CDMP · SHRM-CP M.S. Industrial-Organizational Psychology

An empty white chef's jacket hanging alone against a black wall, still holding the shape of the man who wore it.

A memoir

Safe toDisclose

What work does to the people who tell the truth

About the book

They told you that you were too much. You were the early warning system.

Safe to Disclose is a memoir built like a case file: the story braided with four Exhibits, each opening on one of these doubts and answering it with the evidence.

For everyone who was told to be more resilient instead of being kept safe.

The book's shape

  1. Part IThe Mask
  2. Exhibit AMasking“Wasn’t she just describing being professional?”
  3. Part IIThe Climb
  4. Exhibit BWhy People Don’t Disclose“If you’re struggling, you just ask — don’t you?”
  5. Part IIIThe Recurrence
  6. Exhibit CThe Body Count“Wasn’t this just a personality clash?”
  7. Part IVReclaim & Thrive
  8. Exhibit DWhat “Safe to Disclose” Would Take“Isn’t this just how organizations are?”

In progress. No publication date.

The opening

The Paperwork Blamed His Body

Prologue

Names and identifying details of workplaces and individuals have been changed or omitted. The research described is real and drawn from the published literature and the author’s own research, which is still in development.

My father cooked for a living. Most of his life in one kitchen or another, the last years of it in a home for the elderly — making the meals of people who were near the end of theirs. He was good at it, and he cared too much — in most workplaces, those get filed as the same offence.

He was also, for most of my childhood, my best friend.

In his last year, the people he worked for decided he had become a problem to be managed. I don’t have a transcript. He protected me from the details, the way he protected everyone from everything — that was the whole trouble with him. But I know the shape of what happened, because I know the shape of it professionally. The meetings that go differently than you were promised they would. The “feedback” that is never quite about the work. The slow administrative rewriting of a good employee into a difficult one, until the file finally agrees with the decision that was made long before it.

I know that sequence cold. Naming it is what I do for a living.

They let him go in the summer. He was dead by September. Fifty-four years old.

The paperwork blamed his body. By then there was a diagnosis — a failing liver no one had caught, including him — and a depression that moved into the space the job left behind and took whatever the illness hadn’t. So the story was allowed to become a medical one. A sad, private, unpreventable thing that happened to a man’s organs. Nobody writes fired on a death certificate. Nobody ever does.

I know better.

I can tell you, with citations, exactly how an organization takes a person apart — the order the pieces come off in, the vocabulary used while it happens, the way an institution closes over the place where someone used to be and calls the seam restructuring. I have measured it. I have named it. I built the instruments that catch it doing the thing it swears it isn’t doing. And not one of them saved the first person I would ever have wanted to use them on.

So let me say the part we are trained not to say out loud, and let me say it before we go one page further: workplace psychological harm has a body count. Not a metaphor. Not a slide about declining engagement. A real count — with a name, and an age, and a daughter. We have simply agreed, as a culture, to file those deaths under other headings.

And then, a few months after I lost him, it happened again.

This time to me — inside the job I had taken precisely because it was supposed to be the safe one, the one that was about protecting people. The same meetings. The same rewriting. The same composed institutional voice explaining, with enormous patience, that the real problem was my tone. My emails. My refusal to stop noticing things out loud and saying so.

I want to be exact about what these places count on, because they count on it every single time. They count on you being too wrecked by the end to say their names out loud. Too relieved to be gone. Too busy surviving the next month to ever build the case.

They were right about my father. He simply ran out of time.

They were wrong about me.

I kept the receipts. I know the law. And I am better qualified than anyone who sat across that table to say precisely what was done — to him, to me, and to every person who is told, one more time, to be more resilient, as though the problem were the strength of their spine and not the weight of the thing set down on it.

This is the disclosure I was punished for.

My father never read a word of it.

So I wrote them all down.

Masking

“Wasn’t she just describing being professional? Everyone performs a little at work.”

Exhibit A

It is the most common objection to everything in the last chapter, and it is worth taking seriously — because the difference between the two things is the whole point.

Yes: everyone adjusts at work. We are civil when we are annoyed; we save the venting for the drive home. That is ordinary social calibration, and it costs almost nothing.

