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Lenny Rachitsky’s Performance Management System

If you’ve ever had a performance appraisal where the person conducting it really cared about the process, you know first hand the motivational impact. Unfortunately, that’s rarely the case. Appraisals are generally poorly researched and written, leaving the employee feeling unappreciated and demotivated. Given the business and human resource management implications, the ability to provide effective feedback—recognition and developmental—is an essential management competence and a critical HR and organizational priority.

Your Task
The firm’s Employee Engagement principal was particularly impressed with your Onboarding presentation and has requested your assignment to a second project with significant engagement implications: reimagining the Performance Appraisal process. Specifically, the principal has asked you to review the appraisal best practices and techniques discussed in Module 9 and conduct additional research as necessary to develop a 2–3 page outline for a performance appraisal training program that incorporates that learning and addresses issues—i.e., cognitive bias.

Your outline should reflect an understanding of Kim Scott’s Radical Candor, Lenny Rachitsky’s Performance Management System, and the agile methodology Peter Cappelli and Anna Tavis discuss in The Harvard Business Review article “The Performance Management Revolution (Links to an external site.).” Since you will be synthesizing existing material, be sure to give credit where credit is due and cite sources appropriately.

Sample Solution

upset the body politic and cause civil unrest in an already trying time of new political discourse. (Nancy Maguire, Regicide and Restoration, 1992). In 1642 London Playhouses were shut down on the basis that ‘Publike sports doe not well agree with publike calamities, nor publike stage-playes with the seasons of humiliation, this being an exercise of sad and pious soleminity’ (William Oxberry, The Theatrical Banquet, 1820. 226). Stage plays were influential to the public consciousness and were often prohibited as they were deemed improper due to the fear that old past times would lead the public into debauchery and sin. Only carefully selected dramatic representations were able to take place under the Republican rule (Willie, Staging the Revolution, 2015. 6). Scholarly works on the Restoration of the monarchy like to present the theatres as completely shut and only opening when Charles II secured his crown but this is not strictly true which consequentially leads to an alteration in Dobson’s view that Restoration playwrights, specifically Restoration’s adapted works of Shakespeare, ‘reaffirms sovereignty as the rightful mode of government’ (Michael Dobson, The Making of the National Poet. 1992). The Restoration period saw the legal reopening of theatres and thus drama was irrevocably linked with royalism throughout historical criticism but drama had always provided a medium of political interpretation even being used in 1645 to enact a ‘civil war re-enactment; the first dramatic reconstruction of the civil wars’ (Willie, Staging the Revolution, 2015. 2). Performances were certainly influenced by the ongoing political tensions of the period, but they were also wrongly stated to only be staged after the Restoration of the monarchy completely altering the suggested opinion that Restoration adaptations were amended to reaffirm the sovereign.
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