Once again we return to our So You Want My Job series, in which we interview men who are employed in desirable jobs and ask them about the reality of their work and for advice on how men can live their dream.

Our interview subject today is one interesting cat. Roni Zulu is a LA-based cellist, antique car restorer, Freemason, and renowned tattoo artist. Zulu has had so much success in his profession that people now must wait months for an appointment with him. And yet his path into this unique career was not a straight one.

Zulu earned a masters in fine arts and found work as a graphic artist, and yet did not feel satisfied with his life. As a young man he had seen his friend’s family slaughter a goat as part of the boy’s rite of passage into manhood. Zulu was fascinated at the time, and this curiosity led him to study the tribal rituals of different cultures, and to conclude that tattoos were a spiritual tradition that united peoples all around the world. He came to believe that tattooing was a sacred and ancient art, a symbol of rites of passage, significant life events, and healing, and that bringing a sense of spirituality to Western tattooing and moving the art beyond etching butterfly tramp stamps on the backs of drunken women was his true life’s calling.

Zulu traveled frequently to the Tahitian islands and Samoa to gather inspiration and studied the symbols of tribes around the world. He spent years learning from other artists and finding and developing a technique and style all his own. But when he was first starting out this sensibility, along with his interest in doing tribal tattoos (which were not popular at the time) and the fact that he was a rare black man in a predominately white profession, made the going tough. But eventually his new approach to tattooing won enthusiastic converts.

Zulu’s approach to tattooing remains different than many other American tattoo artists. He requires a potential client to meet with him several times over a period of months. During this period Zulu talks to the client about the tattoo they want, what it means to them, and whether it’s really right for them. He consults the mystics of different faiths to get a sense of how to shape what the client desires. He believes intimacy is an important component of the tattooing process and strives to make a connection with the client–he doesn’t tattoo “strangers”–and if the connection cannot be made, he does not do the tattoo. If he does move forward, he gives the client the artwork when the tattoo is finished; each piece is unique and will be used on no one else.

Zulu’s life story is an interesting one, and I could go on, but his answers to our SWYMJ questions are interesting too. So let’s turn to that.

1. Tell us a little about yourself (Where are you from? How old are you? Describe your job and how long you’ve been at it, etc.).

From my childhood to my early teens I was raised in Terre Haute, Indiana. My later high school years were spent in Sarasota, Florida where I also attended the Ringling School of Art and Design. In my early twenties I moved to Hollywood, CA, and I have been here ever since. My current age is a youthful, vibrant 48! I am a tattoo designer/artist specializing in custom work.

2. Why did you want to become a tattoo artist? When did you know it was what you wanted to do?

I had a successful career as a graphic designer/commercial illustrator, but I didn’t feel fulfilled. I’d go to work every day and my talents were exploited for the sole purpose of selling a product. No one cared if my art evoked some profound human emotion or touched people in a positive way; nor was there concern if I was knowledgeable of the great masters and the impact of art on society as a whole throughout time…my job was to make a product package that caused people to BUY, BUY, BUY!!!! I kinda felt like a pimped out hooker!

At that time a lot of my tattooed friends expressed that they liked my personal drawings and paintings and wanted me to design tattoos for them.  I did this for quite some time until one friend in particular insisted that I not only design his tattoo but also tattoo him myself.  I then decided to learn the art of tattooing as a hobby for close friends, tattooing out of a spare room in my home.  The requests from friends became more frequent, and my home could not accommodate them all, so I decided to rent a small studio space to carry out my hobby.  I started to charge for my services to at least cover studio rent. Tattooing friends grew to tattooing and charging others I did not even know and I suppose, some 20 years of tattooing later, that is what I’m still doing today…a hobby/passion that I love and just so happen to get paid for!

3. If a man wants to become a tattoo artist, how should he prepare? How do you learn the skills and artistry necessary to succeed at the job?

One must seek out an apprenticeship to become a tattoo artist.  First and foremost one must already be an artist well-skilled at drawing and hopefully painting as well; I can teach anyone the technical skill of tattooing but your tattoos will only be as good as you can draw.  Be careful in seeking out an apprenticeship; it is quite common to get ripped off. Many would-be tattoo gurus are nothing more than charlatans seeking someone to pay their rent, degrade, fetch donuts and sweep their floors without delivering a sound education. Find a tattoo artist who respects the craft and is genuinely concerned about your learning.