What I described in the last chapter is not that. It has a precise name — masking, or, more formally, camouflaging — and the definition the field’s main measure is built on is exact. I want to put it on the table like the piece of evidence it is: the effortful suppression, modification, or concealment of your natural traits in order to appear more typical than you are. It is not choosing your words more carefully. It is performing a different person, all day, and paying the energetic bill in private.

And here is the part that settles it, because it is not a matter of opinion. Masking is not the same thing as being professional. In the measurement literature it is formally separated from general impression management — the ordinary, low-cost way we all put a slightly tidier face on at work — and from social anxiety. It is its own construct, distinct and measurable, which is why “everyone performs a little” misses it. Everyone manages an impression. Not everyone is suppressing who they are in order to survive the room.

I know the difference is real and measurable because measuring it is part of what I do. For my own research I adapted that foundational instrument — the Camouflaging Autistic Traits Questionnaire — into a workplace version I named the Masking at Work Scale, one of the instruments in a study I called Safe to Disclose. It measures three distinct things, and once you have seen them named you cannot unsee them in your own week.

Compensation
the learned strategies and rehearsed scripts you prepare so that you can pass — the conversation you ran three times in your head before you walked in to have it.
Masking
the constant, real-time monitoring and adjusting of how you come across — holding the eye contact you have to force yourself to hold, swallowing the urge to move the way your body wants to move in a meeting.
Assimilation
the felt experience of performing rather than simply being — the bone-deep tiredness of spending a whole day as a character you play.

I did not invent the idea of camouflaging — the autism researchers did. The instrument I started from was built to measure how autistic people hide their autistic traits in order to pass as neurotypical. What I changed was the frame and the population: I moved the questions out of “social situations” in general and into the workplace in particular, and I built the scale for a broader neurodivergent group — not only autistic workers, but people with ADHD, with dyslexia, with dyspraxia. Because masking is not an autism phenomenon. It is what almost any mind built off the standard template learns to do in a room designed for one kind of brain: study the defaults, build the workarounds, and perform the version of yourself the room was expecting to see. And once you can name it that precisely, you start to catch it well past any diagnosis — in anyone who was ever told they were too much, and quietly concluded it was safer to be less.

Here is the part that makes this an exhibit and not a digression: masking is not free. The research is consistent, and it is not subtle. Camouflaging is linked to exhaustion, to anxiety, and to deteriorating mental health. And the cost is not only emotional — it is cognitive. Chronic masking depletes the brain’s actual resources; it runs your processing power down on a task that has nothing to do with your job, and, for a neurodivergent person, it exacerbates the very challenges they were already managing. The performance does not just tire you out. It degrades the equipment you do your real work with.

That through-line is the spine of my study, and for neurodivergent employees it is amplified. Climate shapes whether you feel safe to disclose. Disclosure shapes whether you are accommodated. Accommodation, or its absence, shapes your health. And when the climate fails, masking is what fills the gap — at a cost the person pays in their own body, not the organization’s budget. An unsupportive workplace produces masking exhaustion; the exhaustion produces a second, separate mental-health burden the person never arrived with; and that burden, compounding quietly, is what eventually surfaces as a disability claim. The organization records the claim. It never once thinks to measure the thing that caused it.

So consider what that means about the employee organizations reward. The smooth one. The one who never makes it weird, who reads the room and keeps her reading to herself, who never lets the strain show. Very often, that employee is not coping well. She is masking well. The institution is selecting for — and applauding — the precise behaviour that is quietly making its most capable people sick, and then, when they finally break, calling it a shortage of resilience.

The research is careful about one word, and I want to borrow its care. Masking is not deception. It is not weakness, or dishonesty, or a failure of confidence. It is an adaptive response to an environment that has made it unsafe to be yourself — people mask because the alternative has been made more dangerous than the exhaustion. That is a fact about the room, not about the person standing in it.

Which is why, when a workplace runs its people into illness by demanding the performance and then tells them they are not resilient enough, it has the diagnosis upside down. The fatigue it is looking at is not a deficit of grit. It is the invoice for a mask the building required and never once offered to take off.

I produced that performance for thirty years before I had the words for it. Then I built the instrument that measures it. What follows is what happened when the bill finally came due — first for my father, and then for me.

The list

That is the opening. The rest of the book is in progress, and news of it goes to the list.

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