In recent years, the corporate world has become increasingly alert to the talents, skills and potential inherent in neurodiverse employees.
Encompassing a broad range of conditions, the term ‘neurodiversity’ has arisen as an umbrella term for individuals assigned with neurological labels such as:
Late last year, the Financial Times highlighted EY’s efforts to include neurodiverse staff, and shone a spotlight on Newcastle-based employee Carl Nielsen: an autistic data processor in his late 20s who had struggled in his previous role as a barista.
“When there is an error in a huge sheet of data,” he told the FT, it just jumps out at me. I’ve become the go-to person in the team for checking data before it goes out to the auditors, as when there are errors, it’s like they have been highlighted just for me to find.”
EY summed up its hiring policy last December in its corporate blog post ‘What happens when great minds don’t think alike?’ As the piece points out: “We recruit and invest in people that reflect a broad spectrum of perspectives, backgrounds and experiences, because solving the problems of a complex world demands it.”
Indeed, since 2016, EY’s US arm has established five Neurodiversity Centers of Excellence located in cities across the country and covering around 80 staff. The initiative joins similar programmes set up by SAP and Microsoft.
Meanwhile, at enterprise level, 75% of employees at New York quality engineering start-up Ultranauts are on the autistic spectrum, while Santa Monica software testing firm Auticon is staffed entirely with autistic individuals.
Clearly, an exciting movement is happening here. And earlier this year, it found a new ally in the shape of Universal Music UK.
On 17 January, the entertainment brand launched its Creative Differences scheme, the centrepiece of which is a handbook advising firms in the creative industries on how to embrace neurodiversity in their hiring practices – although its guidance has significant relevance for employers in every sector.
Among its insights, the handbook features a foreword from Florence Welch of Florence and the Machine fame, who touches upon the social and workplace anxieties that neurodiverse individuals routinely face.
“I wish a word like ‘neurodiversity’ had existed when I was younger, because there
were plenty of other words that got thrown around in its absence,” writes Welch.
“At school,” she recalls, “the phrase I heard most commonly associated with my dyslexia and dyscalculia was ‘learning difficulties’; not exactly helpful, or accurate. It was hard; I had to find a way to make life work for me. In maths I would learn the pattern of the questions, because it was easier, for me, than dealing with the numbers themselves.”
She adds: “My first job was in a bar and I still remember the sting of shame when the manager realised I couldn’t count change. In the end, I used visual memory to devise my own way of doing it.”
For further thoughts on Creative Differences – and how employers can be more attuned to the needs of neurodiverse staff and job candidates – The Treasurer spoke to Universal Music UK senior director, HR, Morna Cook.
We’ve had a diversity and inclusion programme at Universal Music UK for many years – it’s essential for a company like ours to reflect the amazing diversity of the artists we’re here to support.
We realised neurodiversity was one area we hadn’t given enough focus to and, when looking for guidance, we struggled to find anything clear and practical to use as our starting point.
So about two years ago, our chairman and CEO David Joseph brought together a group of us at the company to commission Creative Differences.
That’s a huge question – one we soon realised there are a lot of answers to.
I’m reluctant to generalise, because this whole project has been about not generalising. But here are some simple examples: spelling mistakes in application forms, someone not making eye contact with the interviewer or obviously feeling very uncomfortable in a strange place.
None of those things mean that someone can’t be a brilliant, creative team member.
Similarly, needing a quiet place to work in, or not wanting to go for after-work drinks, may be regarded by some employers as sticking points.
But it’s about being flexible in the hiring process and focusing on the actual work that needs to be done – not the old-fashioned view of what makes a ‘good’ employee.
Plus, increasing understanding that your colleagues may have difficulties that are not necessarily visible is a positive thing for everyone.
Some things that go hand in hand with working from home – such as video calls – may be difficult for someone with a neurodiverse condition. However, other things like the flexibility of working hours and working environment may be positive changes.
Check in with colleagues and find out how the systems you’ve put in place are working for them.
Conservative hiring could mean missing out on some incredible talent and the alternative thinking that’s so valuable to any organisation.
There comes a point for any organisation when there’s no benefit to hiring 50 people who all think exactly the same.
Right at the start of this project, some of our existing team came forward and shared their neurodiverse conditions with us. Without exception, they were among the most creative people in our business.
There are three big points here:
I’m not sure the answer is to anonymise the process – more to be flexible.
If an applicant wants to send in a collage or make a video presentation rather than fill in a form, we’re open to that.
Hopefully, by making it clear that everyone is welcome to apply for our roles, people will feel comfortable to ask for reasonable adjustments from the application stage onwards – or to disclose a neurocognitive condition.
Again, it’s impossible to generalise, but the sorts of things that came up in our research are quiet places to work, away from bright lights, plus technology tools to help with spelling.
Above all, though, it’s about knowing you’ve got an understanding and supportive team around you – which is where the education comes in.
A lot of that nervousness probably comes from lack of knowledge. So while I would stress we are by no means experts, and are still at the start of our journey, hopefully there are some useful pointers and resources in the handbook.
But one important point we soon realised is that many of the positives that came out of this project are of benefit to everyone who works here, and contribute to what is overall a more inclusive workplace.
Find the full Creative Differences handbook here.
Matt Packer is a freelance business, finance and leadership journalist