Shepherd Mead (June 28, 1914 – May 7, 1994) was an American writer and former public relations executive. He is best known for his satirical 1961 novel How to Succeed in Business Without Really Trying, which was adapted into a successful Broadway musical in 1961 and a subsequent film in 1967. Mead's work often drew on his experiences in corporate America, employing humor and irony to critique business culture.
Early Life and Education
Shepherd Mead was born in New York City. Details regarding his early education and family background are limited in publicly available sources.
Career
Mead began his professional life as a public relations specialist, working for various corporate clients in New York. His firsthand exposure to corporate environments informed his later literary output. In the 1950s, he transitioned to writing, initially publishing short essays and humor pieces in magazines.
His breakthrough came with How to Succeed in Business Without Really Trying (1961), a parody of self‑help business manuals. The book’s success led to the commissioning of a stage musical by Frank Loesser (music and lyrics) and Abe Burrows (book). The Broadway production opened on October 22, 1961, and won seven Tony Awards, including Best Musical. The 1967 film adaptation, directed by David Swift, further popularized the work.
Mead authored several other books, including:
- The World of Money (1965) – a satirical look at personal finance.
- The Adventures of Charlie and His Wonder Robot (1971) – a children's science‑fiction novel.
- The Upthrown Revolver (1977) – a collection of essays on contemporary society.
He also contributed humor columns to newspapers and periodicals throughout his career.
Personal Life
Mead was married to the former Dorothy Clevenger; the couple had two children. He resided primarily in New York State during his later years.
Death
Shepherd Mead died of a heart attack on May 7, 1994, in New York City at the age of 79.
Legacy
Mead’s How to Succeed in Business Without Really Trying remains a cultural reference point for critiques of corporate ambition and bureaucracy. The musical adaptation continues to be performed regionally, and the original novel is cited in discussions of mid‑20th‑century American satire.
