So if your primary goal is to have a fully worked out, set-in-stone plan, you are only upping your chances of being unoriginal. Moreover, you cannot plan your way out of problems. While planning is very important, and we do a lot of it, there is only so much you can control in a creative environment. In general, I have found that people who pour their energy into thinking about an approach and insisting that it is too early to act are wrong just as often as people who dive in and work quickly.

I often say that managers of creative enterprises must hold lightly to goals and firmly to intentions. What does that mean? It means that we must be open to having our goals change as we learn new information or are surprised by things we thought we knew but didn’t. As long as our intentions - our values - remain constant, our goals can shift as needed. At Pixar, we try never to waver in our ethics, our values, and our intention to create original, quality products. We are willing to adjust our goals as we learn, striving to get it right - not necessarily to get it right the first time. Because that, to my mind, is the only way to establish something else that is essential to creativity: a culture that protects the new.

There is a crucial yet hard-to-understand concept here. Most people grasp the need to set priorities; they put the biggest problems at the top, with smaller problems beneath them. There are simply too many small problems to consider them all. So they draw a horizontal line beneath which they will not tread, directing all their energies to those above the line. I believe there is another approach: If we allow more people to solve problems without permission, and if we tolerate (and don’t vilify) their mistakes, then we enable a much larger set of problems to be addressed. When a random problem pops up in this scenario, it causes no panic, because the threat of failure has been defanged. The individual or the organization responds with its best thinking, because the organization is not frozen, fearful, waiting for approval. Mistakes will still be made, but in my experience, they are fewer and farther between and are caught at an earlier stage.

It is our job, then, to work each day to chart the right course and make corrections when, inevitably, we stray. I already can sense the next crisis coming around the corner. To keep a creative culture vibrant, we must not be afraid of constant uncertainty. We must accept it, just as we accept the weather. Uncertainty and change are life’s constants. And that’s the fun part.
The truth is, as challenges emerge, mistakes will always be made, and our work is never done. We will always have problems, many of which are hidden from our view; we must work to uncover them and assess our own role in them, even if doing so means making ourselves uncomfortable; when we then come across a problem, we must marshal all our energies to solve it. If those assertions sound familiar, that’s because I used them to kick off this book. There’s something else that bears repeating here: Unleashing creativity requires that we loosen the controls, accept risk, trust our colleagues, work to clear the path for them, and pay attention to anything that creates fear. Doing all these things won’t necessarily make the job of managing a creative culture easier. But ease isn’t the goal; excellence is.

This finding makes perfect sense. Creative work requires that your mind feel a level of freedom. If part of what you focus on is whether or not your performance will get you that big check, you are not in that open cognitive space where the best ideas and most innovative possibilities reside. You do worse.