoided. This aesthetics-neutral posture in a manager acts to deprive designers of appreciationfor work that is excellent, and to refuse acknowledgment of any valu-ation beyond “adequate.”

The opposite posture requires that you be capable and willingto look in detail at your people’s designs, and be aware enough to seequality when it’s there. Doing this for even the shortest time willquickly convince you that the gold-plating argument is a red herring;no design is made better in any way by piling on added features or glitz.Rather, what enhances a design’s aesthetic is what is taken away. The bestdesigns are typically spare and precisely functional, easy to test and dif-ficult to mess up when changes are required. Moreover, they make youfeel that there could be no better way to achieve the product’s assignedfunctionality.

Hidden Beauty

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When their work is largely invisible, designers are enormouslyaffected by a manager who pores into the details enough to appreciatedesign quality. When you delve deeply into one of your designer’swork, you may be able to increase the universe of people able to appre-ciate a lovely piece of work, from one to two. In the eyes of thatworker, you just may be transformed from an okay manager to “the bossthat I would follow anywhere.”

“Perfection is reached not when there is nothing left toadd, but when there is nothing left to take away.”

—Antoine de Saint-Exupéry

Hidden Beauty

164

If your organization builds systems of any kind, chances are that some ofthe methods and approaches that it uses came originally from TheAtlantic Systems Guild.

The six principal members of The Atlantic Systems Guild are Suzanne Robertson and James Robertson, the London partners,

are the creators of the Volere requirements process, which includes thepopular Volere requirements specification template. James and Suzanne’sseminars and consulting assignments have helped organizations around theworld improve their discovery and communication of requirements. TheRobertsons are coauthors of Mastering the Requirements Process, Require-ments-Led Project Management, and Complete Systems Analysis.

Steve McMenamin is vice president of engineering at BorlandSoftware, where he leads development teams building several of Borland’sOpen Application Lifecycle Management products. Before joiningBorland, Steve held executive positions at BEA Systems, Crossgain Corp.,and Edison International.

Tim Lister works out of the Guild’s New York office. He spendshis time helping systems organizations become more effective with whatthey have. He is a self-proclaimed risk-management zealot who believesthat it’s all about risk and reward, and that productivity and quality aremeaningless unless put into the risk/reward context. Tim is coauthorwith Tom DeMarco of Peopleware and Waltzing With Bears.

Peter Hruschka, based in Aachen, Germany, specializes inrequirements and design of embedded real-time systems. He is the code-veloper of the ARC42 template for system architecture documentation.In one of his earlier lives, he pioneered modeling tools for structured andobject-oriented methods. He has coauthored half-a-dozen books onmethods and tools.

Tom DeMarco is the author or coauthor of twelve books, and aconsultant specializing in project success and, sometimes, project failure(litigation). His nontechnical publications include a mainstream novel anda short story collection, and he is presently at work on a history. He liveswith his wife and lifelong partner, Sally O. Smyth, in Camden, Maine.

About the Guild

BEHAVIORS THAT MAKE YOUR PROJECTSWONDERFUL OR AWFUL OR FRUSTRATING OR

SATISFYING OR SUCCESSFUL OR DOOMEDProject behavior patterns are clues to understanding what otherwise can onlybe mysterious. This book is a starter kit to help you make sense of the humanelement in group endeavors. If you do project work, you need to know about:

• Project Sluts—managers who can’t say no• Soviet Style—building the product no one can love• Hidden Beauty—an ethic that drives great developers• News Improvement—status gets rosier as it rises in the organization• Dead Fish—learning to appreciate project odor• Seelenverwandtschaft (you’ll just have to read the book)

and many more

The principals of the Atlantic Systems Guild—authors of Mastering theRequirements Process, Waltzing with Bears, The Deadline, Essential SystemsAnalysis, Peopleware and many more—have distilled their observations onhundreds of projects to identify the behavior patterns that help and the onesthat hurt.

Dorset House Publishing353 West 12th Street

New York, NY 10014DH

“Another masterpiece from the folks who brought you Peopleware. Anyonewho has survived a software project or two will surely recognize many ofthese patterns and will be able to learn from most of them. Adrenaline Junkiesand Template Zombies is a real joy.”

“A remarkably compelling book that captures with vignette, anecdote andhistory, both the anthropology and sociology of software project dysfunction.There is the knowing and weary but not-yet-cynical voice of experience thatwill make project leaders, managers and participants flinch and wince withrecognition.” —Michael Schrage, MIT Media Lab

—Joel Spolsky, author of Joel on Software

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