Be prepared to pay handsomely; you are investing in an education no different than what some pay for university.

4. I assume most tattoo artists want to one day own their own shop. But how do they get there? How do you get hired for your first job and then go about attracting clients and making a name for yourself? How did you get to where you are and what tips do you have for others?

After completing an apprenticeship you must build a body of work in a portfolio and shop around to various studios for employment. Most of this leg work can be done via email or web links to your work. Your portfolio will speak for itself and could gain you an interview and subsequent employment. After some time spent tattooing in an established studio you will gain a clientele that requests you personally, which in turn sets you up for the possibility of eventually opening your own shop.

Opening your own studio is quite an undertaking; most artists are poor businessmen, and therefore you must hone your business skills as sharply as you have your artistic talents; not doing so is the #1 cause of failure of tattoo shops (or any artistic endeavor for that matter). Check your state and city laws concerning the legalities of opening a shop; there are many restrictions that vary state to state, and you must comply or be shut down. The absolute and #1 compliance you must meet is that of health code and blood born pathogen training; I don’t care if you can tattoo like Michelangelo if you are infecting your clients with a new strain of the plague!!!

5. What separates those who become successful tattoo artists from those who never get anywhere with it? What qualities must the successful tattoo artist possess?

It’s been said “we are all created equal”…sorry, that doesn’t fly in the world of art; otherwise, all of us would have decorated a corner of the Sistine Chapel. You must be prolific with an exceptional talent in drawing and hopefully painting as well in order to excel above the masses of tattooists in an ever growing and now socially accepted medium. As I’ve already mentioned–I can teach anyone the technicalities required to tattoo, but your work will only be as good as you could previously draw and/or paint. You must be a “people person” in order to do well in this career too. A good portion of your day will consist of dealing with client’s first time tattoo jitters, constantly answering the same questions over and over to each new client, and deciphering a myriad of individual life stories that will require you to be a bit of a counselor/psychiatrist/shaman in order to translate your client’s wishes and life experiences into a piece of art. Nobody likes that “I’m a bad ass too cool for school tattoo guy” crap anymore; if you’re not nice, approachable, and genuinely concerned for your clients’ needs then they will not want you to be involved with something as intimate as tattooing their body.

6. What is the best part of your job?

I make people happy; I make their dreams come true. I transform them from frogs to princes, from ugly ducklings to beautiful swans, from Clark Kents to Supermen. I’m the genie in the lamp. I’m Santa for adults. It has been said “the body is the temple,” well then I’m the guy who installs the stained glass windows!!! I empower people and show them who they are and who they can be. I am the facilitator of many rites of passage.

7. What is the worst part of your job?

Hearing someone say: “I’d really love to get a tattoo but I can’t because…etc., etc, etc…”

I tattoo a lot of terminally ill people who tell me, “I’m getting the tattoo I always wanted before I die.”  I often wonder…why does someone have to tell us we are dying for us to start living?

8. What’s the work/family/life balance like?

This is a job that can easily follow you home and that has to be kept in check. Dealing with people’s emotions all day will affect you and that has to be left at the job site. When you are out socially people will always want to talk about and ask you tattoo questions. In my experience, it’s best to have a business card handy and ask the inquisitor to contact you via email or to phone the studio with any questions; you will learn to hate this job if it becomes all consuming…it happened to me, and I had to take a one year sabbatical before returning. It’s easy to get caught up in wanting to be “the tattoo guy” and allowing your life to be all about tattooing…big mistake! This job is so demanding of your time, mental, and physical faculties that you must balance yourself with something that has nothing at all to do with tattooing. I spend a lot of time growing bonsai trees and playing sitar; these things are very zen and relaxing as opposed to the demands of my studio and allow me to return to work fresh every day. And as much as you may pride yourself in being the famous king of tattooing, remember that if you are married and/or have children, being a good husband or father is more important to them than the fame of an artist.

9. What is the biggest misconception people have about your job?

Like most artists’ jobs; people think it’s easy or that we somehow have it made in the shade compared to a guy with a “real job.” Tattooing demands more out of you than you could ever imagine. The stress of not being able to make any mistakes at any time far exceeds the expectations of most jobs! I’ve seen countless guys and gals crack under the intense daily pressures of this profession. If you do not truly have a passion for this you will not succeed…if you’re in it just for the money I suggest you try bank robbery; it would be less stressful.

