When I read that passage, I thought of the young swimmers watching their icon Spitz exhibit form that almost didn’t seem human.
“No one can see in the work of the artist how it has become,” Nietzsche said. “That is its advantage, for wherever one can see the act of becoming one grows somewhat cool.” In other words, we want to believe that Mark Spitz was born to swim in a way that none of us were and that none of us could. We don’t want to sit on the pool deck and watch him progress from amateur to expert. We prefer our excellence fully formed. We prefer mystery to mundanity.
But why? What’s the reason for fooling ourselves into thinking Mark Spitz didn’t earn his mastery?
“Our vanity, our self-love, promotes the cult of the genius,” Nietzsche said. “For if we think of genius as something magical, we are not obliged to compare ourselves and find ourselves lacking. . . . To call someone ‘divine’ means: ‘here there is no need to compete.’?”
In other words, mythologizing natural talent lets us all off the hook. It lets us relax into the status quo. That’s what undoubtedly occurred in my early days of teaching when I mistakenly equated talent and achievement, and by doing so, removed effort—both my students’ and my own—from further consideration.
So what is the reality of greatness? Nietzsche came to the same conclusion Dan Chambliss did. Great things are accomplished by those “people whose thinking is active in one direction, who employ everything as material, who always zealously observe their own inner life and that of others, who perceive everywhere models and incentives, who never tire of combining together the means available to them.”
And what about talent? Nietzsche implored us to consider exemplars to be, above all else, craftsmen: “Do not talk about giftedness, inborn talents! One can name great men of all kinds who were very little gifted. They acquired greatness, became ‘geniuses’ (as we put it). . . . They all possessed that seriousness of the efficient workman which first learns to construct the parts properly before it ventures to fashion a great whole; they allowed themselves time for it, because they took more pleasure in making the little, secondary things well than in the effect of a dazzling whole.”
* * *
In my second year of graduate school, I sat down to a weekly meeting with my advisor, Marty Seligman. I was more than a little nervous. Marty has that effect on people, especially his students.
Then in his sixties, Marty had won just about every accolade psychology has to offer. His early research led to an unprecedented understanding of clinical depression. More recently, as president of the American Psychological Association, he christened the field of Positive Psychology, a discipline that applies the scientific method to questions of human flourishing.
Marty is barrel-chested and baritone-voiced. He may study happiness and well-being, but cheerful is not a word I’d use to describe him.
In the middle of whatever it was I was saying—a report on what I’d done in the past week, I suppose, or the next steps in one of our research studies—Marty interrupted. “You haven’t had a good idea in two years.”
I stared at him, openmouthed, trying to process what he’d just said. Then I blinked. Two years? I hadn’t even been in graduate school for two years!
Silence.
Then he crossed his arms, frowned, and said: “You can do all kinds of fancy statistics. You somehow get every parent in a school to return their consent form. You’ve made a few insightful observations. But you don’t have a theory. You don’t have a theory for the psychology of achievement.”
Silence.
“What’s a theory?” I finally asked, having absolutely no clue as to what he was talking about.
Silence.
“Stop reading so much and go think.”
I left his office, went into mine, and cried. At home with my husband, I cried more. I cursed Marty under my breath—and aloud as well—for being such a jerk. Why was he telling me what I was doing wrong? Why wasn’t he praising me for what I was doing right?
You don’t have a theory. . . .
Those words rattled around in my mind for days. Finally, I dried my tears, stopped my cursing, and sat down at my computer. I opened the word processor and stared at the blinking cursor, realizing I hadn’t gotten far beyond the basic observation that talent was not enough to succeed in life. I hadn’t worked out how, exactly, talent and effort and skill and achievement all fit together.
* * *
A theory is an explanation. A theory takes a blizzard of facts and observations and explains, in the most basic terms, what the heck is going on. By necessity, a theory is incomplete. It oversimplifies. But in doing so, it helps us understand.
If talent falls short of explaining achievement, what’s missing?
I have been working on a theory of the psychology of achievement since Marty scolded me for not having one. I have pages and pages of diagrams, filling more than a dozen lab notebooks. After more than a decade of thinking about it, sometimes alone, and sometimes in partnership with close colleagues, I finally published an article in which I lay down two simple equations that explain how you get from talent to achievement.
Here they are:
Talent is how quickly your skills improve when you invest effort. Achievement is what happens when you take your acquired skills and use them. Of course, your opportunities—for example, having a great coach or teacher—matter tremendously, too, and maybe more than anything about the individual. My theory doesn’t address these outside forces, nor does it include luck. It’s about the psychology of achievement, but because psychology isn’t all that matters, it’s incomplete.
Still, I think it’s useful. What this theory says is that when you consider individuals in identical circumstances, what each achieves depends on just two things, talent and effort. Talent—how fast we improve in skill—absolutely matters. But effort factors into the calculations twice, not once. Effort builds skill. At the very same time, effort makes skill productive. Let me give you a few examples.
* * *
There’s a celebrated potter named Warren MacKenzie who lives in Minnesota. Now ninety-two years old, he has been at his craft, without interruption, for nearly his entire adult life. Early on, he and his late wife, also an artist, tried a lot of different things: “You know, when you’re young, you think you can do anything, and we thought, oh, we’ll be potters, we’ll be painters, we’ll be textile designers, we’ll be jewelers, we’ll be a little of this, a little of that. We were going to be the renaissance people.”
It soon became clear that doing one thing better and better might be more satisfying than staying an amateur at many different things: “Eventually both of us gave up the drawing and painting, gave up the silk-screening, gave up the textile design, and concentrated on ceramic work, because that was where we felt our true interest lay.”
MacKenzie told me “a good potter can make forty or fifty pots in a day.” Out of these, “some of them are good and some of them are mediocre and some of them are bad.” Only a few will be worth selling, and of those, even fewer “will continue to engage the senses after daily use.”