10. Any other advice, tips, commentary or anecdotes you’d like to share?

My motto…”I do not put tattoos on people; I bring tattoos out of people.”

Related posts:

1. Think Before You Ink: A Man’s Guide to Getting a Tattoo
2. So You Want My Job: Artist/Illustrator
3. So You Want My Job: Martial Artist
4. So You Want My Job: Comic Book Artist

The term “power lunch” went out after the 80s along with awesome phrases like “gag me with a spoon,” but meeting for a meal with a potential client, investor, or business partner remains an excellent way to network and connect with folks who could help further your career. Breaking bread with another person creates a more intimate and casual connection and can foster positive bonds and good feelings.

But only if you handle it like a pro. Because sharing a meal also tends to reveal more about you and your habits, which makes you more vulnerable to doing something that will turn off the person you’re trying to woo. So it pays to prepare.

A lot of the same guidelines you should use when pitching an idea at someone’s office, apply to the business lunch as well, but the restaurant set-up does create some special considerations. How to navigate those considerations is what we’ll be talking about today.

Make the invitation. Before inviting someone to a business lunch, you want to make sure scheduling one is even necessary. While you may think that everyone enjoys a free meal, many folks, especially those in prominent positions, receive such invitations with great frequency, and they may 1) resent the intrusion on their time, and 2) be wary of someone trying to “buy” their favor. So always let them know that you’re willing to come see them at their office instead.

A good invitation can be worded in a number of ways but should include the following three criteria:

• Clearly states the purpose of the meeting. Never make it seem as if you want to take the person to lunch to thank him for something or simply as a social get-together, only to surprise him with a business pitch once the Southwestern egg rolls have arrived.
• Establishes your role as host. Your invitation is also your first opportunity to establish your role as host (whoever does the inviting is the host), and doing so can make awkward wrangling over the check down the road less likely. So always word your invitation in a way that makes it clear that lunch is on you. You can say, “I’ll take you to lunch,” or “Please let Conoco buy us lunch,” or “Be my guest for lunch.” But avoid phrases that sound like the lunch could be a Dutch treat such as, “Let’s have lunch.”
• Makes it easy for the person to graciously decline. Don’t make him sweat how to let you down easy and force him into lying about how all his lunch openings are booked for the next 6 months.

A good invitation goes something like this: “I would love to get together with you to talk about x, y, and z. May I come by to see you sometime? Or, better still, could you spare the time in what I know is a very busy schedule to let me take you to lunch?”

Choose an appropriate restaurant. If you don’t know the tastes of the person you’re meeting with, don’t choose an exotic or ethnic restaurant. You don’t want to bring Bob to a sushi bar only to find out he’s a meat-and-potatoes guy who hates anything raw and wrapped in seaweed. Steakhouse or bistro-type restaurants are a good bet. But make sure the menu includes one or two quality vegetarian options.

It’s wise to pick a restaurant you’ve been to at least a couple of times before, so you know that both the service and the food are top notch. But if you’re traveling and away from home, do a good amount of research online before picking the restaurant. Check out the restaurant’s website and look at reviews on other sites.

While you should never defer to the guest about where to eat, if you feel like the guest might want something more interesting than the standard fare, choose one “safe” restaurant and one more exotic place, and let him pick.

An ideal business lunch restaurant has a clean but cozy atmosphere and is moderately-priced—somewhere nice, but a place where your guest will feel comfortable even if he arrives dressed casually–and it should be fairly quiet. It should also be a restaurant that takes reservations, because you should always–

Make a reservation. Never get stuck having to tell your arriving guest that lunch won’t begin for 20 minutes because there aren’t any available tables. When you make your reservation, give your name, and the name of your guest as well, to prevent possible mix-ups.

Do some pre-meeting reconnaissance. Even if you’ve been to the restaurant before, it doesn’t hurt to scout it out before your meeting. Ask yourself things like: Does this place have the right atmosphere and vibe for what we’re going to be talking about? How’s the music? Is it so loud that conversation is going to be difficult? Where’s the best place to sit? Do they accept my credit card?

Arrive early. Be at the restaurant 10 minutes before the time your guest is scheduled to arrive. Wait at the table or bar for your guest, and tell the hostess to be on the lookout for him.

The advantage of sitting down at your table to wait is that you can talk to your waiter before your guest arrives. Let him or her know that you’ll be doing business during lunch and graciously ask that interruptions be kept to a minimum. If your guest is on a tight schedule, tell the waiter you’ll need the bill as soon as possible after the meal. You can also let the waiter know that you’ll be paying the bill and to hand the check directly to you when he brings it out.

Tip for the guest: Always make sure you go to the bathroom before you arrive at the restaurant, to avoid coming in, shaking the host’s hand and saying hello…and then immediately excusing yourself to use the restroom.

Turn off your cell phone. Nothing can torpedo a business lunch faster than a host who’s phone rings throughout the whole meal, and worse, who chooses to take those calls. Turn off your cell phone when you arrive at the restaurant, so you can give your guest your undivided attention (this goes for all meals, business or otherwise). If you are expecting a truly urgent/emergency call that you absolutely have to take, then tell your guest as soon as you two sit down at the table. Then put your phone on vibrate, and when it goes off, give it a quick look to see who’s calling, and if it isn’t the emergency call, silence it as quickly as possible.

Of course, if your guest wants to leave his phone on and answer his calls, you have to let him do that without shooting him glances of withering disdain. While your guest is talking on the phone, go to the bathroom to give him some privacy or look at your phone or proposal papers, to give him the feeling of privacy.

Let your guest go first. When your guest arrives, let him follow the maître d’ to the table while you bring up the rear. You want to give your guest first dibs on seat choice—if it’s one of those half table/half booth deals, he may prefer the booth side. If your guest hesitates, gesture for him to sit in the better seat. If your guest has long legs, make sure he’s not having to sit in a spot where he feels cramped.

Go easy on the drinks. Mad Men may have returned for another season, but I’m afraid the three martini lunch is not making a similar comeback. Follow the client’s lead in ordering your beverages. If he orders a non-alcoholic drink, then do likewise. If he orders an alcoholic drink, you can do so too, if you desire, but order something lighter than what he’s getting. So if he orders a whiskey on the rocks, get a light beer. And don’t feel the need to match him drink for drink if he’s knocking them back; you need to be as sharp and on your toes as possible, so stick with one drink and nurse it throughout the lunch.

If you’re a non-drinker, and your guest wants to drink, you have a bit of a quandary. If you order a non-alcoholic drink while they order booze, it can make them feel a little bit like they’re doing something wrong. Personally, as a teetotaler myself, I tell the waiter, “I’ll just have a water for now.” What I order later is a diet soda, but it lets the guest feel more confident in getting whatever they’d like.

Mirror your guest’s courses. Order the same number of courses as your guest. You want to be eating at the same times, so if he’s getting an appetizer or salad, then you should too, so he’s not the only one chowing down. And you want the meal to end at the same time for both of you as well, so if he’s not getting dessert or coffee, you shouldn’t either. Also, if he orders, say a chicken-breast-something-or-other, don’t get a steak and ask for it well done. Your meal will take twice as long coming out, and delay your guest getting his food. Also, why are you ruining a delicious steak by asking for it well done!?

Order food that’s easy to eat. If you’re trying to make a good impression with your guest, don’t order stuff that might make you look awkward while you eat it. Salad can have big chunks of greens that are hard to eat in one mouthful, onion soup can create strings of cheese, and pasta and ribs can get sloppy.

Segue into business at the right time. Don’t launch into your proposal as soon as you sit down. Enjoy a little casual conversation first. This builds rapport, and it also gives you a chance to take in some of your guest’s personality, which may lead you to tailor your pitch to his proclivities. Keep the conversation on sports, hobbies, and non-controversial news; avoid prying into their personal life if you don’t know them well.

Never talk business until at least everyone has ordered. Making the leap after the salad/soup course and before the entrees arrive is a good bet.

Treat the staff well. Is a potential client going to want to work with someone’s who’s a boor to the waiter? Nope.

At the same time, a guest, knowing you’re picking up the tab, will be less likely to make his needs known. So if the guest has a problem, kindly make sure the staff takes care of it.

Pick up the bill with confidence. Remember, whoever did the inviting is the host and pays for the meal. You should have already laid the groundwork for making your role as host clear, which will help prevent the awkward, “I’ll get it. No, I’ll get,” exchange at the end of the meal. Casually grab the bill when it comes, continuing to talk or listen to your guest as you put your credit card in the folder—don’t draw a lot of attention to and make a big deal out of what you’re doing.

No need for elaborate tricks for paying the bill “discreetly,” like giving your credit card to the waiter in advance or pretending like you’re going to the bathroom, while really finding the waiter in order to pay him away from the table. According to our old etiquette books, that’s what women used to do when they first entered the workforce in order to avoid the appearance of (gasp!) paying for a meal. Pay like a man—there’s no need for stealth and high strategy.

Post-Meal-em. After your business lunch, write a thank you card to the guest to tell him how much you appreciated his taking the time to meet with you. But don’t consider him to now be in your debt—there’s no reciprocity assumed with business lunches.  But hopefully, basking in the glow of your well-executed meal, your guest will be rather inclined to consider your ideas and a potential relationship.

What are your tips for pulling off a successful business lunch? Share them with us in the comments. 

Related posts:

1. The Man’s Guide to the Perfect Marriage Proposal
2. Manly Finds on Etsy
3. The Ultimate Guide to Buying the Perfect Engagement Ring
4. How to Be the Perfect Party Guest
5. How to Be a Gracious Host

Last month we explored the personal finance wisdom that can be gleaned from the life of Benjamin Franklin. Today we will uncover success lessons from a man who has much in common with his colonial counterpart: Andrew Carnegie.

Like Franklin, Carnegie was a self-made man who rose from humble beginnings to international eminence. Carnegie was born in Scotland in 1835 to a failed linen weaver and immigrated to the United States as a boy. With only a year or two of schooling, he moved from factory bobbin boy to railroad executive to iron and steel magnate, eventually becoming the richest man in the world.

Carnegie and Franklin both credited much of their success to self-education (both spent all their spare moments reading any books they could get their hands on) and their membership in mutual improvement groups. As a teenager, Carnegie started a debating club with five of his friends, and the boys traded hour-long speeches on topics such as, “Should the judiciary be elected by the people?” Carnegie would join other literary and social-minded mutual improvement societies throughout his life, and later said: “I know of no better mode of benefiting a youth than joining such a club as this. Much of my reading became such as had a bearing on forthcoming debates and that gave clearness and fixity to my ideas.”

Carnegie was also like Franklin in that he saw the amassing of wealth merely as a means to an end, an end the men shared—retiring early, becoming a man of culture and letters, writing, doing public service, and being an active citizen. Carnegie was not only a “captain of industry,” but a husband and father, an abolitionist and peace activist, a writer and world traveler. And he was one of the greatest philanthropists of all time. He determined early in his career to give away all of his wealth to benefit society, and followed through on his determination, donating close to $400 million (something like $5 billion in today’s dollars) for the building of libraries (3,000 in all), music halls, museums, universities, and pensions for former employees.

Of course Carnegie is a more controversial figure than old Ben. His wealth came from hustling, shrewd decisions, and keen foresight to be sure, but it was also made possible by insider trading and sweetheart deals. (Although it should be noted that such practices were not considered illegal or immoral at the time.) And his rhetoric about respect for labor never aligned with how he actually treated his workers.

But while his later days as a corporate titan may be checkered, the way in which he was able to maneuver himself into a position to even begin climbing the ladder of success bears clear and straightforward lessons that can apply to men in any situation or age.

Note: All quotes, unless otherwise noted, are from the Autobiography of Andrew Carnegie.

Andrew Carnegie, age 16, along with his brother, Thomas

Always Be on the Lookout for Opportunities, and When One Arises, Grab It

Carnegie took his first job at age 13, working 12 hours a day, 6 days a week and earning 20 cents a day as a bobbin boy in a cotton mill. He then moved over to working for another manufacturer, this time tending a boiler in the cellar and running a small steam engine—a job that proved highly stressful as he had to create enough steam for the workers above him, but not so much that the engine would burst.

He didn’t tell his parents about his anxiety though, choosing to “play the man and bear mine burdens.” Instead, he remained optimistic and kept his eyes open for a chance to move ahead:

“My hopes were high, and I looked every day for some change to take place. What it was to be I knew not, but that it would come I felt certain if I kept on. One day the chance came.”

Carnegie’s boss had to make out some bills, and since he didn’t have a clerk, he asked Andrew to do it. He performed the task well, and his appreciative employer kept finding Carnegie odd jobs to keep him from having to work on the steam engine.

To Carnegie this was just the first step in his pursuit of better prospects, and he took it upon himself to prepare for the next opportunity that might open up:

“Mr. Harris kept his books in single entry, and I was able to handle them for him; but hearing that all great firms kept their books in double entry, and after talking over the matter with my companions…we all determined to attend night school during the winter and learn the larger system. So the four of us went to a Mr. Williams in Pittsburgh and learned double-entry bookkeeping.”

In time Carnegie managed to get an interview to work as a messenger boy in a telegraph office—a great step up from his current position—and he did all he could to seize the opportunity:

 “The interview was successful. I took care to explain that I did not know Pittsburgh, that perhaps I would not do, would not be strong enough; but all I wanted was a trial. He asked me how soon I could come, and I said that I could stay now if wanted. And, looking back over the circumstance, I think that answer might well be pondered by young men. It is a great mistake not to seize the opportunity. The position was offered to me; something might occur, some other boy might be sent for. Having got myself in I proposed to stay there if I could…

And that is how in 1850 I got my first real start in life…there was scarcely a minute in which I could not learn something or find out how much there was to learn and how little I knew. I felt that my foot was upon the ladder and that I was bound to climb.”

The Ability to Memorize Is a Powerful Tool

“My good Uncle Lauder justly set great value upon recitation in education…In our little frocks or shirts, our sleeves rolled up…with laths for swords, my cousin and myself were kept constantly reciting Norval and Glenalvon, Roderick Dhu and James Fitz-James to our schoolmates and often to older people…

My power to memorize must have been greatly strengthened by the method of teaching adopted by my uncle. I cannot name a more important means of benefiting young people than encouraging them to commit favorite pieces to memory and recite them often. Anything which pleased me I could learn with a rapidity which surprised partial friends.”

Carnegie’s ability to quickly memorize anything came in handy throughout his life, starting when he first landed the job as the telegraph messenger boy:

“I had only one fear, and that was that I could not learn quickly enough the addresses of the various business houses to which messages had to be delivered. I therefore began to note the signs of these houses up one side of the street and down the other. At nights I exercised my memory by naming in succession the various firms. Before long I could shut my eyes and, beginning at the foot of a business street, call off the names of the firms in proper order along one side to the top of the street, then crossing on the other side go down in regular order to the foot again.

The next step was to know the men themselves, for it gave a messenger a great advantage, and often saved a long journey, if he knew members or employees of firms. He might meet one of these going direct to his office. It was recounted a great triumph among the boys to deliver a message upon the street. And there was the additional satisfaction to the boy himself, that a great man (and most men are great to messengers), stopped upon the street in this way, seldom failed to note the boy and compliment him.”

Carnegie memorized not just addresses and names, but passages and quotes from books of philosophy, poetry, history, and literature and from journals on a wide variety of topics. This allowed him to, as his biographer David Nasaw notes, “enter any room and engage anyone in conversation. College presidents, theologians, philosophers, university professors, industrialists, or politicians.” Later in his life he encouraged young men to not only read material related to their jobs, but very broadly as he had, arguing:

“Nothing will bring promotion—and better still, usefulness and happiness–than culture giving you general knowledge beyond the depths of those whom you may have to deal. Knowledge of the gems of literature at call find a ready and profitable market in the industrial world. They sell high among men of affairs as I found with my small stock of knowledge.”

Exercise Initiative by Taking Appropriate Action in the Absence of Orders

The above heading is part of the creed for the Army NCO’s. And it was a maxim that Andrew Carnegie always followed. He understood that the man who sits and waits to be told what to do in critical situations will never get ahead—that it was better to ask for forgiveness than permission.

Taking the initiative was how Carnegie started to work his way from telegraph messenger boy to telegraph operator:

“Having to sweep out the operating-room in the mornings, the boys had an opportunity of practicing upon the telegraph instruments before the operators arrived. This was a new chance. I soon began to play with the key and to talk with the boys who were at the other stations who had like purposes to my own.

Whenever one learns to do anything he has never to wait long for an opportunity of putting his knowledge to use.

One morning I heard the Pittsburgh call given with vigor. It seemed to me I could divine that someone wished greatly to communicate. I ventured to answer, and let the slip run. It was Philadelphia that wanted to send a “death message” to Pittsburgh immediately. Could I take it? I replied that I would try if they would send it slowly. I succeeded in getting the message and ran out with it. I waited anxiously for Mr. Brooks to come in, and told him what I had dared to do. Fortunately, he appreciated it and complimented me, instead of scolding me for my temerity; yet dismissing me with the admonition to be very careful and not to make mistakes. It was not long before I was called sometimes to watch the instrument while the operator wished to be absent, and in this way I learned the art of telegraphy. “

Carnegie not only taught himself the art of telegraphy, he was also one of the first to learn how to take down messages by ear; formerly the telegraph operator looked over the slip of paper as it arrived, interpreted the code, and read it to a copyist who transcribed the message. Being able to take the message down directly was a distinct advantage, and when a position as operator opened up, Carnegie, then just 16 years old, was chosen to fill it. Carnegie made such an impression in his new job that just a year later, Thomas A. Scott, the superintendent of the western division of the Pennsylvania Railroad Company, asked the precocious young man to be his personal telegraph operator.

In this position, Carnegie again found an opportunity of gaining attention and respect by stepping into the breach in the absence of orders.

At the time, absolutely no one but the superintendent was allowed to issue orders to the trains, which ran on a single line of tracks. But one day when Carnegie arrived at work, he found that an accident was delaying numerous trains and traffic had come to a standstill. He looked for Scott but couldn’t find him anywhere. Carnegie felt a pit of fear in his stomach, but went ahead and sent out the orders himself, clearing up the snarl and getting the trains moving again. He nervously waited for Scott to arrive, afraid of how his boss would react. But Scott, just like his former boss in the telegraph office, didn’t reprimand him, and from that day on he pretty much handed over order-giving duty to Carnegie. The tale of Carnegie’s “train-running exploit” made its way throughout the company and all the way up to the president of the Pennsylvania Railroad.

And so it was that at age 24, Andrew Carnegie was made superintendent of the railroad’s Pittsburgh Division.

Carnegie believed that his ability to initiate action in the absence of orders was a key to his success, and throughout his life he advised young men who wished to rise in the world to do likewise:

“The question now is how to rise from the subordinate position we have imagined you in, through the successive grades to the position for which you are, in my opinion, and, I trust, in your own, evidently intended. I can give you the secret. It lies mainly in this. Instead of the question, “What must I do for my employer?” substitute “What can I do?” Faithful and conscientious discharge of the duties assigned you is all very well, but the verdict in such cases generally is that you perform your present duties so well that you had better continue performing them. Now, young gentlemen, this will not do. It will not do for the coming partners. There must be something beyond this….The rising man must do something exceptional, and beyond the range of his special department. HE MUST ATTRACT ATTENTION…

One false axiom you will often hear, which I wish to guard you against: “Obey orders if you break owners.” Don’t you do it. This is no rule for you to follow. Always break orders to save owners. There never was a great character who did not sometimes smash the routine regulations and make new ones for himself. The rule is only suitable for such as have no aspirations, and you have not forgotten that you are destined to be owners and to make orders and break orders. Do not hesitate to do it whenever you are sure the interests of your employer will be thereby promoted and when you are so sure of the result that you are willing to take the responsibility. You will never be a partner unless you know the business of your department far better than the owners possibly can. When called to account for your independent action, show him the result of your genius, and tell him that you knew that it would be so; show him how mistaken the orders were. Boss your boss just as soon as you can; try it on early. There is nothing he will like so well if he is the right kind of boss; if he is not, he is not the man for you to remain with–leave him whenever you can, even at a present sacrifice, and find one capable of discerning genius. Our young partners in the Carnegie firm have won their spurs by showing that we did not know half as well what was wanted as they did. Some of them have acted upon occasion with me as if they owned the firm and I was but some airy New Yorker presuming to advise upon what I knew very little about. Well, they are not interfered with much now. They were the true bosses–the very men we were looking for.”

-From “The Road to Business Success: A Talk to Young Men”

Sources:

Autobiography of Andrew Carnegie (read it online for free!)

Andrew Carnegie by David Nasaw

“The Road to Business Success: A Talk to Young Men” by Andrew Carnegie

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